Solotone mute for Bass Trombone

[Conn 2J CC]

Hello, Tubenetters -

For the second time in four months, my wife and I have been asked to play in the pit orchestra of a stage production of "Thoroughly Modern Millie", this time in Champaign, IL. It's a great musical, and I'll be playing the 2nd Trombone book, which is clearly written for Bass Trombone and Tuba (and a blast to play). One small problem though - three songs call for Solotone mute, which I didn't have for the first production (they wouldn't have cared anyway). Given that the plot of the story is taking place in 1922 and a lot of the music is Ragtime, I assume this is referring to a Humes & Berg Stonelined Cleartone type mute. But, Humes & Berg doesn't make them for Bass Trombones, only Tenor, and I've checked other manufacturers' websites too. Unless someone has another suggestion, or knows where I can get a Solotone Bass Trombone mute, I guess my options are -

1. Ask the conductor if substituting a straight or cup mute would be okay
2. Buy a Cleartone Tenor Trombone mute and haul my Tenor Trombone in too (which could be difficult in the small pit I know we'll be playing in)
3. Buy a Cleartone Tenor Trombone mute, add more cork to it so it fits a Bass Trombone barrel, and be prepared to play everything down about a half step to compensate for pitch problems

If anyone has suggestions of good practice mutes for Trombones, that would be appreciated too. Okay, any ideas? Thanks, guys -

[PMeuph]

For a good practice mute, you should try the Best Brass mutes. A bit pricey, but really handy and effective.

http://www.hornguys.com/tbnbassmutes.php

What kind of tenor do you have? If it's a larger tenor (.547 or .562) with a a trigger why don't you just bring that and play the part? (assuming there are no low b naturals)

FWIW, a Harmon mute with the stem all the way in would probably be close enough....

[tclements]

I have the same issue with 'Mary Poppins.' I'm going to use my harmon....

[Conn 2J CC]

I've got a .525" bore Tenor Trombone with an F valve (Yamaha YSL-684), and there's quite a lot of great deep passages in the part for Trombone. So, obviously covering the whole show with my .525" instead wouldn't work well. Humor intended, there's nothing like trying to substitute a Smith & Wesson for a Howitzer. I suppose I could take the Tenor to cover the Solotone parts, although in two of the songs that call for that mute quickly switching back to open Bass Trombone for significant low parts would be difficult, especially in the small pit we'll be in. I could also make hauling the Tenor in more worthwhile by using it at times when a lighter sound would be nice (I did that in the other production we played for).

I was wondering if a Harmon mute would be a good substitute for a Solotone, so I'll take that advice. Any suggestion for a good brand would be appreciated. And the Best Brass practice mutes look interesting too, although I have thought about spending the extra money for a Yamaha Silent Brass System, so as to be less concerned about overblowing (I tried one years ago, and liked it). The Best Brass E-Mute looks like it could be good alternative to a Silent Brass System though.

Thanks for the reply -

[Conn 2J CC]

Tony - Have fun playing "Mary Poppins". We'd love to play that show someday too. At least I now know of someone else looking at substituting a Harmon for a Solotone.

[bloke]

4. Bring along a third instrument - a small tenor trombone (King 2B/3B Conn 6H, Bach 12/16, good beginner model with an 8" bell and a 1/2" bore, etc...) and lean it on a bassoon/bass clarinet stand next to you with a Cleartone or Solotone mute stuck in the bell.

[Doug Elliott]

I played that show recently, all on a small tenor. In my opinion, when playing in a reduced orchestra, you should consider what parts are important to be heard and what parts aren't that important or can be put in a different octave without losing context. I considered using a big tenor but decided the context called for a small tenor and the low stuff simply is not that important and probably wouldn't be heard anyway... and it was being doubled on the keyboard so those notes were covered. Harmon is not a good substitute simply because... it might sound fine to you, but the audience would never even hear it.

[Bob Kolada]

Play it on bass with whatever mute you have that fits. Close enough.

[Lingon]

Unfortunately there is no substitute for the solotone mute so if you need that sound you have to use such a mute. In the case you need a b trbn Bloke's suggestion is great. However as Doug who have played the show says you have also the option to do some planning and do it the way he suggests. Using another mute is not an alternative if you would like to sound like a solotoned trbn. There is nothing like it.

[glangfur]

You can get very close by adding cork (or even duct tape) to an H&B cleartone. If you put on enough the pitch is actually not completely unworkable.

One of the prominent repair guys in Texas (Eric Swanson maybe? Eric Edwards?) modifies these in a way that I've heard good things about.

I actually own a beautiful handmade bass trombone solotone, handmade by Paul Lawrence in England. It looks and plays great, no pitch problems. No, I won't lend it out

I got it when I was there for a trombone festival, but it might be possible to get one through a British retailer like Phil Parker's.

[Joe Stanko]

At Poppins on Broadway, a Harmon is used for the one note that is marked with Solotone. I haven't played Millie in a while so I don't recall, but I think the Harmon was also used instead of the Solotone for the one or two notes where it's marked.

Gabe is correct that bass trombonist and brass technician Eric Swanson in Dallas does a great job modifying a mute to make it into a Solotone for bass trombone. If anyone would like his contact information or photos of this mute contact me.

Joe Stanko

[Doug Elliott]

For one or two notes I wouldn't worry about it, but Millie is a period piece that has a few solo lines that pretty much need that certain sound that you don't get with anything but a TENOR with solotone. I'm sure you can make a solotone that fits a bass, but what does it sound like? Does it project for solo lines and sound appropriate? I doubt it, just like harmon doesn't sound appropriate.

The OP said he's playing the 2nd/bass/tuba book, but no mention of whether the 1st book is being covered, which is where the solo lines are. I used mostly the 1st book with a few things from the 2nd, and one one tune I think I played a bass clarinet part. The keyboardist was banging out bass lines so there was no real need for the bottom part in most of it.