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Tpt_Guy Heavyweight Member
Joined: 16 Jul 2004 Posts: 1102 Location: Sacramento, Ca
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Posted: Mon Sep 18, 2017 10:21 pm Post subject: |
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I agree with Nonsense Eliminator.
I have what my wife calls an obscene amount of mutes. Over the years, mostly the last two or three, I've collected a wide array of mutes including some Shastock, Robinson, Humes & Berg, Wick, etc. Unless you're looking for a vintage Ullvén or something obscure like a Shastock Swingster, mutes are a very inexpensive way for us to broaden our tonal color palettes.
I used to do a lot of pit work with a local musical theater group here in town, mostly playing the second book. Despite the low pay, we did our best to make great music for the stage. Each tech week, I would get with the first book player and we would work out what mutes we would be using. On occasion, we would use different brands or materials for interesting effects. _________________ -Tom Hall-
"A good teacher protects his pupils from his own influence."
-Bruce Lee |
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trumpetchops Heavyweight Member
Joined: 29 Jun 2003 Posts: 2644
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Posted: Mon Sep 18, 2017 11:06 pm Post subject: |
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Nonsense Eliminator wrote: | trumpetchops wrote: | I also want to say, a lot of the people on here posting advice are playing at a high level. It's important for them to have the perfect sound or, match. If you're like me, playing local gigs with different bands for $100.00 a shot, nobody in the section will care what mute you use. |
Believe me, there are people playing at a high level who are cheap as hell and are still playing mutes they liberated from their high school band room in the 70s. (I'm exaggerating -- but not by much.)
But whether it's professionals or amateurs, I don't get it. People spend thousands of dollars on horns... and then balk at spending fifty or a hundred bucks on a new straight mute, because they already have one. You don't have to match exactly -- although it pretty much never hurts -- but some mutes just don't match. It seems crazy to me not to take advantage of one of the very few opportunities we have as trumpet players to spend a little cash and instantly sound better. I have mutes I like better than others, but if I'm playing second trumpet and the principal is using a mute that doesn't match the one I like, I match his mute. Not to kiss his butt or show off my mute collection, but because it makes my job easier. Who doesn't want to make playing the trumpet easier? |
I can answer this. When I'm playing a show and I see the same band a few nights in a row, I try to match. Mostly it's different people. What mute is the guy playing lead going to have? Should I bring them all to the gig? _________________ Joe Spitzer
Monroe Ct. |
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Nonsense Eliminator Heavyweight Member
Joined: 03 Feb 2003 Posts: 5212 Location: Toronto
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Posted: Tue Sep 19, 2017 9:24 am Post subject: |
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trumpetchops wrote: | When I'm playing a show and I see the same band a few nights in a row, I try to match. Mostly it's different people. What mute is the guy playing lead going to have? Should I bring them all to the gig? |
Every.
Single.
One.
In all seriousness, depending on the gig and who's playing and how well I know them and how much space is in my case, I often take three or four straight mutes with me. _________________ Richard Sandals
NBO |
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cbtj51 Heavyweight Member
Joined: 24 Nov 2015 Posts: 725 Location: SE US
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Posted: Mon Sep 25, 2017 6:26 pm Post subject: |
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Nonsense Eliminator wrote: | ...You don't have to match exactly -- although it pretty much never hurts -- but some mutes just don't match... I have mutes I like better than others, but if I'm playing second trumpet and the principal is using a mute that doesn't match the one I like, I match his mute. Not to kiss his butt or show off my mute collection, but because it makes my job easier. Who doesn't want to make playing the trumpet easier? |
Depends on the chair you are playing and the type of music you are playing. If I'm anything other than lead on a new gig, I bring the whole farm for the first rehearsal for most gigs and fine tune from there. I've got 50 years worth of mutes and they all get different colors, or at least shades to a degree. If I'm lead, style makes the choice. If I'm anything else, I try to match the lead. Like every other aspect of playing, you've got to let your ears help you to make many things happen and it's no different with mutes. If you want to get the call again, you've got to as they say in fly fishing, "match the hatch". _________________ '71 LA Benge 5X Bb
'72 LA Benge D/Eb
'76 Bach CL 229/25A C
‘92 Bach 37 Bb
'98 Getzen 895S Flugelhorn
'00 Bach 184 Cornet
'02 Yamaha 8335RGS
'16 Bach NY 7
'16 XO 1700RS Piccolo
Reeves 41 Rimmed Mouthpieces |
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Trumpcyms1993 Veteran Member
Joined: 03 Feb 2012 Posts: 177
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Posted: Mon Sep 25, 2017 8:24 pm Post subject: |
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A lot of awesome replies and information on this thread.
I have been really impressed with the Trumcor Zinger mute feels great, sounds great, and the intonation is fantastic. I have enjoyed the Denis wick copper bottom straight mute as well. Really nice sound and easy to play.
My mute collection (so far)
Straight mutes-Yamaha aluminum, Denis wick copper bottom. (Not really a fan of the yamaha)
Cup mutes-Ray Robinson, Joral tri tone. (probably going to add the denis wick adjustable to my collection soon)
Harmon mutes- the classic harmon brand mute and the Trumcor Zinger
After buying some new mutes and reading the comments on this thread I have enjoyed playing different mutes and hearing the various tone colors they produce. hopefully I don't fall down the trumpet gear rabbit hole of buying stuff haha _________________ Yamaha ytr-8335RGM Xeno Bb
Yamaha ytr-8445G Xeno C
Carol Brass Flugelhorn 6200 GSS-SLB
Harrelson SWE trim kit
Monette BL2S3 XLT Prana
Monette B6S1 STC 1 Prana
Monette 6 |
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