horncups.com

I have a rather old Alex 107V which was built with a long leadpipe which had a tuning slide at just the wrong point in its taper. It has been rebuilt by Luke of Paxman's with a standard Alex leadpipe and now plays beautifully. It is great for smaller orchestral work and chamber music, but does run out of steam for the really loud stuff. However, you can get that "razz" on the sound which I enjoy and with the new leadpipe the Bb side is good all the way up, and the f alto side is quite acceptable lower down. It's at its best in a nice old church with a good lively acoustic!

I have a Holton 200. The Bb and F sides are well matched and the intonation is impressive. I suspect that the valves are poor example of Holton's quality control - the tolerances are too fine and the key levers are out of alignment. They are constantly sticky unless oiled with excessive frequency and periodically taken apart. The plating on the keys didn't last more than a few months - despite only playing 1-2 hours a day - unlike my other horns. My chinese Wagner tuba was better made!

Many players don't like the descant sound (more higher harmonics) in Orchestral work. In amateur circles this tends not to affect one's income!

I play a pre-letter Conn 8D as my primary horn. It has a thinner bell than most at .14 inch thin. (Most 8D's have the .175 thick bell). My thin bell blows louder with out distortion than all but one 8D I've come across.

I also play a 1971 Paxman 40M. As mentioned earlier it is a different insturment and needs to be practiced to be played well. I use a mouthpiece customed by Tom Greer at Moosewood on my Paxman that gives me everything I need in all registers.

Next week I will have in my possesion a Bb-C single (large bore). I played this horn many months ago and fell in love with it. I am really looking forward to playing it regularly.

Why a Bb (ascending C)?
"The Bb-C ascending system is highly responsive, capable of a wide dynamic range, has subtle control of harmonics, excellent endurance facility and is capable of slithering around horrible key signatures throughout a significant percentage of the orchestral literature. There is NO one size fits all instrument.

Here in California I ahve seen quite a few Schmid triples. I haven't liked any of them. I would love to see and play one of their Bb's or descants.

John

I also have a Paxman 13 - Bb/C; it is a very rewarding instrument and gives surprising benefits e.g. facilitating that awkward second horn passage in Elgar 1 that follows the first horn and ends up on a bottom F#. No problem as it is the fundamental of the B alto horn and highly 'present' and much preferable than the usually out of tune F horn option (2nd harmonic on too short Bbasso horn). Similar benefits at the top - excellent top A. There are even benefits in the middle - in tune G - though It does take a little care to get a good tone on that note.

Also, a very light instrument; I plan to use it in a show I have coming up.

Tom

So, I expect it would be equally useful in that similar passage in the 'Enigma Variations'..?

sorry; wrong Elgar, but the point holds...

Tom,

A Paxman model 13? Do they still make that horn? I didn't see it in the catalogue.
Who else makes a Bb-C? I thought Alexande rmade one for awhile didn't they?

Has the Bb/C worked out well? Who makes them or are they special orders?

1)

2)

Er, could it be PAXMAN

That's what it said but I hadn't heard of a Paxman 13 and hadn't seen one. I meant is it a regular horn from Paxman's range or is it a special order? Paxman don't list it now as far as I can make out.