Olds Catalogs from the 1930s and 1940s

Click one of the linked images below to download the pdf file.

These are catalogs published by F.E. Olds & Son during the 1930s and 1940s, although there are likely others out there published in these years that I haven’t seen yet. Olds trumpets were available for the first time in 1930 and the earliest promotional material found so far is a four page brochure published in 1932 which can be seen on the Olds Central website. This brochure includes a photograph of an Olds trumpet taken by the well known photographer, Will Connell. More photos taken at this time can be seen on the website of the UCLA Library Digital Collection, including other trumpets, cornets and some views of the Olds factory. Production of all brass instruments went from about 200 that year to over 20,000 annually by 1950. Keeping track of model changes in the early years is complicated by the fact that many were special orders, but by the end of this period, special orders were a tiny fraction of production.

The images of the first two catalogs presented here were given to me by the owners of those catalogs. Unfortunately, I didn’t record who gave these to me. If those individuals are viewing this, please let me know so that I can give credit.

The first of these is part of a larger catalog published by Chicago Musical Instrument Company, which owned the distribution rights for Olds instruments east of the Mississippi. While it is not dated, it seems likely that it was published after New York’s Radio City Music Hall opened in 1933 that appears on the first page of this catalog’s section for Olds trombones, cornets and trumpets. By this time, they had introduced the Military model trumpets, cornets and trombones, Symphony trumpets and Radio trombones. It seems likely that Chicago Musical Instrument Company would have continued publishing similar catalogs over the years. This issue included Martin Handcraft Instruments, Bach mouthpieces and other makers. This was a very ambitious and wide reaching company whose most important goods seems to have been accordions and they pursued markets and patents around the world.

The second catalog shown below includes description and illustration of the fluted inside slide tubes for trombones. The patent for this invention was applied for in April and granted in November of 1935, showing the same grooved flutes shown in this catalog. However, when this idea went into production, rather than cutting grooves as illustrated, the 16 flutes were formed by drawing the tube through a die. 1935 also seems to have been the year that the original Super Trombone was introduced and the catalog also included the French Model Trumpet. The Symphony trumpets and Radio trombones were not shown, but presumably could be special ordered.

The next catalog was likely published in 1937, the year that the Super trumpet was introduced and the re-designed Super trombone was shown for the first time. Importantly, Olds was then making full size bass trombones with a rotary valve extending the range following C.G. Conn’s lead in the previous decade. Doing one better, Olds offered a second valve controlled by a second lever. The second valve in Conn’s and other maker’s trombones were controlled by a wheel on the valve and couldn’t be changed while playing. Almost all professional level bass trombones made in the last 50 years have two rotary valves controlled by two levers.

The next two catalogs were conveniently printed with the years of publication. For 1939, newly introduced models included a full double French horn of a design very similar to what Carl Geyer was making in Chicago and the Featherweight trombone, which appears to be a lighter version of the already lightweight Super trombones. The new Radio cornet was a slight re-design of the Military cornet. This catalog also included better descriptions of optional features than in other catalogs, including bore and bell sizes and some nice images of employees at work in the factory. Unfortunately, the two known copies of this catalog are missing pages 8a and 9a which probably contained additional descriptions of bore and bell sizes available. While a lot of this language is typically hyperbolic advertising copy, it still gives us a more clear idea of the options offered. Hopefully, a complete copy will come to light. The line drawings of musicians playing in various bands and orchestras throughout this catalog are a bit of fun, but belie the fact that Olds instruments were very popular in our large culture, not just “white”.

New in 1941 was the “Special” models of trumpet, cornet, trombone and French horn at lower prices than previous models. This was Olds’ first entry into the growing market specifically aimed at student musicians. Of more interest to Olds trumpet enthusiasts today is the inclusion of the Recording Model Super trumpets and cornets. The first of these trumpets were made for use in the Hollywood recording studios by Harold “Pappy” Mitchell and others, probably in 1939, and by 1941 were offered to the general public. The Standard trombone with tuning in the slide, the instrument that the company’s reputation and success was built on, was no longer included. The bass trombones were not mentioned, but most certainly were still available.

Like most US manufacturers, including those for musical instruments during the war years 1942 to 1945, switched to production of components needed for mobilization of the US military. The governmental mandate restricted the use of strategic materials such as brass. Former employees reported the manufacturing of gun sights and this is corroborated by Olds being listed as a supplier in the publication American Aeronaut in 1944. In 1946, Reginald Olds testified before the US Senate’s Special Committee to Study and Survey Problems of Small Business Enterprises. In that he stated that Olds was contracted by the Philadelphia Quartermaster to supply as many musical instruments for the military as they could produce along with the war production. There exist a good number of trumpets and cornets, mostly Super but also some Standard and Special models, with the satin silver finish that was most commonly ordered by the military in these years, with serial numbers roughly 13,000 to 15,000, indicating likely production during the 1940s. A fascinating feature of many of these was the use of aluminum for valve caps, stems, buttons and guides. Because of electrolytic destruction, due to the presence of saliva, few of these have the aluminum parts in good condition or at all. Olds also provided some custom ordered mouthpieces in aluminum, made by Roe Plimpton.

The last catalog linked above was published in 1948 or shortly before. Announced on the cover was the introduction of the new Ambassador models. The earliest advertisements that announced these were published in January of 1948 in publications such as The Instrumentalist. The Ambassador models were listed at the price of the pre-war Special instruments and the latter at $34.50 more. This isn’t surprising, knowing that many goods had inflated prices compared to the earlier time. The price for the Recording models had also gone up by $100 and the Super trumpets, cornets and trombones by $90. Other new offerings were the Studio trumpet, cornet and trombone, priced in between the Special and Super models and also Recording tenor and bass trombones. The earlier bass trombones made a re-appearance, but now called “Super” models. These never had the “Tone Ring” on the bell, nor engraved with that model name.

The availability of Mendez model trumpet and cornet mouthpieces and Ambassador model middle brasses at this early date may be surprising, but the Recording trumpet and cornet illustrated were still the earlier “Super Recording” designs. These were redesigned and updated including “Rey-O-Loy” bells and third slide trigger later that year. On his excellent website John Lowe includes the pdf of a very similar catalog illustrating the newly designed Recording models that was likely published very soon after. These catalogs also included a wide array of woodwind instruments and accessories made by contract by other makers. Also, advertising published in 1948 by Olds in The Music Journal and The Instrumentalist state that Rafael Mendez was playing Olds instruments, indicating that he was already working with the company.

This page will be updated as more catalogs or data shed some light on Olds’ production in these decades.