Last pic is the stripper I attempted it with, left it on for a little over an hour, then boiling water, then another hour of stripper, then boiling water, gave up, clean it off with paint thinner, then water, didn't work.

I love this horn though, one of my best buys, for $750 2 years ago. Compression at the level on 1 and 3 that it sucks the slides back in if you pull them out without pressing the valve. Great player, lovely tone. I've been considering getting it silver plated, maybe.

Evidently, according to my AI, I bought the wrong kind of stripper, and since I don't have a pot big enough for the boiling water thing, will try again with this.

https://www.walmart.com/ip/Klean-Strip-Premium-Sprayable-Stripper-1-Quart/929391015

I picked these because of a combination of how they sound, play, look, and completeness of originality.

Reynolds 1946 Professional sn 10672

• Model 50C Professional
• Nickel silver lead pipe
• Sterling silver bell heavily engraved gold highlighted and washed bell
• brass valve casing uppers
• BORE 0.458"
• BELL 4 5/8"

King 1965 Super 20 Silversonic Trumpet DB sn 414124

• model 1049S
• Sterling silver leadpipe
• dual bore .458/.468
• 4.875" Sterling Silver 1 piece bell
• 1st trigger
• same as famously played by Harry James

King 1933 Liberty Silvertone trumpet sn 150105

• Model 1050S
• Last year for Liberty #1
• has replated valves
• 0.448" bore
• 4.5" bell
• original case with 2 period original HN White 32 & 34 Equa-Tru mouthpieces

Bach 1965 Stradivarius 37 Trumpet sn 38241

• Very early Elkhart with Corporation bell
• made for 3rd slide trigger
• Bore: Medium-large .459" ML bore
• Bell: #37 one-piece hand-hammered yellow brass.
• Finish: Clear lacquer over yellow brass body, with nickel silver trim, valve casings upper half, certain slides
• Valves: Monel pistons.
• 3rd slide trigger

Benge 1960 2C+ MLP (0.4645 bore) C trumpet sn 4320

• Burbank Benge made while Elton Benge was actively running Benge
• 0.4645" bore
• 4.65" Bell
• 1st trigger
• stop rod missing nuts
• in original case

Martin 1933 Handcraft Imperial sn 106424

• Oldest known surviving Martin Handcraft Imperial
• Dual bore 0.43 to 0.448" bore
• 4.77" Nickel plated 1 piece hand hammered bell
• single reversed MTS measuring 0.43" at top and 0.448" at the bottom and all valves
• top sprung valves

Getzen 1964 Eterna Severinsen sn SK1077

• 1st year
• 0.460" bore, extra .458" main tuning slide
• Bell: 4.75" 2-piece yellow brass
• 1st slide trigger
• factory extra 0.458" mts
• in original case, heaviest case ever

King 1965 Silver Flair Trumpet sn 423119

• Model: 1055T Silver Flair
• Bore: .462 inches, a large bore for enhanced projection and volume.
• Bell: 4-7/8 inches, seamless yellow brass, delivering a responsive, resonant tone.
• Material: Silver-plated brass, offering a brilliant finish and crisp sound.
• Valves: Monel
• 1st slide trigger (patented “quick release” design) for intonation adjustments
• with original case
• Tone: Bright, powerful, and versatile—suited for jazz, big band, and lead trumpet roles, same as famously played by Herb Alpert and Ollie Mitchell.

