How hard would it be to swap valves in a front action Martin

[Daniel C. Oberloh]

The alteration details from three to four valve front action was touched on pretty well by Harold and there is more that I could go into but I will not bore you with the details. I will add that the Holton valve set was used to develop the MW set and that is why they work so well for the 340 to 345 conversion but the slide layout is not exactly right and looks a tad odd to my eye but thats probably just me. I used the block on the York because I liked its look and knew it would fit into the initial design I had in mind. If a proper Martin valve block were available for Marty's project it would still need mods to make it work as did my York project. Lets just say that it is a lot of work converting any of the old classics from one design to the other whether it be York, Conn, Martin, Buescher, King, etc.

My point here is that if you take on such a project, it still has to be figured out, all the parts need to be present and go together correctly and it has to work properly. It needs to be cleaned before and after the job is done and It needs to be braced properly. Whether it is polished and finished or just left raw, it still needs to be done correctly and well. If you are willing to accept half-assed that is your business but if you are going to look into having such a project undertaken you need to know what is involved and what to expect or you may end up very disappointed and stuck with a very expensive albatross.

I have included additional images of the York. I took these pics just prior to packing it and shipping it out for silver.










Daniel C. Oberloh
Oberloh Woodwind and Brass Works
www.oberloh.com

[MikeMason]

Dan,do you find that if you do a horn at a completely artist level of craftsmanship(as you always do) that it always plays great too?In other words does function always follow form?If so, I'm surprised we haven't seen one of your horns in a major symphony.That Martin in the right hands would be worth the price of some tickets to me....I just had a partial answer to my own question pop into my head.James Jenkins in Jacksonville ,Fl has a restored York BBb that he uses in the orchestra(w/original 22" bell !).I've never heard him in action with it though,and not restored by Mr. Oberloh.

[Daniel C. Oberloh]

I have always been a believer in the idea or form following function. The reality is that I don't start with any old crap horn available. I only use instruments that have a good sound to start with and a bugle with proper scale. Because I don't use questionable horns, I am able to focus on improvements like converting three to four and top to front action valves. I can also make changes to the mouth-pipe design and alter slides to facilitate responsiveness, intonation adjustments or correct pitch issues that may have previously existed in the original design. These alterations are made to an instrument that already has a great sound and make it that much more desirable to the modern musician. I can not take any credit for a horns quality of sound, that goes to the original designers and Craftsmen who produced the bell and branches. I can only take credit for improving the facility and functionality of a limited but great sounding instrument while not screwing it up and creating a tool that will allow the musical artist to express themselves to the fullest of there ability. There are a few serious players out there playing on horns I have restored. Most are not tubas but trumpets, cornets and trombones. There are a few very special vintage french horns and a smattering of double bells but for there owners its more about the music, not so much the tools. The first tuba I did like the ones you are talking about was completed in 1993 and was done for Mike Russell who is now retired from the Seattle Symphony. I think that because the majority of players in major orchestras use CC tubas and there are a lot of truly fine modern CCs on the market, such musicians have no real need for my services when it comes to vintage restorations. However, there are a number of serious players around North America that I have repaired and or rebuilt standard modern instruments for but in my opinion, nothing truly note worthy.

Artists level? Oh, you mean clean, straight, well fitted, properly aligned and neatly soldered, assembled in a sensible manor and actually finished and plated the way they would if they were new. Thats not Artsy, that just doing the job the way it is suppose to be done.


Daniel C. Oberloh
Oberloh Woodwind and Brass Works