hornguy

I've been thinking about trying a new straight mute made out of copper or brass. I have a few aluminum ones that work fine. I have an aluminum harmon and a brass harmon, and I really prefer the brass.

What are your opinions on copper or brass straight mutes?

Do they sound better? Are the all copper or all brass mutes better than the combo (aluminum with a copper or brass bottom)?

My thinking is that the heavier metals vibrate at a different frequency, causing a different sound. My concern is that the combo mute might be worse because the aluminum body and the copper/brass bottom would 'fight' (two different vibration frequencies at the same time).

Thoughts?

Vulgano Brother

I find my copper bottom Tom Crown sounds "better" than the aluminium bottom, and workable for Mozart (way cheaper than wood) but most composers had the aluminium sound in mind when they added con sordino the the score. You might want to consider brass or copper in addition to an aluminium straight.

rowuk

The old brass bottomed Tom Crown is also good. I find that the old Count Basie tunes sound great with the red and white Humes and Berg stone lined mutes

Gary Schutza

My section is all using the brass Marcus Bono (sp?) straight mute. It's heavy, but the sound is great (though it is a bit pricey). We also use a copper Jo-Ral bubble mute. Plays very loud-perfect for getting the harmon sound to cut through the entire orchestra. We are also using the Wick adjustable cup mutes. You can get them to play very loud or close them up for that old "Tight Cup" sound.
chip schutza

wiseone2

Now you've done it!
I have found 15 straight mutes............and I haven't found any of my Tom Crowns yet. I know I have a few. I am feeling the urge to go mute shopping.
I don't have any Bona mutes...........STOP ME!
Wilmer

wiseone2

My current nasty "Till" type straight mute is the Brass Spa. It is brown plastic.
Wilmer

Solar Bell

I use an all copper Tom Crown.

I like it.

-cw-

Bill Dishman

I would recommend going with the right mute for the right sound desirable in any given situation.


In general however....putting aside the wide variety of personal preferences.... these work well for me in most situations.

Straight....Tom Crown aluminum body with brass bottom.
Cup ... the Stone lined version is the classic sound and works well in sections

Harmon...the Jor-al all Copper is a great harmon mute. Even plays well in the low register.


Another consideration would be to match whatever the principal player (or the entire section) is using.

Mixing different mutes can work at times but generally for a more cohesive and uniform sound the same mutes work best.


Bill Dishman
Gainesville, Florida

Gary Schutza

You're right.
When I said that we now use the Marcus Bono mute, I meant that we use it for most things. But we all three have a suitcase full of other straight mutes. All of which work better is certain circumstances. We generally agree when playing a particular piece so that we are all using the same mute in the same passage (though not always, I would never TELL my section what they had to use-either mute-wise or horn-wise). They are much too fine a players for me to ever dictate how they should do their jobs. We just don't work that way.
Occasionally, we might have 3 or 4 straight mutes out on the stage each. Using each one for a particular passage. That's the beauty of owning a suitcase full of mutes–generally something will work.

chip schutza