Olds 1954 Super trumpet sn 112694

• BORE 0.46"
• BELL 4.73"
• with original deluxe case

Selmer Paris 1947 Model 60 19 bore trumpet sn 5470

• "I" finish
• Bore: 0.450" ("19 bore")
• Bell: 4.75" Brass
• Purchased new for $306.50 (including Hardshell Case #4870) by **Donald F. Mizera** at Chester Groth Music Co. (Minneapolis, MN).
• 1947–2013 — The Mizera Legacy (66 Years of Single Ownership)
• The Musician: Donald F. Mizera (1926–2013), WWII U.S. Naval Reserve veteran, MacPhail College & UND graduate, and leader of the Donnie Mizera Orchestra and Don Mizera and the Rhythm Airs. Educator: Taught music across North Dakota for 36 years, maintaining this Model 19 as his primary personal instrument throughout his career. Inducted into the Dakota's Musicians Association Hall of Fame on May 14, 2004.
• Restored April 7, 1988 — Overhaul; Restoration:** Serviced by *Pettifor's Band Instrument Repair* (Elkhart, IN). Work included a complete valve rebuild/precision fitment ($125) and a professional re-lacquer ($165) prior to Mizera's retirement.

Buescher 1947 Model 225 The 400 sn 316046

• Bore Size: medium-large bore, 0.460"
• Bell Size: 4.75"
• in original case with original Buesher 88D duo cup mouthpiece

Holton 1914 New Holton Trumpet sn 24298

• Front Slide: Tuning; HP/LP
• Rear Slide: A/Bb select
• Pitching: HP; LP
• Tuning Lock: stop rod for A
• Bore: 0.438" / 0.458" conical
• Bell: Yellow brass Bell 2-piece 4.77”
• Leadpipe Taper: B
• Leadpipe Mat’l: Yellow brass
• with original case, lyre, mouthpiece, high & low pitch slide sets
• missing mts stop rod
• my oldest trumpet
• Same as used by Vincent Bach at Boston Symphony Orchestra when he 1st arrived in the US

York 1936 Model 42 Feathertouch Professional sn110599

• finish C (quadruple silver plate)
• 0.460" bore
• 4.5" bell
• complete stop rod & nuts
• Patented Feathertouch valve springs, fastest valves I've ever played
• in original case with lyre, clamp on lyre holder, mouthpiece
• Same as used by Jimmy Stamp lead trumpet Minneapolis Symphony Orchestra

CG Conn USQMC 2B 22B 1932 sn 281880

• Model: Conn 2B Special Military Contract (USQMC)
• BORE 0.458"
• BELL 4 5/8"
• Key Features: Top-sprung valves, reversed 1st valve slide like 2B, finger ring
• Finish: Silver-plated
• U.S.Q.M.C. (United States Quartermaster Corps) engraved in old English on bell
• missing mts 22B style stop rod
• is a Conn 2B military-spec construction with straight braces like a 22B rather than Z braces, without mts brace like the 22B, without the 1st slide saddle and 1st & 3rd stop rods and a finger ring instead of hook
• 1932 (U.S. Army / USQMC Issue):** Produced under U.S. Quartermaster Corps Specification No. 11-13A. Government issue in Hawaii (Fort DeRussy or Schofield Barracks).
• 1950s–1960s ("Manuel" in Hawaii): Played in nightly hotel residencies at the King Kamehameha Hotel (King Kam) in Hawaii. Top candidate lineages include **Manuel "Manny" Silva Jr.** (Royal Hawaiian Band / legacy family)
• 1970s–1994 (The Royal Lineage): Acquired by Joseph Royal Sr.(1920–1994) WWII Royal Canadian Air Force (RCAF) Musician, long-standing member of Victoria/Vancouver Musicians' Association (Local 247), and featured soloist with the Gizeh Shrine Band in British Columbia., then inherited by Joseph Royal Jr.

From when I bought it, to cleaning, to stripping to remove gold lacquer over nickel parts and then polish and waxed. Now a good looking cornet with a few war wounds of character.

I love how these sound and play, a step above even the King Masters until King started the option of the sterling leadpipe, which I think that that and the brace and protective patch on the mts 3rd valve input knuckle was a key Reynolds held back or learned later when he designed the King Master cornet and applied it to his version from the start in 1936.

