 The Clarinet BBoard
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Author: Jim Lee
Date: 2002-05-23 13:28
I have one. Do not use it. Do not like the sound and the reed slips when I take the mouthpeice off to swab.
Some really great players use it. Try it and you decide.
Jim
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Author: Ken Shaw
Date: 2002-05-23 15:35
I've tried both the Revalation and the Super Revalation and have not liked either very much. If you want a fabric ligature, save your money and get a Rovner or Rovner Lite.
Ken Shaw
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Author: forest@woodwind.org
Date: 2002-05-23 20:58
While I don't use or recommend a fabric ligature, the BG ligatures appear to be the best fabric ligatures available. I prefer them over any of the Rovner ligatures.
F. Aten
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Author: Clairgirl
Date: 2002-05-24 04:14
Do fabric ligatures really give you a darker sound? or is it just a mind game? I felt my sound was a little muffled when using a Rovner and it did not have the same "ping" that it has with my metal ligature.
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Author: diz
Date: 2002-05-24 06:41
Clarigirl - you bring up a good point. There must be some subtle difference in using a metallic lig. versus a cloth one. Maybe the Doctor might be able to shed some wisdom on this?
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Author: Ken Shaw
Date: 2002-05-24 17:05
I find that fabric ligatures such as the Rovner, Vandoren or BG, tend to damp the high overtones. If you find hear your tone as metallic, a fabric ligature will help. The ones without inserts (e.g., Rovner) do more damping than those with inserts. The extra weight of fabric ligatures also has a damping effect.
A tone with relatively weak high overtones is often said to be "dark," and one with stronger overtones is said to be "bright," but there's no agreement about what these terms actually mean.
At any rate, you make your own sound, no matter what your equipment.
Even more important, you need to be able to produce not just one good tone, but many good tones. At the extremes, Wagner and Brahms call for a deep, creamy tone, while Poulenc and Ravel call for a light, penetrating tone. There's an infinite variety in between.
Also, you need to match the tone of those you're playing with. If you have a passage in unison or octaves with the flute, you have to make a sound that has a little flute in it. When you're with the oboe, you need to match that. You use the equipment that lets you do this the easiest.
For more on matching tone colors, see my posting on the solo in the Beethoven 8th at http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=26741&t=26741.
Best regards.
Ken Shaw
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Author: GBK
Date: 2002-05-24 17:23
Re: Ken Shaw's posting -
I will again call everyone's attention to the very well thought out reference by Ken on the solo in the Beethoven Symphony #8. This should be required reading for all clarinetists...
As I previously had said back in August, 2000 ..."Thank you, Ken" for a most valuable contribution. This analysis and the suggested fingering choices far surpass anything in available texts...GBK
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Author: Bob Arney
Date: 2002-05-24 22:27
Ken said, in part in a great response and reference: ".... The ones without inserts (e.g., Rovner)...." Ken, forgive me for a slight amendment. The Eddie Daniel Rovner has two metal inserts plus the ability to "fold" the fabric over the base metal plate. This can induce tone changes.
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Author: LaLa
Date: 2002-05-25 19:36
I love my Revelation. I used to use a standard Rovner and it was good but it totally dampened my tone. I suggest the BG to anyone who loves the warmth of a cloth lig. and also the ping of the metal...
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Author: david dow
Date: 2002-05-30 10:45
Three ligature is what i use and in Orchestra they are: Bonade inverted from 1978 which is correct! Many of the new ones don't work well and seem to wreck the mouthpieces. Rovner dark and a medium Rovner which are quite good but at times tend towards too muted...its all very subjective.
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