TromboneChat

Hey everyone, I just got my pair of Rejano mutes in and I thought I'd tell you what I think.

I'll start by saying I am going to request a refund tomorrow.

Admittedly, they do have a purpose and would probably fill that purpose well. If you use one of those small metal ones that fit in the bell, this one also fits in the bell but is alot better. The blow is better, the intonation is better, and they are super lightweight. If you wanna use it to blow some quiet notes before the hit, this is a good choice and Id go for it.

If you're gonna spend any amount of time using a practice mute like me these days, the shhmute is better in every single way by a significant amount except it's a little heavier.

On this Rejano the trigger range is awful, the top partials go super flat, there is a ton more resistance than the shhmute, and they look very cheaply made- especially considering the price.

I don't mean to hate on this guy's buisness; it's just my opinions. If you need an in bell mute to warm up on stage then this will probably fit the bill better than a best brass, Faxx etc.

For reference which horns were you trying the mute out in?

I just ordered a pair and I am interested in seeing how these mutes work on different horns... It seems like these mutes are designed for a specific bell throat size and I'm curious to see how much the insertion depth affects the blow and fit of these mutes.

So I also impulse-purchased one the other day based on the discussion. I got one for my two Getzen small bores.

I would state right off that the build quality is quite nice and these are as WAY lighter than my Gen 1 Yamaha Silent Brass mute. I have direct access/oversight of a $100k 3D printer in my department at work and this is not any less than what I'd expect from ours.

After I sent PayPal, they responded to my order and asked the make and model of what I using. When it arrived it did not fit, unfortunately. Now I'd assumed that the actual contours/size/shape of the mute were somehow being matched based on my answers to what horn I was using. And I suppose it could still be, but when I let them know it did not fit (and sent the requested video of it falling out) they offered me two options. Neither was that they were going to be printing a new and different mute for me. Either they would take the return and replace the colored "cork" with a thicker band and return or they could send me the thicker cork for me to replace myself. I took door number 2, and that's the step I'm in the middle of.

So to the point above, I THINK it seem they're changing the diameter of the cork to maintain a specific insertion depth, based on the horn. But I am admittedly making some assumptions.

My experience with the team has been good so far though, even despite the hicccup

Cheers

I have had a fantastic experience with both of my bass and tenor Rejano practice mutes.

Sound, intonation and the (double) trigger range on my bass are the best I have experienced compared to the Ssshh mutes.

Sounds like they may be dependent on a proper fit.

He asked me what horn(s) I'd be using the mute on and I told him a Bach 36. It does fit very well, just doesn't play that well. I'll try it in different horns and see if anything is different.

I just looked at a pic online to understand what this is.

Ain't gonna work.

baileyman wrote: ↑Sat Oct 17, 2020 5:41 am I just looked at a pic online to understand what this is.

Ain't gonna work.

What do you mean?

Baileyman, the pictures on the Web site don't really describe the interior of the mute, where all the "action" is.

How did you figure out that it won't work?

Mind you, I don't particularly care for any "practice" mute, and I've owned quite a few.

Mv2541 wrote: ↑Fri Oct 16, 2020 7:19 am He asked me what horn(s) I'd be using the mute on and I told him a Bach 36. It does fit very well, just doesn't play that well. I'll try it in different horns and see if anything is different.

hmmmm I have not received any emails asking me what horns I play... it'll the luck of the draw for me I guess!

I've had a Rejano practice mute for about two weeks now (I have a red one!) and I'm really thrilled with it. I've been using it everyday (super helpful when I have to play while both my wife works from home and daughter is in class remotely). Pitch has been spot on for me (on my 88H and my Shires) and I've used it for extended periods of time without fatigue.

David did ask for some help recently to resolve the fit on larger throat tenor bells, so I gladly offered a few instruments as a model with wider tapers. On the tenor side, wide taper should be applicable for Shires TII bells, German style tenors, Conn K bells, etc. so do make sure you let them know when you order what kind of bell you have. Similar to bass trombones, if you have a wide throat bell, like a Conn 62H, Holton or similar you might need a slightly larger cork to get the proper seal.

