Thoughts on Horn Making

We believe that horns play the best when they are made by hand and that many modern techniques used today are an attempt to duplicate that which is inherent in a manual manufacturing process. We like to hand form our products and it seems to us that the various treatments which allow hand forming will give a superior result needing no further processes. While this is ideal, modern manufacturing methods often create parts which are considerable harder than if they had been hand formed and thus, there are times when the softening of the metal can result in improved playing characteristics.

In asking the question: "What is the best horn you ever played?" You get many answers, however there are a few names which are often repeated and held in such high regard that one might consider this them to be from the golden age of horn making. These are: Schmidt, Geyer, Kruspe and Alexander, and manufactured before W.W.II. It is our goal to make instruments which have a similar noble sound and character as these instruments but are more consistent instrument to instrument and without "bad" notes.

 

I have dedicated myself to building and modifying horns and have been doing so for the last nine years, the last 3 years working in my own shop. During the short time I have had my own shop, I have received direct training from Lowell Greer and built all the necessary tooling used in the design and manufacture of classical as well as a baroque style natural horns. These horns have been tested in professional performance situations by myself and others and several times I have designed horns for specific performance needs. In addition, I have developed a series of leadpipes for modern horns and various enhancements aimed at improving existing instruments. I have exhibited my products at the IHS Symposiums in Eugene (1996) and Rochester (1997) as well as regional workshops.

It is easy to see the advantage of a horn builder also being a good performer and for that reason, I balance my time between horn building and performing. I received my training in horn performance from at the University of Southern California where I had the good fortune to study with Jim Decker and Vince DeRosa. I enjoy a healthy working relationship with my former teachers as well as many professional players around the country. It is this collaboration which is the lifeblood of our company.

I perform regularly on French Horn as a recording artist as well as a free lance player in the Los Angeles and at a few music festivals around the country. On natural horn, I currently perform with the LA Baroque orchestra, Musica Angelica, Pacific Classical Winds, and have performed with at the Mozart Festival in San Luis Obispo, and at the 1997 IHS symposium.

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