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New products are always of interest at Horn Matters. Recently I heard of a new type of stop mute made of wood, the Woodstop, and Ion Balu has also introduced a new stop mute with a unique bell design. Both are very innovative designs about which we have not yet posted.
In all of these above situations with my average to large hands I would use the stop mute with the same fingerings I would use for hand stopping. That is, the fingering step lower than the printed note and on the F horn for intonation. If a horn with a stopping valve is available I would use the normal B-flat horn fingering but with the stop valve held down, which adds approximately the same tubing as an F horn second valve (so no transposition is necessary). [With small hands you may need to alter your normal stopped fingerings, as described here, but with a stop mute or a stopping valve the standard fingerings should work.]
A purchaser offered to let me try one of these and it is in short a very interesting mute. The first trials were done in our weekly horn studio class. We set up a brief trial that compared hand stopping to my trusty old Tom Crown stop mute to the Woodstop. I think we agreed in the studio on several things:
On the negative side, the player doing the test (a graduate student) felt that the low range was not as easy to stop as on the Tom Crown and I would also tend to agree with that assessment. The notes are there but at least on this example were not as easy to produce. The Tom Crown mute I should also note was observed by all to have a more metallic tone color than hand stopping or the Woodstop.
In further tests on my own I have explored the fingering/intonation question raised by the Woodstop. For my trials of the Woodstop mute I used several different horns including horns with a stopping valve. From the text cited above it seems like the Woodstop is supposed to allow stopping on the B-flat horn with fingerings a half step below, but honestly for me the pitch shift with the Woodstop is really close to the same as hand stopping or the Tom Crown mute. On every horn I have tried with bell sizes ranging from an Alexander to a Conn 8D on the B-flat horn I feel the pitch goes up about step. On descant and triple horns the high F side it goes up about a whole step. I can use the stopping valve just like normal with no problem on horns that have a stopping valve using the Woodstop mute. So I am still a little puzzled by the point about it being designed for the B-flat horn. But then again it could be a quirk of the mute I tried that it plays more like a standard stopping mute. [I address this topic in relation to descant and triple horns further in my publication Playing High Horn, available from Horn Notes Edition].
I have not yet had the chance to try one of these but the other innovative stop mute mentioned at the beginning of this post is by Ion Balu. This mute is another approach toward solving the eternal question of how to be heard on certain excerpts in an orchestral context. The bell is very large and mounted on a longer tube than normal that angles outward. The major selling points given for this mute are:
1) It takes the sound from the bell and projects it TOWARDS the audience. This way, you will never have a distorted sound or a loss of safety due to overplaying in order to be heard. The S-shaped tube is a Ion Balu invention.
4) We make the mute with one bell size only. In order to change the colors, you only need to change the direction in which the bell points. This saves hassle, and you can create color changes in a matter of seconds.
There are several endorsements of this mute given in the Ion Balu site, including one from Jeff Nelsen (IU/Canadian brass), who offers this poem that also mentions the innovative synthetic cork material used on this mute.
For sure both of these new mutes have their place on the market! I salute both makers for their innovations, and I look forward to seeing how these products impact the market, each one offers a new flavor of loud stopped mute to consider.
Speaking of the market, to purchase both will set you back a bit. According to the receipt with the Woodstop mute it is currently priced at $185 and the Balu is priced at $149.95. It may seem a bit steep to a student but for a fine, handmade, newly developed professional quality mute it seems pretty reasonable to me.
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This article reviews the essential ingredients and innovations in the design and analysis of group-randomized trials. The methods literature for these trials has grown steadily since they were introduced to the biomedical research community in the late 1970s, and we summarize those developments. We review, in addition to the group-randomized trial, methods for two closely related designs, the individually randomized group treatment trial and the stepped-wedge group-randomized trial. After describing the essential ingredients for these designs, we review the most important developments in the evolution of their methods using a new bibliometric tool developed at the National Institutes of Health. We then discuss the questions to be considered when selecting from among these designs or selecting the traditional randomized controlled trial. We close with a review of current methods for the analysis of data from these designs, a case study to illustrate each design, and a brief summary.
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Compared to other specialties, nephrology has reported relatively few clinical trials, and most of these are too small to detect moderate treatment effects. Consequently, interventions that are commonly used by nephrologists have not been adequately tested and some may be ineffective or harmful. More randomized trials are urgently needed to address important clinical questions in patients with kidney disease. The use of robust surrogate markers may accelerate early-phase drug development. However, scientific innovations in trial conduct developed by other specialties should also be adopted to improve trial quality and enable more, larger trials in kidney disease to be completed in the current era of burdensome regulation and escalating research costs. Examples of such innovations include utilizing routinely collected health-care data and disease-specific registries to identify and invite potential trial participants, and for long-term follow-up; use of prescreening to facilitate rapid recruitment of participants; use of pre-randomization run-in periods to improve participant adherence and assess responses to study interventions prior to randomization; and appropriate use of statistics to monitor studies and analyse their results. Nephrology is well positioned to harness such innovations due to its advanced use of electronic health-care records and the development of disease-specific registries. Adopting a population approach and efficient trial conduct along with challenging unscientific regulation may increase the number of definitive clinical trials in nephrology and improve the care of current and future patients.
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