Thanks for the video! These mutes sound like they have a lot of music potential. And you discovered to me a whole new dimension of using KR Indigo as a hat to the Solotone type of mutes, this is awesome!
Hi Josh. Cool sounds and terrific intonation. I always enjoy listening to to see if a mute gives you trouble with that. Up high, there's less room for error, so it's a killer. These seemed really solid. I'm wondering if there's another mute in my future.
That would be great ... but I think we'd need something digital to accomplish that. I've been using it on gigs recently and it's been fantastic for traditional jazz songs.
Happy New Year! I just finished listening to your interview with Ryan Beach. I was flipping back and forth between the Mike Sachs interview (with Mark Dulin) and yours. I got some great insight into Stamp listening to both of you describe it. Buzzing is still not an integral part of my practice. But I think I understand the why and purpose of it better now. But really I just wanted to say that I appreciate the things you said about approaching our playing in a "music forward" frame of mind. I wonder if you have any strategies for practice that help you cultivate this approach? Thanks again!
Thanks, Frank! Happy new year to you as well! That's a good question, for me it's really just trying to avoid analysis while I'm performing, and focusing more on the musical result. With that in mind, in my practice I try and be methodical and focused on efficiency and playing with minimal effort (for the desired output) with the end goal being that my technique is in a place where I can focus on the music without getting distracted by anything chop/technique/reading related. It's not always intuitive with how many of us have been taught and brought up in school/private lessons, but I do try and first find musical solutions to my technical problems, vs technical solutions to my technical problems (hopefully that makes sense). With all of that in mind, I'm also always working on my technical studies to the point where they exceed anything that I anticipate seeing on the bandstand. Again the goal here is to never be in the position where you look at a phrase or note and think about execution, e.g. "how do I need to use my chops/tongue/air/etc", that allows you to look at it strictly from a musical standpoint and keep the internal musical dialogue strong. A great takeaway I had from Sachs was preparing for as many potential outcomes as possible so as not to be surprised when something is faster/slower or even with a different technical approach/musical style (which can occur often when you're on the road playing in different rooms and venues with drastically different acoustics). That way, if I've done my homework, then I can focus on playing "music forward", and really concentrate on listening to my colleagues on stage and trying to communicate as best as I can with them and the audience. Hopefully this all makes sense and helps!
Love the sound of the eclipse. I've been considering buying a solotone mute, and this could go onto that list. Also I missed the trumcor vintage tone. Between these two, the H&B solotone, MuteMeister show tone, and the Huber solo mute, what would be your pick? Did I miss any?
That's a great question - a LOT of great options out there. The Huber one is terrific and the only one that can be dialed in as there are some adjustable pieces. The TrumCor Vintage Tone is terrific as well - in tune and even. The vintage ones all have some trouble with evenness and intonation, but the sound is more unique as they used different materials (and it's the classic sound we are familiar with from all the classic recordings). It depends what you'll be using it for - but all the modern ones are great. It's been a while since I played the MuteMeister one, but Roger designed a terrific mute which plays very well so another great option. H&B is stuffy and out of tune, the old (old) ones are better, but still problematic. I think the 3D printed ones tend to be slightly brighter compared to the fibre/wood ones, and all the new ones are an easier blow compared to the vintage ones. The Eclipse is a bit different ... but it could be substituted for a solotone if you're not needing to blend in a section. It's not as nasal or direct (which could be good or bad) and since it's shorter it's way easier to create the wah effect as you don't have to reach as far. Personally I'd get the Eclipse as it's so unique and plays so well, but only if you're in situations that can accept some flexibility in the sound of a solotone when called for. If you're getting both I really like the adjustability of the Huber one, so just due to that option I'd lean towards getting that one.
@@JoshRzepkaMusic great reply, thank you! It would be just me muted in a 20's dance band, so the eclipse is probably a good fit. I'll try to get both this and the Huber to try out 👍
Yeah, such a great sound. Yeah, a bit pricey compared to many other mutes out there, but extremely well made and the playability is fantastic. I’ll be using mine on a lot of gigs. Take good care of it and it’ll last you decades.
Yeah, they are on the pricey side, but they are very well made (by hand, and in the USA) and they play great. If you’re considering, I’d start with the Eclipse, it’s super fun and versatile. Take care of em and they’ll last for decades.
Thanks for the video! These mutes sound like they have a lot of music potential. And you discovered to me a whole new dimension of using KR Indigo as a hat to the Solotone type of mutes, this is awesome!
Thanks so much, glad you found them as interesting as I did! Yeah, I think they have a LOT of potential - excited to hear what people do with them.
