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Re: The Grip WE have on our ligatures

Author: kdk ★2017
Date: 2011-06-09 20:15

ThatPerfectReed wrote:

> And yet, to quote one of my favs: Tom Ridenour, the reed is a
> spring form: a pool diving board if you will--only one that
> tapers as one approaches its sides and tip. And diving boards
> work best when the non-business end is firmly secured. This
> would suggest support for tight ligatures.
>
> Granted--the analogy is far from perfect.
>
> And yet another (opposing?) metaphor: take a piece of plywood
> and attempt to saw it. Asked rhetorically, does it cut easier
> when the plywood is vibrating back and forth widly in reaction
> to the saw, of when it's held firm?
>

I've read enough here on the board to suspect that many players would find that Tom's analogy describes the situation inaccurately. Among the selling points of any number of ligature designs is the promise that it will allow more of the reed to vibrate. The implication is that the top of the ligature is not the fulcrum, or at least that the "non-business end" of the reed is not the entire bark area, which most ligatures cover. If Tom's analogy is right, a tighter top screw (on a 2-screw ligature) makes perfect sense. If it's important that the reed be free to vibrate over more of its length, looser screws, especially the top one (on a two-screw ligature) should work better so long as the reed doesn't shift position.

Your other analogy doesn't seem applicable. The wood will cut most cleanly if it's secured as close as possible to the moving saw blade. Any bounce or chatter will make the cut more difficult.

> I know, I know--"it's highly performer and setup specific," would be a very > credible answer.

Well, mostly in the sense that the performer's expectation will determine what sound and response he's comfortable with. I think, based only on my own playing experience, that both are affected by the degree of tightness of the ligature - regardless of the ligature's brand or design - probably (I'm guessing) because the spring action Tom Ridenour talks about is physically changed by the point at which the reed is truly completely immobilized. In any case, the "ideal" or "optimal" tightness is in the ears and tactile sense of the player (to some extent guided by the ears of his/her audience, if its input is available).

Karl

Post Edited (2011-06-09 22:47)

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