excerpts from an interview by Ellie Jenkins for Cor Values, The Horn Call, May 2018 (reprinted with permission)
What inspired your move from being employed by UMI to establishing your own full-time repair business?
After working 23 years in brass instrument manufacturing, I was ready for a change. I was very disappointed in some of the decisions being made, and I was doing the jobs of four people. I wanted these great companies to be great again, but their bottom line always won out. As more and more responsibilities were put on me, and as I realized my interests in the pro market were being ignored, I decided I needed to move on and transition my part-time repair business into a full-time venture. This was at the end of 1996. I wasn’t sure how UMI was going to receive this, but they did offer me a contract to continue designing and cutting all their screw bells at the rate of 450 per year, and this has continued since. Around 2000, United Musical Instruments was sold to the Steinway Corporation who also owned the Selmer/Bach Corp. In 2004, the Steinway Corporation purchased the Leblanc Corporation which owned the Holton Company. Confused yet? Around 2005 the Holton Company moved into the King/Benge/Conn factory. At that point I began cutting the bells and installing screw rings for them as well.
For what models—of horns, trumpets, trombones—have you been the primary designer? and of which are you the proudest?
I have been repairing and designing brass instruments for well over four decades, and I was in full-time business for myself by 1997. I was still very involved with Conn. Besides cutting and installing screw rings for the various Conn bells, I was building special models such as the Conn 12D and the Holton H200 descant horns in my shop. I built 75 Conn 88H Thayer valve trombones and 10 Conn 112H Thayer valve bass trombones in my shop as well. The longest project was the 8D Vintage project. This horn was to come as close to the Elkhart 8D as possible. Much work and experimentation paid off. I had just finished four prototypes for testing when the entire project was put on hold as a result of new ownership. Two years later, I was called into a meeting with the new plant manager who wanted to know how Conn could build a horn like the Elkhart 8D. I didn’t even know what to say except to inform him that two prototypes were sitting in the shipping room. He thought I was kidding, but from that day on, Vintage horns were in production. I also designed an 8D prototype horn that had a separate B-flat tuning slide. This horn was meant to appeal to the European market, but it never took off as Conn had hoped.
Of all the brass instruments that I’ve designed, I am most proud of the Benge 190F and 290 trombones, the Conn 36H alto trombone, the Conn 10D/11D and the 8D Vintage model horns. I also designed and built the contrabass trombone for the Cleveland Orchestra. I believe the fact that I was a professional horn player sets me apart. I could relate to all brass players, and they knew I would listen to their ideas and understand them.
What do you enjoy most about working on horns?
Working as a repairman for professionals is very worthwhile for me. I enjoy it thoroughly! My name is on the business, so I do all the repairs myself. My favorite job is valve rebuilding. Taking a worn-out horn and making it play again is very rewarding for me. I have my own plating system and the necessary tooling, so I can complete a valve rebuild in two days. Chemical cleans are numerous and I go beyond just cleaning: I tighten all the bearings, regulate the slides, and do minor dent work. The horn is like new or better. I even build custom horns for players, both horn and trombone. I’ve got the best of both worlds. I like what I do, and my shop is right next to my house in beautiful Chardon, Ohio. The Conn/Holton factory is only 20 miles away, which makes it easy for me to work with them.
What do you wish players would do better to care for their instruments?
One of my goals is to convince players with older horns to consider a valve rebuild before spending a fortune on leadpipes. I hear the same thing all the time: “I bought a new leadpipe, and I think it plays better, but I’m not sure.” I understand the desire to try new things that might improve your playing, but please have a competent horn tech (there are not many left) check out the valves first. Then consider a new leadpipe. Leadpipes don’t usually wear out, but valves do. Horn maintenance is another thing I would like players to know better. With each valve rebuild and chemical clean, I give a flyer on how to take care of your valves. I also give out a sheet on suggested lubricants. My biggest advice to all brass players is to oil your valves every time you play your instrument. Synthetic oil does not need to be applied quite as often, as it stays in the valves longer. Oiling lubricates and keeps the valves clean.
