Contempora Double Horn, Chambers Model

James Chambers | "During the past two years I have collaborated with Roth-Reynolds' skilled designers and French horn craftsmen in the development of a new and vastly improved Double French horn. The resulting instrument has exceeded all expectations. It combines maximum playing quality with an ease of response not generally associated with horns capable of producing such a full rich tone. Here, at last, is an instrument fully capable of satisfying the most exacting requirements of the professional while retaining those characteristics which make it the ideal choice for the student. Today I am using the Reynolds Chambers Model Double French Horn exclusively in my symphony, ensemble and solo playing, my recording work and teaching. I enthusiastically recommend this horn for all types of playing."

In the mid-1950s, Roth-Reynolds approached James Chambers (New York Philharmonic, 1946-1969) with a similiar idea for collaboration as to what Max Pottag had provided Foster Reynolds over a decade earlier. As a Conn 8D player, Chambers was familiar with the Kruspe-Horner layout of the Pottag horn, but wanted the bigger bell throat, heavier bell (.018" thick) and the nickel-silver alloy that he was used to from playing his Conn 8D. After two years of design and development, Chambers endorsed the Reynolds Contempora Chambers Model Double French Horn.

James Chambers played the Reynolds horn for three seasons until a contract dispute in 1961 with Reynolds' new owners (Richards Music) regarding royalty payments and their expectations of his promotional activity for Reynolds prompted Chambers to return to his original Conn horn, ending the short-lived collaboration.

After Chambers left, Reynolds removed the "Chambers Model" designation, leaving just the Contempora name, but kept the overall design of the horn intact. Chambers horns, marked and unmarked, were actively produced through 1963 [SNs 52xxx - 79xxx]. Some Contempora Double horns produced in 1964/65 [SNs 200000-] used existing inventory of the Chambers parts, accounting for reports of late model "heavy bell" instruments.

Model History | Specifications

Notes | Quotes

There were evidently two bell brace styles: earlier models had a brace lower on the bell that had to be cut if the owner wished to covert to a screw bell; later models have a brace higher up the flare that can be left intact for a conversion.

Bill Bamberg | "As a horn player, I have several Contempora french horns. The Chambers model, when being built in Cleveland, I consider to be the best big American (Conn 8D clone) ever produced. When they went to Abilene, they discontinued the 'heavy bell', but an Abilene horn, properly set up, plays as well as the best custom horns being produced today. Recently I got a 'new old stock' Cleveland Chambers to rest the Chambers I bought new in 1962. I did all my pro playing on that horn, and performed Mozart 3 with Fiedler and the Pops, in Symphony Hall, Boston, in 1969. My teacher, Ralph Pottle, played with the Boston Symphony. The Symphony players were impressed with the horn, but by 1969, the Cleveland horns were long gone. Jimmie Chambers played his for three seasons with the NY Philharmonic, until he had a falling out with the new Reynolds owners and went back to his 8D."