F.A. Reynolds 1946 Professional cornet SN 8453

Bore: .458" Bell: 4¾" brass

Materials: brass with nickel-silver leadpipe, upper valve casings (balusters), top and bottom valve caps and buttons, left hand side mts receiver, brace, and knuckle protective patch

Valves: top-loaded, inner-spring, solid nickel-silver valve pistons Finish: polished brass with clear lacquer finish

I have 2 horns that suffer from this gold lacquer over all the nickel parts/trim. Just stripped this Model 60B, looks so much better and I haven't even polished it yet. I really don't understand why this seemed to be a thing at some point. I did this one and took most of the morning. Next is my 1972 Bach Strad someone did the same thing to.

F.A. Reynolds cornet

Bore: .458" Bell: 4¾" brass

Materials: brass with nickel-silver leadpipe, upper valve casings (balusters), top and bottom valve caps and buttons, left hand side mts receiver, brace, and knuckle protective patch

Valves: top-loaded, inner-spring, solid nickel-silver valve pistons Finish: polished brass with clear lacquer finish

Not a big deal, pretty ordinary mpcs, been watching a while, but seller sent an offer so to get for $50 including shipping. Hard to beat that deal and I could use the LA era Benge(Italic letters stamp) to keep with my Burbank Benge (I like to put a vintage horn's vintage mpcs with it when possible). And I don't have any Giardinelli's, and can always use the Yamaha and Blessing to go with any trumpets I sell or give away.

Anyway, think I'll celebrate on the 6th this year, instead of the 7th, if my daughter, best birthday present I ever got, agrees.

Still plays beautifully 112 years later

Chicago made

Holton 1914 New Holton Trumpet sn 24298

Years Built: 1913-14

Key(s): A; B-flat

Front Slide: Tuning; HP/LP

Rear Slide: A/Bb select

Pitching: HP; LP

Tuning Lock: stop rod for A

Bore: 0.438" / 0.458" conical

Bell Material: Yellow brass

Bell Type: 2-piece , 4.77”

Leadpipe Taper: B

Leadpipe Mat’l: Yellow brass

Leadpipe Type: Standard

Bell Braces: Z

Tuning Brace: Straight wire

Tuning Slide Radius: Dual, squared

Special Characteristics: 2nd slide leans to rear

When Vincenz Schrottenbach arrived in Boston in 1914, principal trumpeter Gustav Heim got him an audition with Karl Muck and the Boston Symphony Orchestra. Since Bach arrived in the U.S. without a proper instrument, Heim provided him with a new 1914 low-pitch Holton trumpet.

What makes that specific note about the 0.438" / 0.458" conical slide so fascinating is how it influenced Bach's later manufacturing:

The Dual-Bore Precedent: Early Holton trumpets (including the "New Holton" and early Revelation models) often utilized dual-bore or expansion slide configurations to improve slotting and intonation across registers. Playing this exact instrument as his primary horn in the BSO gave Bach his first hands-on experience with how an expanding dual-bore step (.438" to .458") affected backpressure and scale.

The "Vindabona" Connection: When Bach launched his own trumpet manufacturing line in the 1920s, he incorporated these exact design concepts into his Vindabona dual-bore designs (which step up from a smaller bore at the leadpipe/slide through to a larger valve block or tuning slide expansion).

Historical Documentation Gap: While brass history documented that Heim obtained a 1914 Holton for Bach to play in the BSO, published serial lists and general Bach biographies rarely document the exact internal slide dimensions of that specific horn. A dual-bore taper on a 1914 Holton of that serial range (24xxx) shows that Bach's later design preferences weren't born in a vacuum—they were heavily shaped by the specific Holton geometry Heim handed him when he stepped off the boat.

The exact serial number of the Holton trumpet Gustav Heim handed to Vincent Bach in 1914 has never been identified in brass literature or Bach archival documents. That gap in the historical record makes this 1914 "New Holton" (#24298) a particularly compelling candidate. A timeline comparison highlights why this instrument fits the parameters:

Production Timing: Holton serial number 24298 sits squarely in the 1914 Chicago factory block. Bach fled Europe following the outbreak of WWI in the summer of 1914, arriving in Boston shortly thereafter before auditioning for Karl Muck and joining the Boston Symphony Orchestra for the 1914–1915 season.

