TubaForum.net

Been gigging for about a decade on tuba. Just started getting more orchestral gigs on the calendar, and just got the music for Sunday's concert--and there's a number of calls for a tuba mute.

I'm arranging to borrow one, but I feel like it's happened so rarely that this seems better than wasting money (and space) for something that'll sit for years between uses. I figure on most gigs, I could have a conversation with the conductor, and most would say "don't worry about that." But this is a contracted show, and the contractor is the type that doesn't want to hear such questions, so I'm not even going to bother asking "is this really something I need?"

What are your thoughts on how required a mute is?

ONCE is too many.

Back when I was doing more quintet work, the quintet with which I played (trumpeters) were "into" American Brass Quintet repertoire...so (tuba) I ended up using the mute quite a bit, as it was in those pieces' (bass trombone) parts.

Bass tubas "deal with" mutes better than (most) contrabass tubas.
3/4 - 4/4 contrabass tubas do better with mutes than larger ones.

bloke "Some 3/4 contrabass tubas already - sorta - sound like mutes are inserted into their bells."

tclements wrote: ↑Thu Jan 18, 2024 10:19 am ONCE is too many.

I get it with this show, since it's the Danny Elfman Batman soundtrack, but it feels like it's rare enough that I still shouldn't even consider buying my own.

bloke wrote: ↑Thu Jan 18, 2024 10:23 am Bass tubas "deal with" mutes better than (most) contrabass tubas.

Oh man. And I'll be using the 5/4 Kanstul. I guess we'll find out how it goes. Usually these kinds of "issues" are nowhere near as big a deal when you actually get to the gig, but you never know. Some conductors are very easy going; and I had a conductor cuss me out right in the middle of a show because the music they printed on 50-lb weight paper was sticking together and he didn't warn us that he wasn't even giving us time to turn pages to move to the next piece. Literally cussed me out on stage.

You get all kinds.

Seems like it's at least once every Symphony season, I'm actually using one tomorrow in a symphony piece and in my recital the next week. I have two different sizes, I had to add cork to my large aluminum mute so it would work with My Kaiser B flat tuba I just bought. I don't mind playing with a mute if I have a mute that fits a horn well and doesn't make playing unpleasant. It's just a different tone color, I don't hate it.

Don't get me started on mutes that are made of fiberboard. I hate those, if it's not aluminum, I don't want any part of it

Yeah, I feel like if my job was full-time tuba-ing, then I should have one or two mutes. Or, in other words, if I had a need for a contrabass AND a bass tuba, then I probably have a need for a mute.

As a freelancer, where I'm more likely to be playing in a jazz band than I am an orchestra, I don't know that I should. Now, if I get a second call within a year that has that kind of requirement, then I might consider it.

I agree that I would prefer an aluminum, but then again, $100 vs. $300 makes it a big choice for a freelancer, too.

BopEuph wrote: ↑Thu Jan 18, 2024 10:29 am

tclements wrote: ↑Thu Jan 18, 2024 10:19 am ONCE is too many.

I get it with this show, since it's the Danny Elfman Batman soundtrack, but it feels like it's rare enough that I still shouldn't even consider buying my own.

bloke wrote: ↑Thu Jan 18, 2024 10:23 am Bass tubas "deal with" mutes better than (most) contrabass tubas.

Oh man. And I'll be using the 5/4 Kanstul. I guess we'll find out how it goes. Usually these kinds of "issues" are nowhere near as big a deal when you actually get to the gig, but you never know. Some conductors are very easy going; and I had a conductor cuss me out right in the middle of a show because the music they printed on 50-lb weight paper was sticking together and he didn't warn us that he wasn't even giving us time to turn pages to move to the next piece. Literally cussed me out on stage.

You get all kinds.

