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Re: Wetting the reed

Author: kilo
Date: 2007-09-01 10:03

(with apologies for introducing the topic!)

David, I find that some ligatures are easier to set up — easier to find the "sweet spot" — but objective comparison of differing responses eludes me. If I have one clarinet, one reed, and several ligatures to test I have to change set-ups sequentially and each time the reed may be in a slightly different location and altered playing condition. If I prefer one ligature to another — or have lots of money invested in it — it may even influence my attitude toward playing and I don't know how to exclude this possible source of subjectivity.

So without devoting a significant amount of practice time to this experiment in order to get a large enough base of experience, ideally over weeks or months, I hesitate to credit any perceived response on my part to the ligature alone. I find this true on tenor sax as well where the larger tip opening and wider table might be expected to magnify differences in response.

Different mouthpieces, different ligatures, different embouchures, different reeds, different humidity, different horns, different room acoustics = too many variables. I sound best on the set up that I consistently use the most, and when I practiced everyday on a stock Selmer (in good working condition) I'd never think to blame my shortcomings on the ligature.

The advertising hype assures me that trying the new "X" ligature will make my altissimo effortless, make my response even over the entire range, make more reeds playable for a longer time, etc — and I've just never found that to be the case. I know, I haven't tried the right ones! It's great that other players have found ligatures that make such a dramatic difference in their sound; I'm just cautious about ascribing subtle tonal differences solely to a particular ligature when there are so many other influences at work.

As posted above, "...do whatever works for you and don't worry about what anyone else does."

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