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@@optiTHOMAS I really think the previous owner paired a B-88 slide to it. It plays n feels nice though.

@@roberthoffhines5419 To me the 32H feels much bigger. This 30H feels oddly big for my air but with the tone of a small bore

@@ronzgarage I'm coming at it from the other direction, my everyday trombone is an 8-H with Greenhoe. I'd like to compare them head to head. I think there are more 32s than 30s just by what I see from the online brokers.

@@1320_ikimasho it's pretty much the same bell taper of all their tenors through all their years. Mouthpiece makes a big difference in feel as well. It's a small tenor in that .482-.485 bore range. It can feel tight if you're used to .500. If you used the Olds 3 mouthpiece, it would feel pretty tight. I agree, when Olds & Reynolds was purchased by CMI in the late 60's-early 70's and those leaders wanted to focus on the big student market. It was about making money I'm sure, but other makers were making inroads, Conn specifically with the director series. They were making the Custom Crafted professional horns but obviously didn't address that professional market early enough or market it well enough.

​@ronzgarage I think this is before I switched over to using a custom DE Olds shank, for the Olds. So perhaps maybe that's why it seemed "stuffy" at the time. My early experiments with Olds involved just using the same mouthpieces that I used with other horns. It wasn't until a few years later and a bit of research that I realized there was an issue with doing that. Upon further reflection I also had a P16 Custom Crafted, which I think may have been a bit of a factory defect. I think I had commented on another video that I never had a P16, but then I realized I did have one, but sold it. I think it was from the later years Olds when the quality was sporadic. I could never get the slide right, even after sending it to the Slide Dr. The inner tubes weren't mounted from the factory correctly, so the alignment was just a bit off. And actually I had an Olds Special from the later years (which had the oblong counterweight) that actually played better. Some other random thoughts about Olds. I liked their Standard and Self Balancing models. The Self Balancing was a great alternative to the King 2B. I really like the Recording model but thought maybe it should've come out with a nickel-silver bell. The early red brass versions tended to get buried in a big band section, even though it has a really nice/ rich sound. I also have some of the Fullerton version which is more of a yellow brass bell and nickel-silver slide.

If you look at the opening at the bottom of an Olds mouthpiece, the diameter is significantly smaller than standard small shank mouthpieces. That would easily cause an airflow issue, how ever I believe it was their design to work with the morse taper that caused that decision. You'll or maybe saw already in my Part 2 video where I try 9 different mouthpieces with the Ambassador and found that the 4G, 7 and 11C felt and sounded best for me. The P16 was made within the final 5 years or so of Olds life. I think I got lucky with mine, everything seems really good. It seems Olds used a softer brass on this one model that they designed from the ground up as it feels warmer and tone more spread compared to the post Self Balancing models and pre P16 design. I have a self balancing standard. I love the tone and feel which has me questioning why they changed their design formula afterward. It felt a bit more like a Conn of that day. Re: the Recording. I suspect the use of the red Re-O-Loy alloy bell and larger dual bore slide was intended to warm it up as a Solo horn, maybe to compete with the King 3B, but not a big band cutter as I call them. The Special and Studios, heck even the Ambassadors can cut through a honking big band due to the hard brass or nickle -brass combo bells. I think Holton also positioned their red brass bell tenors as Solo Trombones as they also produce more warmth compared to their yellow brass / nickel Special and Galaxy models. But to circle back I still believe the Ambassadors with the appropriate mouthpiece is a pretty great "budget friendly" Jazz & Pop tenor. Thanks for Sharing!

That's very flattering. I don't think I sound as clean as I'd like but I appreciate the compliment.

Every Goodwill treats their items differently. But I like them this way. It's more dramatic when I restore them. :-)

​@ronzgarage also agree with your comments about CF slides. I've found that _anything_ I have done to a trombone (inners, sleeves, counterweight, etc), will change the sound of that particular horn. I once paired a Getzen slide with a Conn bell and neither sounded like a Conn or a Getzen; rather, something in-between. 😮😅😊

@@1320_ikimasho you keep watch. All lacquers behave differently.

@@1320_ikimasho I'll do that. If you look at my trombone bell repair videos it's pretty much just a couple steel mandrel with various soft hammers & dent rollers.

@@bradleybunk6463 I've discovered. It just needs a good coat of automotive wax or liquid ceramic spray. Thanks. They sound better too.

@@ronzgarage I will have to check out liquid ceramic spray!

@@1320_ikimasho Thanks! Having a buffing machine helps a bunch.

Its likely. Or someone put something heavy on it. Often times damage like this happens when a kid leaves their instrument in the bleachers at a football game and someone falls on it because they're screwing around and don't care.

@@amigarvin9853 Fantastic!

@@amigarvin9853 oh yeah huh?

@@chriskowalski7038 I have not. I recently discover Vito which is a Holton/LeBlanc brand name.

@@ronzgarage It's a heavy F attachment with a wide slide like the early Blessings had...It's out of my league to repair...You can have it if you want...LOL.

@@chriskowalski7038 what did you buy?

@@ronzgarage A selmer Bundy for $100.00 and an Olds ambassador off of Ebay.I know the Selmer 's probably a cheap student horn but it's in perfect condition.

