good quality cup mute

ecafdrib · Posted: Mon Dec 13, 2021 11:58 am Post subject:

I ended up going with the Soulo adjustable cup mute. It immediately became my favorite mute, easy to play with. Stays in tune. I like it even more than my Jo-Ral Harmon. But they are also two very different sounds.

Thanks again
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dstpt · Heavyweight Member Joined: 14 Dec 2005 Posts: 1289

Owned them all, except for the Clary wooden mutes. (I have owned the Warburton version, though. Nice subtle color options with these.)

My top pick...

Harmon J2-A
Trumpet Cup Mute, Adjustable
https://www.hickeys.com/music/brass/trumpet/accessories/mutes/cup_mutes/products/sku093279-harmon-j2a-trumpet-cup-mute-adjustable.php

It has removable felt padding as a tonal option and is great for added resistance, plus, it is quieter around "sensitive string players" when warming up for a chamber music setting. Mr. Cichowicz liked using a cup mute for warming up, but at that time, the H&B was the main thing on the market. I used the Denis Wick adjustable cup mute for years for musical theatre shows, until I discovered the Harmon J2-A, which I much prefer for many reasons, the main one being more overtones in the sound...just a better overall timbre to my ears. It seems to come closer to the traditional H&B sound, also. I know this will step on toes, but I have never liked the tonal profile of the H&B...too sterile sounding...but that's what became the main cup mute for years and years, and we should never challenge tradition. Period.

Okay, too much contradiction above. To further clarify or confuse..."choose wisely, my son"...I never have liked the H&B, but I like the Harmon J2-A, and even though the latter is similar (and seems to blend fairly well with the Stonelined cup), the Harmon company cup mute seems to have more "character" officially approved by the two things on the side of my head, which my wife reminds me I should engage carefully every time she opens her mouth. (Like that would ever happen.)

Winghorn · Posted: Wed Dec 15, 2021 12:36 am Post subject:

To me, the Humes & Berg cup mute still sounds the best. The fact that it is less expensive is a plus.

And the corks need to be filed not just for the sound, but for the pitch. As the corks are filed, the mute goes deeper into the bell and the pitch rises. The mute usually starts out a little flat to allow for this adjustment.

trickg · Posted: Wed Dec 15, 2021 7:25 am Post subject:

jazzvuu · Posted: Thu Dec 16, 2021 6:35 pm Post subject:

I second the Clary wood mutes. I have the variety after trying them at ITG a few years back minus the practice model. They speak so easily, are light in weight, and the tuning and blow is great. Gives you the muted timbre desire with out muting your overall volume too much. Also easier to play softer if you are too loud than to play louder if you are too soft with a mute in my opinion.

adagiotrumpet · Heavyweight Member Joined: 31 May 2006 Posts: 912

I own quite a few different brands. On gigs, I used a slightly modified Stone Line. I trimmed the rim of the cup to just above the metal ring and sanded the corks so that it fits into the bell as far it will go without hitting the bell. My trumpet teacher in high school, John Coppola, showed me this back in the seventies and this has been my go to cup mute ever since. All the metal cup mutes I have played seem to have sort of a metallic sound to them although I really like the Stomvi solid copper cup mute with the adjustable cup, but it is really heavy. My hands down favorite is the Clary. It has the best sound and playability of any of the cup mutes I have played. However, it is so beautiful, it never leaves the house. Although off topic, the Clary solotone is hands down the best solotone I have ever played.

JWG · Veteran Member Joined: 27 Jul 2011 Posts: 258

Mutes can become such a tricky issue, because most composers know the sound that they want but do not know exactly what type of mute will give them what they imagine in their mind. Within any mute "type," the palette of sounds can become seemingly endless.

Sometimes, you just need to use the mute or sectional mute combination that works best with the music. (For example, I recall once that our lower trumpet/cornet parts just choked when playing a series of below-the-staff low notes with cup mutes; so, we changed them to straights and they blended wonderfully with the upper parts played on cups).

For cup mutes, I recently became quite jealous of my daughter's new Tom Crown adjustable cup mute which gives her a really nice sound and good intonation.

I have a standard (fixed) aluminum cup mute from Tom Crown, and it does most of the classical jobs well due to having sufficient projection without the need to raise your dynamic level to get heard over the non-muted instruments around you. For any aluminum cup mute, you can take the metallic "edge" from higher overtones off of it considerably by placing a simple handkerchief or rag in the cup to dampen those overtones.

Recently, I heard a rehearsal of my son's high school trumpet section playing cups and they sounded choked and terribly out of tune. I suggested they make a simple adjustment between the rim of the cup and the bell and to remember to lip down the pitch to stay in tune with the rest of the ensemble, and these two small adjustments made a huge difference during their concert.

Someone should write a comprehensive guide on mute types and mute use, because we likely lose innumerable mute insights as each generation passes.
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gregplo · Posted: Wed Dec 22, 2021 6:14 pm Post subject:

I had been using a Wick adjustable cup mute for many years, but was never completely happy with the blend I got with other trumpets in the section who were primarily using the Humes & Berg cup mutes. In addition, the Wick mute inserts quite far into the bell of my recently aquired Taylor Chicago Jazz 46, and is too tight to the bell. I recently got a Soulo adjustable cup mute from ACB, and am much happier with the fit of the mute, the more open blow, and the sound I get with the mute...including the blend with the other trumpets.
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