The Heim Connection: Gustav Heim was principal trumpet of the BSO at the time and a prominent tester/endorser for Frank Holton & Co. When Bach arrived without an instrument, Heim supplied him with a brand-new, low-pitch 1914 Holton trumpet.

Tapered Slide Architecture: The custom conical/dual-bore tuning slide geometry on this horn—stepping from 0.438" at the top to 0.458" at the bottom—matches the exact mechanical concept Bach later adapted into his own custom horn designs and eventual Vindabona dual-bore setups.

While proving direct single-player provenance requires an explicit factory order log entry, sales receipt, or serial reference in Bach's surviving personal notebooks, this instrument possesses every physical attribute, production window requirement, and dimensional anomaly of the instrument Heim handed Bach when he arrived in America.

For fans of vintage American brass, F.A. Reynolds represents a high-water mark of mid-century craftsmanship. Founded in 1936 by Foster A. Reynolds after his departure from H.N. White, the Cleveland-era workshop produced some of the most acoustically refined instruments of the era. Reynolds himself remains legendary in the brass world; Foster A. Reynolds joined the H.N. White Company (makers of King instruments) in 1904. He started as a bench craftsman and rose through the ranks over his 30-year tenure, eventually becoming the general factory manager and overseeing the design and production of King's premier brass lines before leaving in 1935 to launch his own company, F.A. Reynolds, in 1936. Having spent nearly three decades running factory operations for King and being the principle designer of the King Master Model cornet, before founding his own company, and later going on to design the iconic Olds Ambassador and mentor other master builders like Zig Kanstul, before dying on the Olds factory floor in the thick of the industry he loved. He is widely regarded as one of the most influential master designers in American history. Best known for their pre-war and post-war flagship models—especially those featuring hand-engraved sterling silver bells with gold wash trim and later innovations like the Contempora line—Reynolds horns are celebrated by players and collectors alike for their rich tonal core, exceptional projection, and timeless artistry.

Here is my collection, ranging from the 8th oldest horn on the Reynolds surviving brass list, a 1936 Reynolds 60B Professional cornet to a 1956 Reynolds Contempora Leonard Smith model cornet.

The photos show three distinct eras of F.A. Reynolds design. Seeing them laid out side-by-side really highlights how the craftsmanship evolved:

• 1936 60B (SN 485): The early-production details are incredible—the long-style nickel-silver trim, the wraparound main tuning slide assembly, a design Reynolds brought over from his King Master cornet design, and the heavy pre-war valve knuckles. It seems Reynolds figured out a couple things to improve his design that King copied later, such as all his cornets have nickel silver leadpipes, King offered sterling leadpipes starting in 1951 on the King Master cornet. Reynolds also put a brace from the tuning slide 3rd valve knuckle, starting in 1940 King put a protective patch at that same area, likely a dual purpose to protect the knuckle and add weight in that area.
• 1942 60B Sterling/Gold (SN 3245): The hand-engraved filigree on the sterling bell with the burnished gold inlay is immaculate. Combined with the nickel-silver leadpipe, casing, and upper bows, it stands as a masterpiece of American wartime/pre-war brass design.
• 1946 60B (SN 8453): A classic post-war Cleveland build. The hand-engraved filigree on the sterling bell with the burnished gold inlay is a work of art. The brass and nickel contrast is razor-sharp, and having the original period case completes the outfit.

The 1954 Reynolds Contempora 40-L (SN 33234) is a standout example. The specific transitional details make it a fascinating horn from both a playing and collecting perspective.

The Bronze Upper Baluster Window

That short production window in the early-to-mid 1950s—where Reynolds used solid bronze for the upper valve casing balusters/knuckles instead of nickel-silver—is well known among Contempora historians and collectors.