When I was in my twenties, most of the touring Broadway/pit brass players were in their 50's or early 60's.
They were in the union (as was everyone, back then) and - if they caught uncalled-for flack from NYC a-hole conductors (conductors who were too low on the NYC totem pole to be hired to actually conduct on Broadway, so already sporting a 'tude) - in front of the entire pit orchestra - those brass players would (quite loudly) tell those NYC touring conductors to f-off. When those a-holes would speak to the contractors and try to get those players fired, the contractors would back up the musicians, tell those a-holes that they were in the wrong, reminded those a-holes that they would likely never be back (as a complaint was already been written to issue regarding the conductor's behavior), and that they (the contractors) needed to maintain good relationships with the fine local musicians.
Additionally, most of the rest of a pit orchestra would then join in - also hollering at any a-hole touring conductor - (backing up the persecuted musicians) ALSO telling those conductors to f-off.
...That having been over four decades ago, those musicians - and that mindset/courage (with quite a few of them having fought in WWII or Korea) - have gone by the wayside. Having made this observation, most of the touring conductors - these day - are really quite nice people. There has probably been a revival since, but - when the CHICAGO - show closed down (I believe we were the end of the last season of the tour), I was hurrying out towards the stage door (after than last show) and that conductor (a NYC bass trombonist) chased me down, and laid a bunch of nice compliments on me.

In half a century of playing, I've used a mute on stage precisely twice. The first was with a community symphony group, playing something by William Schuman as I recall. I don't remember what the other one was. My old Ron Appeson mute is up in the attic storeroom.

RIck "no longer owns the tuba that the mute was fitted for in any case" Denney

Back to the topic:

I have an "amazing" F tuba mute, a "decent" (Wick) large tuba mute, and an "emergency" (quite compact) so-so mute, If I'm dragging a bunch of stuff with me (and the muted passage is insignificant), I'll bring along the "emergency" mute.

I also have a curved (H&B "Stonelined") mute, which I picked up (for laughs) to use with small 1920's-'30's jazz combos (mostly, with the recording bell Besson compensating E-flat).

Make a really good fake, looks like a mute prop......[emoji1787]

Sent from my SM-S367VL using Tapatalk

Well, if I ever come across a dirt-cheap mute (likely a beat-up Stonelined if we're being realistic), I'd probably paint it black and make it look halfway presentable.

I built my tuba gigs up with a very well-used 12J, I could do it with an ugly mute!

Grumpikins wrote: ↑Thu Jan 18, 2024 11:31 am Make a really good fake, looks like a mute prop......[emoji1787]

Sent from my SM-S367VL using Tapatalk

The guy playing tuba for the show on Saturday night is using a mute he constructed from a styrofoam cone. I had an open offer to use that, but he's established with the contractor, but I am not established as a tuba player. So I don't think I could get away with it as easily as he could. But I do want to see what his looks like, because it might be an option.

Nice and light too.

Sent from my SM-S367VL using Tapatalk

I'm just pointing out that if they see what looks like a mute popping in and out of your bell, and you change volume accordingly, can they tell difference.

If I remember correctly, the mute is supposed to change the sound not "mute" it. Or was I taught wrong?

Sent from my SM-S367VL using Tapatalk

A straight mute doesn't do much to change the volume, it changes the Timbre which removes the thickness of the sound. It's an effect like any other.

LeMark wrote: ↑Thu Jan 18, 2024 1:33 pm A straight mute doesn't do much to change the volume, it changes the Timbre which removes the thickness of the sound. It's an effect like any other.

...other than the fact that composers don't get this, and - nearly always - combine "con sordino" and "pp" (which reinforces the misconception).

I need a mute a few times each season.

It's a timbre change. I have had muted parts that were marked forte or fortissimo.

For a long time by orchestra was too cheap to hire a contra bassoon player when needed. They would give the parts to me and ask me to fill in using a muted tuba because they thought the sound was "similar enough"

I have to admit, it really was. When the tuba parts and the contra parts conflicted, I usually chose the tuba part, but it depended on what was most important at the time

That stopped several years ago, and my mute usage went back down to maybe once a season

I also think the confusion is "mute" in this context is from the Latin "mutare," which means to change. The more common use of "mute" is from the Latin "mutus," or someone who doesn't speak.

I'd like to see someone use a giant plunger on tuba.... with a foot operated lever setup.... hmmn.. I'll have to work on this idea...

Sent from my SM-S367VL using Tapatalk