 The Clarinet BBoard
|
Author: sfalexi
Date: 2007-04-16 04:01
I wonder if Mr. Backun will make a ligature that can beat that price . . . i bet he CAN if he put his mind to it! . . . . ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
US Army Japan Band
|
|
Reply To Message
|
|
Author: clarnibass
Date: 2007-04-16 04:41
"I wonder if Mr. Backun will make a ligature that can beat that price . . . i bet he CAN if he put his mind to it!"
No need to wait for that, I can beat it. I'm willing to sell any ligature I have for over $199 
|
|
Reply To Message
|
|
Author: Liquorice
Date: 2007-04-16 05:49
I've tried one. It was OK, but a bit inflexible for me. It looks quite nice. Paraschos also makes curved barrels.
|
|
Reply To Message
|
|
Author: stevesklar
Date: 2007-04-16 07:35
That curved barrel is interesting - has anyone ever tried one ?
http://www.paraschos.gr/pwsite/barell.htm
|
|
Reply To Message
|
|
Author: Chris P
Date: 2007-04-16 07:56
"Na, Na. String's the thing."
If only I could find some thin synthetic braided cord in BLACK - all the thin string I can find of the type I want is in white which will look grubby very quickly. Venetian blind cord is just the right thickness, but again it's white.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: clarnibass
Date: 2007-04-16 08:15
"If only I could find some thin synthetic braided cord in BLACK - all the thin string I can find of the type I want is in white which will look grubby very quickly. Venetian blind cord is just the right thickness, but again it's white."
When I use a shoe lace for ligature (which happens less and less just because a regular ligature is much faster) I use a regular white shoe lace like on sneakers.
"That curved barrel is interesting - has anyone ever tried one"
I haven't tried it myself, but I've heard someone play it (I think on a Buffet clarinet). She sounded good, and had a very good sound. Of course if you didn't see her you would never guess she had some unusual barrel, because there was nothing unusual about her sound.
Post Edited (2007-04-16 08:17)
|
|
Reply To Message
|
|
Author: Chris P
Date: 2007-04-16 09:01
I can see the benefits of a curved barrel for someone that has posture problems due to the physical weight of a clarinet - they can hold the clarinet closer to the body but still have the mouthpiece at a good angle.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2007-04-16 10:57
I like the look of their wooden bassoon and sax crooks!
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2007-04-16 11:42
In the high-end audio market, people swear that they can hear the effect of a $1,000 power cord, with solid silver wire.
The one that runs from the plug in the wall to the amplifier.
This despite the fact that AC is turned into regulated DC inside the amplifier.
You need another for the CD player
and another for the turntable
and another for the transmitter that sends strange fantasies into your brain.
How about gluing the reed to the mouthpiece? Sure you have to buy a new mouthpiece whenever the reed wears out, but isn't it worth it for the exponentially better response?
Then we can start a new war over which glue sounds best.
Ken Shaw
|
|
Reply To Message
|
|
Author: clarnibass
Date: 2007-04-16 11:51
A friend of mine has a Paraschos wood sax neck for his alto (he got it after his original neck was damaged badly... then damaged some more by a sax repairer). When his original neck was finally repaired I listened to him play both necks, and I played both necks myself. I'm not going to use the common silly and vague descriptions but I can say there was definitely a difference in the sound, epseically when I heard him play (not so much when I played myself), and I'm not sure the difference was noticable unless I heard both one right after the other. I preferred the sound of the Paraschos neck, but my friend went back to the original neck after they decided in his saxophone quartet that the new neck made him sound a bit too different from the rest, and the stock neck had a sound better for what they play.
Post Edited (2007-04-16 11:56)
|
|
Reply To Message
|
|
Author: Chris P
Date: 2007-04-16 11:54
"How about gluing the reed to the mouthpiece? Sure you have to buy a new mouthpiece whenever the reed wears out, but isn't it worth it for the exponentially better response?
Then we can start a new war over which glue sounds best."
Hmmm... which glue works best? Dare I say it?
Alright, you've twisted my (good) arm - that'll be SUPERGLUE! And the thinnest cyrano-de-bergerac glue at that.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2007-04-16 13:34
Like a wooden version of the Grafton acrylic?
Or a new design with inset toneholes?