Okay. This is really simple. Visual observation shows that the bell shape of the mute extending beyond the horn will change the effective length of the horn. You can guess the consequence.

Second, the cap end of the mute will cut off the outer nodes of lower notes, once again changing the effective length of the horn. Intonation will suck. Outer nodes extend several inches.

Now, one can compensate by using a strong internal memory of intonation and "massaging" the notes toward tune, but the relaxed notes will be out. Such compensation can be convincing, as in, I'm phyched, this is so great. Yet intonation can still suck.

An easier/cheaper solution? Put a sock in it.

baileyman wrote: ↑Sat Oct 17, 2020 7:49 pm Okay. This is really simple. Visual observation shows that the bell shape of the mute extending beyond the horn will change the effective length of the horn. You can guess the consequence.

Second, the cap end of the mute will cut off the outer nodes of lower notes, once again changing the effective length of the horn. Intonation will suck. Outer nodes extend several inches.

Now, one can compensate by using a strong internal memory of intonation and "massaging" the notes toward tune, but the relaxed notes will be out. Such compensation can be convincing, as in, I'm phyched, this is so great. Yet intonation can still suck.

An easier/cheaper solution? Put a sock in it.

I take it you haven't tried many practice mutes.

Burgerbob wrote: ↑Sat Oct 17, 2020 8:34 pm ...

I take it you haven't tried many practice mutes.

Next time I'm in LA I invite you over to try mine. Just bring a 7 1/2" belled horn. You'll know.

I'm looking for a practice mute for an Olds Recording. The ProTec fits too tight metal to metal, so the mute pops out with the slightest sound through the trombone. Any recommendations?

Seems to work pretty good.

Pedals? Highs? Flexies?

baileyman wrote: ↑Mon Oct 19, 2020 6:10 am Pedals? Highs? Flexies?

On mine the pedals are awful, it starts to go flat around the 8th partial, but is not less flexible than anything else really.

Burgerbob wrote: ↑Sat Oct 17, 2020 8:34 pm

baileyman wrote: ↑Sat Oct 17, 2020 7:49 pm Okay. This is really simple. Visual observation shows that the bell shape of the mute extending beyond the horn will change the effective length of the horn. You can guess the consequence.

Second, the cap end of the mute will cut off the outer nodes of lower notes, once again changing the effective length of the horn. Intonation will suck. Outer nodes extend several inches.

Now, one can compensate by using a strong internal memory of intonation and "massaging" the notes toward tune, but the relaxed notes will be out. Such compensation can be convincing, as in, I'm phyched, this is so great. Yet intonation can still suck.

An easier/cheaper solution? Put a sock in it.

I take it you haven't tried many practice mutes.

Yyyyep

Mv2541 wrote: ↑Mon Oct 19, 2020 6:17 pm

baileyman wrote: ↑Mon Oct 19, 2020 6:10 am Pedals? Highs? Flexies?

On mine the pedals are awful, it starts to go flat around the 8th partial, but is not less flexible than anything else really.

The flat part is where the typical mute begins to resemble a Solotone. The awful pedals is the effect of the cut off exterior nodes.

While it's very inconvenient to use, you may find the Yamaha Silent Brass to have much better behavior. Designed by engineers who knew something about waves.

Interesting. I've only heard good things until now.

slipmo wrote: ↑Sat Oct 17, 2020 3:59 pm David did ask for some help recently to resolve the fit on larger throat tenor bells, so I gladly offered a few instruments as a model with wider tapers. On the tenor side, wide taper should be applicable for Shires TII bells, German style tenors, Conn K bells, etc. so do make sure you let them know when you order what kind of bell you have. Similar to bass trombones, if you have a wide throat bell, like a Conn 62H, Holton or similar you might need a slightly larger cork to get the proper seal.

(Noah, I know you're aware of this, but for those who aren't) The Bach 36 and 42 bells are made on the same mandrel, just cut to different diameters.

Now the actual question: If insertion depth is that critical, it would mean that the 36 and the 42 should use the same seal, right? I know from personal experience that the insertion depth of a mute can make all the difference.