Those are such cool sounds - I love how old timey the Eclipse sounds!
Hi Josh. Cool sounds and terrific intonation. I always enjoy listening to to see if a mute gives you trouble with that. Up high, there's less room for error, so it's a killer. These seemed really solid. I'm wondering if there's another mute in my future.
Yeah, they are very solid.
Not sure why I was expecting the sonic vortex to turn a trumpet into a square synth sound but this sounds amazing too
That would be great ... but I think we'd need something digital to accomplish that. I've been using it on gigs recently and it's been fantastic for traditional jazz songs.
Happy New Year! I just finished listening to your interview with Ryan Beach. I was flipping back and forth between the Mike Sachs interview (with Mark Dulin) and yours. I got some great insight into Stamp listening to both of you describe it. Buzzing is still not an integral part of my practice. But I think I understand the why and purpose of it better now. But really I just wanted to say that I appreciate the things you said about approaching our playing in a "music forward" frame of mind. I wonder if you have any strategies for practice that help you cultivate this approach? Thanks again!
Thanks, Frank! Happy new year to you as well! That's a good question, for me it's really just trying to avoid analysis while I'm performing, and focusing more on the musical result. With that in mind, in my practice I try and be methodical and focused on efficiency and playing with minimal effort (for the desired output) with the end goal being that my technique is in a place where I can focus on the music without getting distracted by anything chop/technique/reading related. It's not always intuitive with how many of us have been taught and brought up in school/private lessons, but I do try and first find musical solutions to my technical problems, vs technical solutions to my technical problems (hopefully that makes sense).
With all of that in mind, I'm also always working on my technical studies to the point where they exceed anything that I anticipate seeing on the bandstand. Again the goal here is to never be in the position where you look at a phrase or note and think about execution, e.g. "how do I need to use my chops/tongue/air/etc", that allows you to look at it strictly from a musical standpoint and keep the internal musical dialogue strong.
A great takeaway I had from Sachs was preparing for as many potential outcomes as possible so as not to be surprised when something is faster/slower or even with a different technical approach/musical style (which can occur often when you're on the road playing in different rooms and venues with drastically different acoustics).
That way, if I've done my homework, then I can focus on playing "music forward", and really concentrate on listening to my colleagues on stage and trying to communicate as best as I can with them and the audience.
Hopefully this all makes sense and helps!
Love the sound of the eclipse. I've been considering buying a solotone mute, and this could go onto that list. Also I missed the trumcor vintage tone. Between these two, the H&B solotone, MuteMeister show tone, and the Huber solo mute, what would be your pick? Did I miss any?
That's a great question - a LOT of great options out there. The Huber one is terrific and the only one that can be dialed in as there are some adjustable pieces. The TrumCor Vintage Tone is terrific as well - in tune and even. The vintage ones all have some trouble with evenness and intonation, but the sound is more unique as they used different materials (and it's the classic sound we are familiar with from all the classic recordings). It depends what you'll be using it for - but all the modern ones are great. It's been a while since I played the MuteMeister one, but Roger designed a terrific mute which plays very well so another great option. H&B is stuffy and out of tune, the old (old) ones are better, but still problematic. I think the 3D printed ones tend to be slightly brighter compared to the fibre/wood ones, and all the new ones are an easier blow compared to the vintage ones.
The Eclipse is a bit different ... but it could be substituted for a solotone if you're not needing to blend in a section. It's not as nasal or direct (which could be good or bad) and since it's shorter it's way easier to create the wah effect as you don't have to reach as far.
Personally I'd get the Eclipse as it's so unique and plays so well, but only if you're in situations that can accept some flexibility in the sound of a solotone when called for. If you're getting both I really like the adjustability of the Huber one, so just due to that option I'd lean towards getting that one.
@@JoshRzepkaMusic great reply, thank you! It would be just me muted in a 20's dance band, so the eclipse is probably a good fit. I'll try to get both this and the Huber to try out 👍
The Eclipse gives off an Al Jolson vibe. 1920s.
Yes, it’s got that old time vibe. Sounds like the 20s.
Love the Eclipse! Sounds like a cup mute, except the sound is not redirected towards the player. Pricey tho
Yeah, such a great sound. Yeah, a bit pricey compared to many other mutes out there, but extremely well made and the playability is fantastic. I’ll be using mine on a lot of gigs. Take good care of it and it’ll last you decades.
Love the sound, but that price...$150 for the Vortex and $90 for the Eclipse.
Yeah, they are on the pricey side, but they are very well made (by hand, and in the USA) and they play great. If you’re considering, I’d start with the Eclipse, it’s super fun and versatile. Take care of em and they’ll last for decades.