Klarinet Archive - Posting 000062.txt from 1994/08

From: Jay Heiser <jayh@-----.COM>
Subj: Re: Winslow ligature (description)
Date: Tue, 16 Aug 1994 14:33:31 -0400

-->>On Mon, 15 Aug 1994, Jay Heiser wrote:
-->
-->>> During a recent gig, I discovered that the little rubber
-->>> grommets on my Winslow ligature were turning to silly putty.
-->.........
-->>I've found that every 10 to 12 months the rubber on my grommets loses its
-->>resiliancy, but the operation to change grommets is not a big deal. I'd
-->>much rather mess with the grommets occaisionally than play on another
-->>ligature.
-->>Jim Freeman (collnjim@-----.edu)
-->
-->I guess I've been in the dark, down under (or up over - refer to previous
-->posts) on the things clarinet players do and use. But what exactly does the
-->Winslow ligature do, and why does Jim Freeman say he'd rather change
-->grommets etc?

Winslow makes this big chunky ligature (anodized aluminum? some kinda
flat black metal) with a big screw on top and a series of 9 (12?) holes
over the base of the reed. It includes pins that fit into these holes,
"rubber" (resilient stuff -- whatever its made of) grommets to fit over
these, and snap rings to hold the grommets on to the pins. When its
securely tightened on the reed, the grommets provide a cushioning effect
for the pins, which are in contact with the reed. It comes with instructions
and suggestions on arrangements for the grommets/pins, and a little
glass bottle with extra parts.

I've never had the patience to muck about with difft pin arrangements,
because I"m so happy with it in its stock configuration. I tried one
of these once and had to immediately go out and spend $60 on one of my
own. I find that it allows the reed to vibrate more freely. This
is almost like reducing the air resistance, because it resonates with
less air flow now. I find that it improves both the high and low range
of the instrument (for me, it probably has the least effect on the
throat tones). I can play with more control, I have to do less fussing
with reeds, and it sounds better. What more could I ask for?

I spend most of my playing time in pit orchestras (why do they call
them 'orchestras' when there are never any strings?), and have always
had prbs with drying reeds. The Winslow makes it much easier for me
to leave the clarinet on the stand for 30 mins and then pick it up and
play it, which is crucial for show music.

I experimented with a Rovner once, and liked it, but found it had a
darker sound (confirmed by an outside listener). Maybe for the price
difference a Rovner is good enough. Don't know if this was one of the
'new' Rovners.