Years ago I decided to get a Jo-Ral cup mute to replace the Stone-Lined H&B I'd been using since high school. I went to the local music shop to order it, and they asked if I wanted the large bell or small bell version. I told them I was going to use it in a Bach 36, and they (a Selmer dealer) ordered the small bell version. I've no idea what that mute is supposed to fit, but I can tell you that it doesn't fit in a Bach 36, a King 3B, a Conn 100H, a Conn 6H, or a Getzen 3508. If you build the corks up sufficiently for it to be useful in a wider-throat horn it sounds wrong. Maybe it would fit a Bach 6 or 8 or a 4H or a 2B, but it doesn't fit anything I own. What really aggravated me was that the dealer who sold it to me wouldn't take it on return/exchange for the mute that would fit. It was a special-order item, and it was too-bad, so-sad. They would have been happy to order another large bell cup. I passed and bought one from WW/BW. (I was trying to support local brick-and-mortar stores at the time.)

Your Shires is a Type I bell right? Which seal are you using?

I just got my tenor and bass mutes in. They're great! Plays light years better than a Denis Wick or Best Brass mute. Plays similar to an Shhhh mute but much lighter weight.

I requested a bass mute to fit my older Holton basses and they seem to have gotten the insertion depth correct. I can definitely see the insertion depth being an issue if it is not correct... the mute is designed to be a pretty close fit. Overall I'm experiencing none of the issues MV2541 had with his mute or the theoretical issues baileyman says there are with the mute.

The mute is overhyped but it is the best practice that I've ever tried. It isn't perfect by any means but it's lightweight and it doesn't suck. I realize those standards are pretty low lol but you really don't need much else in a practice mute!

Maybe my horns just didn't jive with them, but my pair of Shhmutes feel infinitely better and play way more in tune in the high/low registers than my pair of Rejanos. If you order a pair in yellow you might end up with mine, since I already sent them back to CA. I seem to be in the minority of people who dislike them though, so obviously YMMV. Plus they have a really fair return policy, so it doesn't hurt to give them a shot.

This is interesting to hear because I've had great experiences with my Rejano bass mute for a little more than a month now. I'm sure they will release another iteration of it in the future, hence why there is a "Gen I" stamped on the side of the mute. They're manufactured by Trapani Mutes. I've played his cup, straight, and harmon and they play fantastically, so I have no doubt that these will get better in the future.

mrdeacon wrote: ↑Tue Nov 03, 2020 9:20 pm I just got my tenor and bass mutes in. They're great! Plays light years better than a Denis Wick or Best Brass mute. Plays similar to an Shhhh mute but much lighter weight.

Yep. Mine work really well in my 42B and my 50B. They are actually well in tune. I’m a satisfied customer.

I've found the Rejano is the best practice mute for me. I'm a returning trombonist, striving for intermediate proficiency so simply need a practice mute to tone things down a bit in our 55+ complex. The middle ranges play best on this mute, but highs are coming around. It's not durable, though. Dropped it less than 2' (as I was removing it) and it's coming apart - it is unusable. There's a price to be paid for that nice light weight! I'm going to buy another one to replace it.

Tape should do a good enough job.

Sgroth01 wrote: ↑Thu Feb 10, 2022 10:07 pm I've found the Rejano is the best practice mute for me. I'm a returning trombonist, striving for intermediate proficiency so simply need a practice mute to tone things down a bit in our 55+ complex. The middle ranges play best on this mute, but highs are coming around. It's not durable, though. Dropped it less than 2' (as I was removing it) and it's coming apart - it is unusable. There's a price to be paid for that nice light weight! I'm going to buy another one to replace it.

Contact Steve Trapani, the maker of Rejano mutes. Because they’re printed, there might be a certain type of glue to repair it.

Thx! Can't buy a new one now anyway. Out of stock!

It is an old thread, but I got a chanse to try and buy Rejano mutes for both tenor and bass yesterday. The best practise mutes ever! All tones are good from contra C to double high F. Flexes very good. Super!