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: kilo
Date: 2007-04-16 14:10
I asked this on another ligature thread. My question concerns all the talk about a "freely vibrating" reed. How much sound is produced below the vamp of the reed, on the solid table of the mpc? Isn't the sound generated from the point where the curve of the mouthpiece lay begins and extending to the tip, where the reed interacts with the embouchure? Is the idea that the vibrating tip of the reed is organically connected, by the plant fibers, to the base of the reed which is secured to the table? Then wouldn't "free vibration" of the vamp area be superfluous in synthetic reeds? A tuning fork sounds the same whether you grasp the handle lightly or have it locked in a vise. Just curious since I haven't noticed a big sonic difference between ligs. What I do notice is that some ligs are easier to use, some seem made out of better material, some look elegant, and some look really ostentatious. Not noticing any difference could, of course, be linked to my individual hearing — but does computer analysis show significant differences in sound quality caused by ligature tightness, material, or design? Not looking for a fight, just some science and maybe some enlightenment.
|
|
Reply To Message
|
|
Author: Tobin
Date: 2007-04-16 15:09
I clearly feel the difference between a:
Rovner
Bonade ligature out of the box
BG Revelation
Bonade ligature properly adjusted
Harrison Lig
Spriggs lig
In order from most stuffy to most free. Free ("free vibration") speaks more quickly and easily, allowing for quicker "more accurate feeling" articulation, as well as reducing back-pressure resistance...(For me.)
Any ligature has the paradoxical problem of holding the reed firmly enough to the mouthpiece that air doesn't escape beneath it while simultaneously allowing it to vibrate to maximum benefit.
I don't know of any quantitative study of ligatures having been done, but I personally don't require it because the difference (between these lig's) to me is so obvious.
Kilo...is there any pattern to the ligatures that you find easier to use?
James
Gnothi Seauton
|
|
Reply To Message
|
|
Author: David Spiegelthal ★2017
Date: 2007-04-16 15:19
The more you play the more you pay,
The more you pay the better you feel,
So find the most expensive deal
on ligatures; just skip that meal!
That said, all of Paraschos' stuff is beautiful to look at -- check out their wooden saxophone necks. Ah, to be rich............
|
|
Reply To Message
|
|
Author: Brenda Siewert
Date: 2007-04-16 18:27
The description says it's wood and carbon fibers. I'm wondering if this is kind of like the greenline Buffet material? Also, I'm thinking it must be fairly inflexible. I have to add my opinion that it is quite pricey. I think I'll wait and see what people think of it in a year or so.
|
|
Reply To Message
|
|
Author: Simon Weiner
Date: 2007-04-16 21:03
Carbon fibre isn't like the greenline clarinets. I am bouncing around the idea of making a entire carbon fibre ligature. It's expensive material and figuring out how to use it is hard. You can use it in the soft state or fire it and harden it. Once it is hardened, it is 3 times stronger then steel. That lig with the wood and carbon fibre is interesting but i think thats where the expense comes from.
Simon Weiner
Email:simon@weinermusic.com
Phone:1800-622-2675
Post Edited (2007-04-16 21:05)
|
|
Reply To Message
|
|
Author: kilo
Date: 2007-04-16 21:43
Quote:
...is there any pattern to the ligatures that you find easier to use?
Tobin, the easiest are the Robert Vinson and the Brancher. Inverted with single screw on the starboard side. You can slide them on and off without readjusting the fit every time. The reed centers easily. Using a Legere reed, which is translucent, you can see the effect of tightening a ligature after you've played for a few minutes — the trapped moisture on the table will change shape as you tighten. I've found no acoustic differences between the looser fit and the hummin' tight fit. The biggest problem I have in comparing different ligs is being absolutely certain that the reed is identically positioned. Also it seems unfair to warm up a reed using one lig, then put a new one on after the reed is conditioned and conclude that any difference in playability is due to the lig alone.
But as far as that Paraschos goes, it is definitely a classy looking piece of work and I'm sure it will do the job ... just as well as my fifteen dollar Vinson.
Post Edited (2007-04-16 22:21)
|
|
Reply To Message
|
|
Author: Tobin
Date: 2007-04-16 23:32
I have never personally used the Legere reeds, and am not commenting on their quality.
I'm not certain, however, if many of the differences that I find in ligatures would be apparent using a synthetic reed. I would imagine that the amount of vibrating material in Legere reeds would also be quite different from a cane reed.
Just a possible thought to answer (or obfuscate?) some questions.
James
Gnothi Seauton
|
|
Reply To Message
|
|
Author: Liquorice
Date: 2007-04-17 05:27
I've also tried a Paraschos curved barrel. It sounded OK, but not as good as a normal barrel on my R13. It also felt quite restrictive/resistant when blowing. It could have it's use for maintaining the angle of the mouthpiece when using a neckstrap for heavy instruments like the basset clarinet.
|
|
Reply To Message
|
|
Author: ABerry
Date: 2007-04-17 16:18
Chris P,
"Na, Na. String's the thing."
If only I could find some thin synthetic braided cord in BLACK - all the thin string I can find of the type I want is in white which will look grubby very quickly. Venetian blind cord is just the right thickness, but again it's white.
Do a Google search for blind cord and you'll find several places to get cord and a myriad of colors...
Allan
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
