In the business agreement, Farkas agreed to advise, test, and assist in the creation of the horns, and once created, to endorse and market them.
In exchange, Holton agreed to furnish these horns for Farkas' personal use and pay him a percentage of the net selling price.
In early 1956, Farkas and two executives from Holton, Elliot Kehl and Theodore Kexel, were invited to dinner with Traugott Rohner, who published the magazine The Instrumentalist.
Farkas, Arvid Walters (Holton's lead designer), and Elliot Kehl met several times a week to collaborate.
Of the work environment in this early stage, Nancy Fako, the author of a biography on Farkas and one of his former students, said, Phil impressed everyone with his constant attention to the smallest details and his unflagging search for perfection.
[3]Renold Schilke, another prominent musician and entrepreneur, also aided in the work on the new Holton-Farkas horns in August 1956.
[1][5][8] Features common to the Holton-Farkas horn include a waterkey, .468" bore, .310 venturi mouthpipe, and 12 1/4" tapered bell.