Getting back in to playing, can I get away with practicing with a silent mute?

[tcandaman]

Hey all, happy new year! I was a professional bass trombonist for about a decade and getting back in to playing after an 8 year hiatus with a few gigs throughout that time. I’m going to get my bach 50B (I think it’s’ from the 70s) overhauled and get back to a good playing state.

I recently moved from NYC to San Diego, and live in an apartment complex. I think it’s been a while since I’ve had to think about practicing etiquette, but bringing out some Wagnerian solos might be a bit too much for the neighbors. I have an old Yamaha silent brass mute, however my bell is so large it doesn’t necessarily fit well. I guess i’m asking if I’m getting back in to shape, and maybe if I invest in a newer silent brass that will fit/sound better, could I get away with that being my primary method of practicing? Or will it just have me learn bad habits and tone? Thank you.

[Kbiggs]

A practice mute helps. Any productive practice time is better than none. Just remember that it feels and sounds different, so don’t try to play too loud for too long.

The old Yamaha Silent Brass system was good, except for the out-of-balance feeling. I’m sure the new system is much better.

One recommendation: The Rejano Practice Mute, made by Steve Trapani, is an excellent mute. Lightweight, in tune, less resistance. https://rejanomutes.com/

There have been several threads devoted to practice mutes. Here’s a way to search for them: https://www.google.com/search?q=site%3A ... afari#ip=1

What I’ve gleaned from some of these discussions is that the Wallace, Bremner, and Okura mutes are all improvements on some of the older practice mutes (1st gen Denis Wick, 1st gen Best Brass, TrumCor, etc.).

There’s a new, small mute that’s pretty cheap that will fit in the bell while it’s in the case. It’s not the Best Brass, but a $25-30 mute you can order from Amazon. I think somebody here on TC recommended it.

[BGuttman]

The newer Silent Brass will not fit a bass trombone. Maybe you could get the French Horn version to work; I never tried. Before I had a Silent Brass I had something called a Peacemaker, which was a "block" mute with a stethoscope. I could make it sound like I was playing unmuted by adjusting a valve on the air line into the stethoscope. Worked pretty well.

Main issue is not overblowing your practice mute. That's where the electronic mutes like the Yamaha Silent Brass have an advantage.

Of course, you should find some time and somewhere you can practice a little unmuted to recalibrate your air and chops. There is no substitute for playing unmuted. Probably during the day when most of your neighbors are out of the building.

[tcandaman]

thank you all. this is super insightful, and inspiring!

[AtomicClock]

One of the big problems no one has mentioned, is that the mute takes most of the fun out of playing. Practicing becomes a chore rather than recreation (if it ever was). And depending on the mute, might really mess with your ergonomics. The silent brass electronics may put some of the fun back into playing, but the weight of the mute messes with the ergonomics such that that I'm constantly resting my arm...which is no fun with all those wires.

Main issue is not overblowing your practice mute.

I've never found this. I find it encourages the opposite; an unsupported, mezzo-blah tone.

[GabrielRice]

If you have to ask...

In short, yes, playing primarily in a practice mute will not serve you well to re-establish good habits. Find a place you can play. You live in a warm climate...outside somewhere will be a lot better than using a practice mute.

I agree that the Rejano mute is the best one I've used, and I can warm up on it in a pinch.

[OneTon]

Those mutes are okay for quick warm ups. No more than 20 minutes. Long warm ups or practice caused me more problems than it’s worth.

[GGJazz]

Hi all.

I also agree that , expecially for getting back into playing , practicing only with a practice mute is not a good idea .

I think that Bruce Guttman is right about the issue of "overblowing the mute" ; being that you hear a really soft thin tone , usually people blow harder too much air , trying to produce a "fuller" sound . This results as playing always F /FF on a open horn , and can lead to fatigue and bad habits .

In my opinion , one can have also a practice session with the practice mute , but will be better to play for not more than 20 / 30 minutes , then take a long rest ( 40/50 minutes) , then practice again ( 20/30 min.) , then rest ( 40/50 min.) , and keep going on this way .

To me , the best practice mute is the Bremner shhhh mute .

Regards to everyone
Giancarlo

[vetsurginc]

My teacher recommended using the silent brass to build your air. I had a situation where almost all of my practice had to be in mute and this worked well (even in hotel rooms).

Ben van Dijk just released a practice mute. Not the least expensive but very quiet and minimal odd pressure, good tone. He does a review on YouTube

I like mine better than the Silent Brass. It is smaller and lighter. It's my favorite for warmups. I use it in a Rath R9, as well as Getzen 1052

ymmv


https://benspracticemute.company.site/

[Doug Elliott]

I would bet that removing the screw bell and using Ben's practice mute would be an ideal combination for both weight and sound.

But in general I'm not in favor of doing much playing with any practice mute.

[robseaman]

There is a new adapter for silent brass that makes it work with a bass trombone.

"PBMAT5X Yamaha Silent Brass - Bass Trombone Adapter - This fits on the PM5X mute"

Didn't see it as a stand alone on AMAZON but was available via EBAY stores. ~24.95

[CaptEquinox]

An (obvious?) thing to remember is that any mute changes the instrument in a profound way. A huge consideration is resistance. All other things being equal and assuming you’re doing most things correctly, practicing with the practice mute in most of the time may well get you better at playing a trombone with a practice mute in it. But take the mute out and you could feel at sea. The question is, for how long? Whenever I’ve done this, I’ve found I readjust fairly quickly. Again, it’s the resistance, but that’s not all of it. Practicing with a cup mute will feel significantly different than Wick’s old style practice mute, but the low notes may respond much better on the Wick! Most of the mutes make you go quite sharp, the DW being a possible exception. Avoid where possible, or use sparingly.

[Cmillar]

If you want to 'mess yourself up', practice exclusively with a practice mute.

Long ago, when moving from place to place, I had to practice in the basement storage room of an apartment building for a couple of months where all the walls were made like paper.

Had to even use a practice mute in the basement.

After a few weeks in the new place, I had some gigs happening. My playing felt terrible. (...thank god it was a big band and I could 'hide' on 2nd or 3rd bone or whatever I was playing.)

That was a real wakeup call! Embouchure felt very weird, and I felt no connection to the sounds coming out of my bell. (I was probably using the wrong mouthpiece for my facial makeup at the time as well, which didn't help at all. So, I was creating a lot of problems for myself by playing exclusively on the practice mute at the time)

So, I agree with those who say please don't rely on a practice mute (of any kind) for your main practice.

Maybe an 'easy 20-30 minutes' max. Or, just use it as a 'warm-up' mute backstage or in the green room for a minute or two in order to get the air and blood moving.

Best to even go outside somewhere for a few minutes and play in a graveyard or somewhere late at night!

[VJOFan]

I had to do a short stint of my main practice with a silent brass. (Also in an apartment building.) I took about 30 seconds at the end of each session to play open at a moderate volume. By the time anyone noticed I would have been done. That helped counteract the mute effect.

Some other ways around the problem are trading practice time/space in a church for occasionally playing at a service, finding out if there is a party room or common space in your building and trying to play there, or since you are in SanDiego, everyday is perfect for practicing outside. Find a corner of a park where you don’t look like you are busking and go for it- just don’t be a pain with blasting too loudly or playing right next to other people.

Good luck!