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I am interesting in acquiring as much historical and performance information about the King Flugabone as I can. I have noticed that this Forum harbours some folks who are Flugabone owners and players. I'm wondering if those folks might like to share bits of wisdom concerning any of the following Flugabone topics:

- History of the King Flugabone - When was the first and last year of production. Why did King stop production?
- Other Historical & Design Information - Who was the designer? How many horns produced?
- Notable Features (positive & negative) of the Flugabone (design, construction, structure, tone, etc.)
- Noteworthy Flugabone Players
- Comparing it with other Marching Trombones (Olds, Kanstul, Bach, etc.)
- Customizing the Flugabone (tuning slide triggers, new lightweight bell, actual trombone leadpipe with thin nickel tubing)
- Flugabone Anedcotes, Stories - Dramatic events, apocryphal narratives

Thanks
Don

A good-playing example of this style horn is a decent answer to the problem of playing in tight spaces - small orchestra pits, cramped church balconies, and the like. Not so good as part of a trombone section - you'll be hard-pressed to produce a quality sound at sufficient volume to match conventional trombones. I've owned both a Flugabone and an Olds marching trombone, and found the Olds to be superior as to tone, responsiveness and ergonomics. To my ear the Flugabone sounds a bit more "trumpetish" or "hornish" and less "trombonish." I second Bloke's opinion of it as a good choice for covering bass trumpet parts. Intonation on my Olds was a problem - very sharp 6th partial, very flat 5th, but it may not be representative of the breed. To me it felt more like a trombone, at least. But once I settled on a King marching baritone the others were less interesting. It doesn't really sound very "baritonish" but that wasn't what I was looking for anyway. I haven't tried any others save a Blessing once, many years ago. I hated it. It felt and played like a toy - light, flimsy, weak. Maybe the newer ones are better.

bloke wrote: I've played several makes, and judge King to be the best.

Of all makes, King has the best appearance, in my view, as well.

I appreciate the comments. I fully agree with you in terms of the appearance.

jeopardymaster wrote:Not so good as part of a trombone section - you'll be hard-pressed to produce a quality sound at sufficient volume to match conventional trombones. I've owned both a Flugabone and an Olds marching trombone, and found the Olds to be superior as to tone, responsiveness and ergonomics. To my ear the Flugabone sounds a bit more "trumpetish" or "hornish" and less "trombonish." I second Bloke's opinion of it as a good choice for covering bass trumpet parts.

Great material! I've heard comments from others about its inability to blend well with other trombones. Is there a place for a Flugabone in a traditional concert band?

I think the word I would use is "characteristic" -- that the Olds sounds more in the character of a trombone than the Flugabone. Indeed, though, I think the King marching baritone sounds more like a trombone than either of them.

The King Flugabone was introduced during the time when George McCracken was the company's chief designer. He also improved the King Altonium and made improvements to several of the company's instruments, including the Eroica french horn, he designed the King Opus 7 cornet (the first time a shepherd's crook bell had appeared on a King in many years), the Duo-gravis bass trombone.

George once remarked to me that he believed the flugabone was the most in-tune of instruments of that type.

Mark Heter

I have a Fullie Olds. I tried every marching trombone and bass trumpet at Midwest. Noe of them played that different and the Olds (not there, duh ) is by far the most comfortable one to hold. The King styled horns all have that funny wrap that makes it difficult for a comfortable left hand hold. Piston bass trumpets, though long and somewhat front heavy, are ok. Rotary valved bass trumpets are hell to hold up.

My Olds needs some work on it so I haven't played it in a group yet and I haven't taken it to a tuner in a while. I actually rarely play it (or any of my horns...)... It DOES have that way too long 3rd valve tubing. With the slide all the way in 13 is very slightly flat.

Uncle Markie wrote:The King Flugabone was introduced during the time when George McCracken was the company's chief designer.

Wonderful information. Do you know the actual dates of George's reign?

The King, is a great instrument, in and of itself. I'm not sure it's sound is "characteristic" of anything else, though with a medium mouthpiece it bear some resemblance to the tone of other King student horns.

I also prefer the Olds. For some time used it as a bass trumpet (For more on why not and what I use now, you can check out my website). But they are very playable and can sound quite brilliant. The physical balance is very good. Finally, if you put a reversed tuning on the main slide, I find the decreased bracing and this change makes an even better-speaking - if more vulnerable - instrument.

J.c.S.

I like the Kanstul a lot better than the king except I find kanstul's piston valves to be clunky. Does it have olds heritage?

Here's 2 Blessings, a King, and an Olds-
http://shop.ebay.com/bandinstrumentsrus ... 4340.l2562

Jeopardymaster, you've mentioned that horn here and there- got any pictures?

I have a Flugabone that I obtained dirt cheap, in decent condition with a good hard case. I also have a pair of rotary valves & tubing from a King double-trigger (dependant) duo-gravis bass trombone. I was thinking of grafting them onto the flugabone to make it a five-valve instrument. But it would require someone with much stronger arms than mine to hold it up in playing position for any length of time. Comments?

Here's a pic for you

bloke wrote:Stow the valves. Save them for something for which they will be of more use. Enjoy the Flugabone.

+1... and the bore size difference would make it hard to find a good place for them on the ax.

Let me know if you ever sell them

Golly, if only these were treated as sub-ffffff performances with musical nuance, flutes and euphs could be... i don't know... balanced to?

Foolish me... I keep forgetting the point... LOUD FOOTBALL CHEERING BLARGH!!!!!!!

Yes, it's too bad marching bands don't strive for more of that concert band sound, we know it's a big draw from the standing-room-only attendance at nearly any concert band performance.

bloke wrote:

J.c. Sherman wrote:Golly, if only these were treated as sub-ffffff performances with musical nuance, flutes and euphs could be... i don't know... balanced to?

Foolish me... I keep forgetting the point... LOUD FOOTBALL CHEERING BLARGH!!!!!!!

bull...

The "point" is

TROPHIES! TROPHIES!! TROPHIES !!!

and...

TRIPS! TRIPS!! TRIPS!!!

LOL!

bloke "If you want 'music', listen to the tinkle of the keyboard percussion and the 'boo-boo-boo-boo' of the tuned bass drums in the 'transition' sections."

Actually... I ashamedly DO enjoy that part...