New Atkinson Horn

Atkinson AG2K horn

Atkinson’s new Geyer-style double horn.

We’re pleased to have the new Atkinson AG2K horn in stock. Mark Atkinson is a 2nd generation horn maker. He makes everything, bells, valves, mouthpipes, in his Burbank, California workshop with one assistant and his brother Jim, who makes parts in between Hollywood studio sessions. These horns are among the most “Geyer-like” of the various Geyer style horns out there. The principal horn players of both the LA Phil and the Boston Symphony are currently playing this model. (At last count, there were three in the BSO!) So, if you’re in the market, or if you’re just curious, we have the AG2K as well as Geyer style horns from Dieter Otto (Jeff Nelson model) and Hoyer in stock for you to try.

Why play a horn in eb-alto?


ES-in-workshopBy Engelbert Schmid

At the age of 20, as first horn in a professional orchestra, I already felt that a double horn that combined Bb and high Eb would be ideal for many passages.

Many years later, when I was able to hold such a horn in my hand for the first time, I had the feeling of always having played it. The fingerings came automatically, already being in my fingers. Nevertheless, some hornists are already so used to the fingerings of the high F horn that they can’t or don’t want to change. There are also many who wish in principle to play almost everything on the double horn. I have no objection to that. Continue reading

Blueprinting

Why Are Some Trumpets Better Than Others?

As far back as I can remember, it’s been an article of faith for trumpet players: To get a good trumpet, go somewhere where you can try a lot of identical instruments and pick out the good one. That used to work, sort of. Years ago, large stores, and even some smaller ones carried multiple samples of the same instrument which they would dutifully roll out to be tried. The problem was that, unless you happened to be there when a new shipment arrived, you could safely assume that the trumpets you were trying had already been picked over by numerous players. Plus, it can be very difficult to access small differences in a short time span and in an unfamiliar acoustic. Now days it’s pretty much a moot point. The economics of the music business make carrying a large stock of instruments a losing proposition. Continue reading

Abbie Conant and the Munich Phil

By William Osborne

In 1980 trombonist Abbie Conant auditioned and one the principal trombone position with the Munich Philharmonic. The audition was held behind a screen and, due to the vague gender identity of the name “Abbie”, the orchestra did not realize that they had offered the job to a woman. When they found out they immediately recinded the offer, triggering an almost twenty year legal battle. This is the story. Continue reading