Principaltrumpet

I bought a sotto voce about a month ago and I have a few questions about it. First of all it seems very frail, has anybody had an experience with it being crushed or bent in a case?

Also, when I put it in my horn I seem to have to put it in fairly deep in order to get it to stay in. When doing so it effects the pitch. What can I do to get it to stay in with out shoving it all of the way down the bell?
Thanks,
JR

Sotto Voce

As an expert on the subject, I can tell you that the mute is very sturdy despite its light-weight nature. One of the DMA students at Arizona State Univ. stepped on his during a lesson and it quickly popped back into shape! I keep mine in my Marcus Bonna quad case and it is in great condition.

As for the fit, I have found that for pitch and tone color to be optimum, a breath of warm air in the bell and just enough pressure to keep the mute in is best. It isn't meant to be a practice mute (though several have stated they like it for that purpose) it is specifically meant for soft passages, so playing too loud may be pushing the mute out of your bell. What horn and bell size/shape do you typically use? I know some players who use Monette have had different results due to the bell shape.

I would love any feedback (positive or negative) as I want to put forth the best possible product.

-Eric Baker
-Co-Designer and Manufacturer of the "Sotto Voce" straight mute

Principaltrumpet

I use a Yamaha 6345 and a Bach 25H C trumpet with a 229 bell.

As far as input on the mute...I love it. I am currently using it for the second mvt of the Planel Concerto. I have also used it for the muted passage in the Arutunian. I dont have a problem keeping the mute in my bell on the Bach only on my Bb.

It is interesting what you said about it could fall out because I am playing too loudly with it in. As I look abck and think about when I was having trouble with it staying in, it was times I was using it as a practice mute. I like it for that reason because it doesnt create the back pressure that the other practice mutes I have tried create. On top of that you still have a clear concept of your sound instead of something that is muffled and sometimes distorted with other mutes.
I really love the mute and any input you have on when to use it (excerpts, solos, etc...) or more tips about using it are greatly appreciated.
JR

Sotto Voce

JR,

I'm glad you're enjoying it. As far as recommendations on excerpts and solo literature that you can use it on, try Dave Hickman's website.

Hickman Music Editions

There are several quotes and ideas on when to use the mute. Click on the Other Items tab and go from there.

Good Luck and thanks for your kind words.

-Eric Baker

patdublc

I bought one a while back & think it has a very nice sound. I'm using it for the short muted part at the end of the first movement of Philip Sparke's Manhattan. It was the only mute that I could find that gave the right texture for that transition to the second movement.

siarr

I really like the S.V. mute, both in soft passages and as a practice/soft warm-up mute. I tend to shove it in a bit deeper for practice, but, aside from slightly flattening a few notes, it has a nice evenness over all the registers and a really smooth sound. Also it feels nice and the color is...unusual. :^)

TisEkard

If you put more cork on top of the existing cork, you will not have to push it in as far, or just take off the cork and put as much as you need.