@@chriskowalski7038 we'll set up a time to chat after the new year. You can message me on my FB or Instagram Ron'Z Garage profiles.

@@ronzgarage Super..Thankyou.

@@chriskowalski7038 Yes. What is the serial # I will check my records for it's age.

@@ronzgarage 446670 Americana Made by the White company that i'm sure it's by King

@@ronzgarage 446670 .An Americana made by the White company...l'm sure it's manufactured by King but l could be wrong.

@@1320_ikimasho they're like tools. Each one is important for the style of music I play. One trombone doesn't fit all.

All of them are my favorite.

@@bradleybunk6463 Holton was the pros choice in the early 1900's. With the rise of HN White (king) Bach, Conn and Olds there were more options for professionals. The big band era came and Dorsey played King, Glenn Miller played Bach & Conn and Holton wasn't keeping up with professional endorsements nor were they innovating to meet market needs. Also Holton gave birth to other makers like Getzen & Reynolds. It was in my opinion it came down to poor business decisions regarding their trombones.

Those big brands (then) had well known players that played them, which helped with marketing. Holton didn't really have that. Can't really think of a famous bone player that played a Holton 🤔

@@JonnyBadmoon do you mean how I clean? Or refinish?

i'm sure I mumbled but meant to say .485. 7.5" bell. The 6H and this 160 feel very different, but both excellent.

@@ronzgarage oh I see, that makes sense! That sounds about right for the time period.

​@@1320_ikimashothey were competing with the other small bores of the day.

@@chriskowalski7038 Wes lee is the king!!

@@ronzgarage ya... watch all his stuff too

@@chriskowalski7038 welcome to the club. Careful not to fall down the rabbit hole like I did.

@@chriskowalski7038 post your stuff. I'd love to see it.

@@petermansfield6453 it's nothing like the others. Among my Olds mp's it was the Best one for this horn.

@@1320_ikimasho the Holton is noticeably warmer. Both respond about the same. The Yamaha is clearer in the upper range. I like warmth the Holton produces. It reminds me of how my Bach 42 gets so warm.

@@ronzgarage I picked up a Holton TR-602 a few days ago. In very good shape. The slide needs to be a bit of realignment but I think the horn will be a winner.

I have both the 30 & 32H. They say they make good lead horns because of the small dual bore slides. the bore difference between the top and bottom tubes is pretty wide which makes it feel more open as you play higher. I need to revisit mine again.

Sounds Great! I played it again today. I think I was tired in the last video, today was better, but still more back pressure than I expected. I'm presently having a press fit lead pipe made for my mid bore Reynolds HiFi which has a very unfocused feel. I hope its the solution to a rare Reynolds model. Additionally I'm having another lead pipe made for my Olds P16 slide. that should help too!

Thank you!

My thing is to buy Junk & turn it into treasure. I have no use for nice or new horns, lol.

yeah. I agree.

@@gregrobertson2726 A majority of my collection is Olds & Conn. They're fantastic!

@@gregrobertson2726 Ara you looking for a g bugle? Or the upright concert Baritone in this video?

@ upright baritone? Interesting. Info?

Me neither, this was a very rare and fortunate happening.

I really like the 6H for it's response & warm tone, but my main "meaty" horn will always be the 48H constellation with the Electro-D 4 layered Bell. I was talking to my friend who leads the Disneyland Band (you can find him in recent videos) He switched from the Yamaha Zeno to his 48H Constellation because he said he can push it much harder outdoors to keep up with the ensemble volume and it has more color capabilities.

@@1320_ikimasho I don't know anything about the thickness issue. I'll need to consult my associate who runs the Olds website called "It's a bear" He would likely know. But it sure feels great with the P-16 slide.

@@1320_ikimasho also I have a few colleagues who intentionally bought custom trombones with the option of extra thick & heavy bells. Everybody has their tastes.

​@ronzgarage in that particular case, I don't think Olds offered a "thick bell" option for the Studio, being that the Studio wasn't considered a "top of the line horn." I think it was just a slightly flawed design where the bell was just too thick. But who knows, anything is possible 😅.

@@1320_ikimasho cool! The early Argenta had a .520 bore, after they merged with Olds in the 70's it became a .515 bore and used Olds connectors which why yours is paired with an Olds bell.

​@ronzgarage the SN: 64635. When I say "Olds bell," I mean literally, the previous owner must have damaged the Reynolds bell and paired it with the bell from an Olds Standard from L.A. It doesn't screw on perfectly, but well enough to fit.

​@ronzgarage I measured the bore using a telescopic gauge and micrometer. It came out to be a .515 bore. It has a locking nut on the slide which means it was probably made by Olds

@@1320_ikimashowhy thank you! the Martin wasn't designed to warm up like other two. The Martin being yellow brass with all of its nickel parts will create a more pronounced treble clarity.

​@ronzgarage how does the TR602 compare to the TR100? Been trying to research the two. Thank you....

I've found a few on E-Bay, Reverb, Craigslist, various auctions sites, FB Marketplace, friends.

Also there is a Reynolds Emperor for sale now on Reverb.com