1. Acoustic & Playing Impact

• Added Mass at the Valve Core: Bronze is denser than standard yellow brass. Placing solid bronze balusters directly at the valve section centers extra weight right at the heart of the instrument's acoustic node.
• Tonal Stability: Players notice that these bronze-baluster Contemporas hold their slotting extremely well when pushed. The extra mass at the casing absorbs unwanted high-frequency vibrations, giving the horn an exceptionally solid, core-heavy, dark projection that doesn't spread out or get harsh at high volumes.

The 1956 Reynolds Contempora Leonard Smith Model 20-S cornet (sn 43485) is an absolute gem.

The underslung leadpipe to main tuning slide, bronze bell with the nickel-silver tone ring, full nickel-silver slide tubes, and that crisp 1st-valve slide trigger setup make this one of the finest professional American cornets ever built. It rivals top-tier contemporaries like the Olds Mendez or King Master Super 20.

What Makes the '56 Leonard Smith Model Special

• Bronze-o-Lyte Bell & Tone Ring: The bronze alloy bell gives it that signature warm, singing, dark cornet timbre, while the nickel-silver ring around the rim flare stabilizes the vibration so the sound doesn't break up or get blaring when pushed at higher volumes.
• Full Nickel-Silver Slides & Trim: The Leonard Smith endorsement model added full nickel-silver valve slide tubes on top of the standard Contempora build, providing smooth mechanical action and sharp visual contrast against the brass body.
• 1st-Valve Slide Trigger: Designed for micro-adjusting pitch on low D and C# on the fly, giving precise intonation control.

https://preview.redd.it/tt0vf3ioaaph1.png?width=3828&format=png&auto=webp&s=f514d256c08588afaa0c0dc5074852ba240d17c4

Brand	Model	Version	TYPE	LENGTH	Throat (.5 means loose)	Cup OD	Cup OD (INCHES)	Rim Width	Rim Width (inches)	Cup ID	Cup ID (INCHES)	Cup Depth	Cup Depth (INCHES)	Backbore	LENGTH	LENGTH (INCHES)	END DIAMETER	END DIAMETER	TYPE	LENGTH	INSERT OD	INSERT OD (inches)	INSERT DEPTH	INSERT DEPTH (inches)	TAPER	NOTES
OLDS	3	MODERN LARGE SHANK	CORNET	LONG	27	26.80	1.06	5.40	0.21	16.00	0.63	12.30	0.48		68.30	2.69	8.90	0.350	CORNET	LONG	10.10	0.40	24.3	0.96	0.0494	OLDS LA AMBASSADOR USED FOR INSERT
BACH	7	MT VERNON	CORNET	LONG	27.5	26.90	1.06	5.50	0.22	15.90	0.63	12.90	0.51		69.20	2.72	8.60	0.339	CORNET	LONG	9.70	0.38	24.10	0.95	0.0456	OLDS AMBASSADOR USED FOR INSERT
BACH	9C	BACH CORP	CORNET	LONG	27.5	26.50	1.04	5.00	0.20	16.50	0.65	12.20	0.48		69.70	2.74	8.60	0.339	CORNET	LONG	9.70	0.38	24.20	0.95	0.0455	OLDS AMBASSADOR USED FOR INSERT

While the Bach Mt Vernon has lost 90% of its plating, still a nice piece being a more rare size a 7 no letter. The Bach Corp(no period early Elkhart is another rare size, a 9C. The Olds is another lucky find a large shank modern(Olds in script) Olds 3.

https://preview.redd.it/vu2q3vviaaph1.png?width=3828&format=png&auto=webp&s=73727e7a8f8e7b2b29337e868bf8a8ba2a1d83b5

Just curious what people prefer and again what beginning players would prefer before I put these 2 new ones in a vinegar bath

Notice the mouthpieces in the 1st one, 2 Bach New York, 1 a 7 no letter. These ought to clean up nice, will give to local school kids.

Gotta love this beautiful original case, real leather, not faux, for my Reynolds 1946 Professional. Just used some Gorilla Wood glue(love this stuff bc it dries so quick and holds great) to repair it, looking great now. Of course the horn looks great too, so good to have a case that it deserves.