Amado Getzen prototype Built for Doc Severinsen Maximize

Amado Getzen prototype Built for Doc Severinsen

Amado Getzen prototype Built for Doc Severinsen...

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$9,000.00

From the private collection of Tony Scodwell Highly engraved ( With Docs name ) and in Gold Plate I have some very good pictures of this horn along with a very nice book with complete 8x10 color photos as well if that would be of interest. Possible YouTube Video soon The Amado Getzen prototype was built by Ray Amado, at the time in partnership with Bill Ratzenberger making the original Jet-Tone mouthpieces. Ray was the man who developed the concept and had made a clever template system of 10 to 1 reduction for duplicating the pieces. He used aluminum sheet 1/4 inch thick with the cup and rim shapes and when making a new piece, the error factor was reduced ten times. Of course this was before CNC was developed. Anyway, Ray had gotten the top players in NYC playing his mouthpieces and Doc was one of them. With the Eterna Severinsen model a big seller and Doc playing them, Ray felt that even though the horns played very well they looked like Russian farm equipment and this trumpet was the result of him making a horn that utilized the standard Getzen pieces much modified [the lone exception was the T/S crook from a Bach] where he felt Getzen should make this horn to look as good as it played. The original waterkey design is on this horn which was modified for production as the prototype keys were too expensive for production. Ray studied engraving with an old German man in NYC and engraved the horn himself before sending it to Anderson for gold plating and clear lacquer over the gold for added protection. Our mutual friend Sandy Sandberg at Getzen supplied the pieces and had the special brown leather case made for it. Ray took the finished horn into NBC to present to Doc and after playing very few notes on it, Doc gave it back to Ray saying how well it played. Needless to say Ray was disappointed and took the horn home. Ray and I were good friends and the Jet-Tones he made for me were my mouthpieces for 20 years, and he and I worked together on several projects for both Getzen and DEG in the late eighties. One of the Getzen models that actually got into production was call the Renaissance and my involvement with DEG produced some good horns. Ray had a bad ticker and when we were together he would bring the horn for me to play at my various gigs. His heart condition got worse and he ended up in the hospital awaiting a transplant. I was playing a concert in Wisconsin and Ray made arrangements to have the horn presented to me at intermission and to say I lost it would be an understatement. He lived another four years and years later Doc was over to my shop picking out a horn when I brought the Amado out. I shouldnt have ever given this back he said and my response was, :*%#@ you, its mine now. I always said I would never sell this horn and after much though [and getting older] Ive decided it should go to someone who appreciates it and not end up in a closet somewhere.

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