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Why not let a euphonium player play the cues? We often have cues for B-clar. At least the euph is in the same octave.

Northernlb wrote:Go with the balu.

Yes, I agree. If you're attempting to mimic the sound of a combustible instrument, you might try a combustible mute.

Ferguson
/ Lotta' drama in that OP
// I need to play bass clarinet cues on a 187. What's a good mute?
/// Let it out brother, I hear ya'
/*4 Some of the above is intended to be a factual statement

Yes, Balu is the mute with the least piercing sound. And its moveable corks allow for a lot of adjustment. You will need the largest of the tuba mutes.

Klaus

Took a look at the Balu site, and he now has 3 sizes of the wooden mute, where he only had 2 sizes when I bought mine two. As far as I can see my biggest one now is the standard (medium) one.

My biggest Balu mute blocks the lower end of the bell of my two smallest tubas, Besson Eb from 1870 and Boosey F from 1923. Whereas my small Balu mute might be corked to sit in the bells of my 19" Besson 981 Eb and 17" Besson BBb from 1970, then it is of so small dimensions that it doesn't really mute these medium large tubas.

Your 187 has a slightly wider bell flare than my Besson BBb, but I think these two tubas have comparable bell throats.

Anyway the tester of Balu's prototype for tuba writes on this board, and he also sells these mutes.

Klaus

schlepporello wrote:

Rick F wrote:Why not let a euphonium player play the cues? We often have cues for B-clar. At least the euph is in the same octave.

If only we had a euphonium player.
The only one we've had now has 4 grand kids to help babysit and modifications to help construct and both of his kid's homes. Plus, our usual concert date conflicts with the dates he prefers to go to Branson, MO. We just don't seem to be getting any of the kids from high school these days. And the only other euphonium players I've noticed in this city are about as dedicated as this bass clarinetist is.

I think you should get together with Emily and the two of you find a way to get me down there for the gig and I'll cover the euphonium parts, the bass clarinet parts, and then go clinic Emily's bands for a day or two then return to the not so frozen tundra.

Whatever mute you use, be sure to have an assistant rotate the mute once you have it firmly in the bell to simulate the requisite B.Cl. "squeaks"...

schlepporello wrote:

Rick F wrote:Why not let a euphonium player play the cues? We often have cues for B-clar. At least the euph is in the same octave.

If only we had a euphonium player.
The only one we've had now has 4 grand kids to help babysit and modifications to help construct and both of his kid's homes. Plus, our usual concert date conflicts with the dates he prefers to go to Branson, MO. We just don't seem to be getting any of the kids from high school these days. And the only other euphonium players I've noticed in this city are about as dedicated as this bass clarinetist is.

Okay. Now it understand.

Cueing woodwind parts? What you need is a Sudrophone, that grand instrument of world reknown that is a cross between an ophicleide, a brass band baritone, and a kazoo:
http://www.youtube.com/watch?v=X1Q3Fgr_jvk" target="_blank
http://www.musicmarkup.info/musicinstru ... phone.html" target="_blank

Seriously, and unfortunately, this is a common situation. Does your bass clarinet player actually practice at home so when she does come to rehearsal she is prepared and can play the parts? If so, good, and maybe you can bend your rehearsal requirements. If not, I empathize. There is no good answer. It's not a job, so attendance enforcement is problematic. And again, unlike a job, there are not a multitude of applicants-in-waiting to fill the parts. Is there any diplomatic approach to engendering awareness or consideration of how her attitude and behavior affects the rest of the people in band, or is it a situation of either don't care or clueless?

This year I discontinued playing in an ensemble where nobody else would practice between rehearsals, so no progress was ever made in learning new music. The frustration of lack of preparation, missing parts and pieces, and the occurrence of some curious damage to instruments finally outweighed the joy of playing. By contrast, there is another ensemble that asks me to play with them, but rehearsals are not logistically feasible due to the distance to the rehearsal hall from where I live, and my other responsibilities and commitments. They understand and forward me the music. I work on it at home, attend one or two rehearsals before the concert to make sure I understand the director's cues and the director can get a good balance, then I play the concert, and a good time is had by all.

It's community band. It's supposed to be fun. I hope you don't get to the point you have to decide whether the joys of playing are outweighed by all of the other, er, um, "circumstances."

Balu - yes, a great mute. But it is so expensive for so little use. I just throw a hand towel over the bell rim and let it hang down into the throat far enough to get the muting I want. Then one quick pull, and I'm done and on to the next section in the music.

Asked Ion Balu which sizes my two tuba mutes, bought in 2009, would be in his current scheme of sizes. They would be the XL and the Regular. The XS model was issued less than a year ago.

So my original suggestion of the largest Balu mute for a Miraphone 187 BBb stands.

Klaus

Schlep - did you see this? Used Balu mute for sale:
viewtopic.php?f=4&t=63340" target="_blank

That ad refers to a Standard sized Balu mute, which is way too small fir Wayne’s Miraphone 187.

imperialbari wrote:That ad refers to a Standard sized Balu mute, which is way too small fir Wayne’s Miraphone 187.

Oops! Never mind....