I've had a Rejano tenor mute for a few months now, in addition to my tenor and bass Sshhmutes. The in-bell size is perfect for travel/storage in my Shires bells, and it's good for on-the-go warmup situations with no other options. But for me, the pitch is ironically "too" good: it sounds close enough to the open horn that it plays tricks on my brain, confusing how I blow on the open horn vs muted over the course of a lengthy session. After a couple of multi-hour Rejano mute sessions that took me more than a couple of days to reacclimate to the open horn, I've gone back to the Sshhmute for extended practice sessions. It's heavier and certainly more out-of-tune, but it makes me focus on sensations vs fine listening, so I don't throw things out of wack once I take the mute out.

It has been the difference between continuing my endeavor and not! We sold our house and have renditioned to a thin-walled senior apartment building. I can play well and often anytime I want, using the Rejano mute. We will soon migrate to a senior community campus new construction 5-plex end unit in which I will again be able to wail with impunity. THANK YOU REJANO!!! LIFESAVER!!!!!!!!!!!!

DCIsky wrote: ↑Sat Mar 19, 2022 4:33 pm…for me, the pitch is ironically "too" good: it sounds close enough to the open horn that it plays tricks on my brain, confusing how I blow on the open horn vs muted over the course of a lengthy session.

The “uncanny valley,” as it were.

I generally use mine to warm up before rehearsals (plus the occasional practice session before the rest of the family is awake), but I can see what you mean.

My only complaint about it is that it’s very easy to chip notes around high B-flat. Anyone else experience this?

(my most frequent use-case for it is warming up on my 3B Silversonic)

...My only complaint about it is that it’s very easy to chip notes around high B-flat. Anyone else experience this? ...

Yes. I can't play much above middle C at a dynamic suitable for where I live at present. That said, I find the low trigger notes and contra-bass notes (pedal tones in most people's world) very, very playable. So I practice where I can play with the mute under the conditions I presently find myself in and look forward to life without the mute playing "full metal jacket" some day. It's all good.

That's terrific performance. I had thought it would cut off the low pitch nodes making low range sharp.

Sgroth01 wrote: ↑Thu Feb 10, 2022 10:07 pm It's not durable, though. Dropped it less than 2' (as I was removing it) and it's coming apart - it is unusable. There's a price to be paid for that nice light weight! I'm going to buy another one to replace it.

This matches my experience. The Rejano mute plays well, acceptable resistance and intonation, excellent sound damping. But they're just unreasonably flimsy.

I like the low register on the Rejano, but that's about it. I actually prefer my aluminum Protec. I need to try the Shhhmute next.

Edited: interestingly, the Rejano plays much better on my other Bach 42!

I'll have to check out a Protec. I had a. Schhhmute and hated it. There's a back pressure issue with it. After I decided it would have to be replaced, I tried drilling a few holes in it to ease the pressure but it ruined the mute! ))) No fool like an old fool I guess.. ))) Thanks for the tip on the Protec.

when i dropped mine and it split open, some rubber cement worked just fine for getting it back to 100%. just make sure to let it air out for a few days

Sgroth01 wrote: ↑Mon Apr 04, 2022 9:07 am I'll have to check out a Protec. I had a. Schhhmute and hated it. There's a back pressure issue with it. After I decided it would have to be replaced, I tried drilling a few holes in it to ease the pressure but it ruined the mute! ))) No fool like an old fool I guess.. ))) Thanks for the tip on the Protec.

I agrue the Shhhmute is the practice mute with the least back pressure; that being said it’s still a practice mute so you can’t avoid it entirely. If you want to use it to actually practice you just have to get used to the different blow and how to acclimate back to the open horn on the gig or rehearsal. The protec ones are worse in every way except size and maybe weight imho.

3d printed plastic mutes? Anyone drop test these in the cold? I'll pass. I've got one of the new generation Yamaha mutes, and it's great, with or without the electronics. The Yamaha doesn't need to know what horn you play, although they just work for tenors, I think any tenor will do. I've got a half dozen tenors here and it works for all of them.

Then again, I don't drop-kick my Rejano practice mute across the stage as others have said. So...

I have had only the best of experiences with the Rejanos, both bass and large tenor. After years of wrestling with the Best Brass mutes, the Rejanos have been a welcome change.