 The Clarinet BBoard
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Author: seabreeze
Date: 2013-12-30 18:12
I had a dream last night. It was the year 2035 and I was at an international clarinet festival in Switzerland. All the German clarinetists had metal ligatures and plastic composite reeds, and their mouthpieces had wide tip openings on Viotto, Wurlitzer, and Zinner blanks. All the French and American clarinetists had string ligatures (even the sax players) on their Boehms and mouthpieces made by Behn and Fobes, mostly with tip openings less than a millimeter. Even the Backun players were using string ligatures, mouthpieces with close facings, and cane wood reeds.
The two sides argued incessantly about the way to true clarinetistry. The Americans said the Germans must be crazy to use such open facings, to forgo the tradition of string ligatures, and to adopt plastic reeds. The Germans shot back that string, close facings, and cane reeds were romantic delusions from a now thankfully discarded past. The Swiss, in an effort to be neutral, carried both types of equipment in their versatile double clarinet cases.
When I awoke, I saw Steve Neff raving about how his latest Silverstein string ligature improved his sound on alto and tenor sax, no less. What? An American saxophonist using string ligatures? And his announcement on the web prompted many responses from other sax players that they had switched, or were about to switch, to string. This, not in 2035 but in the last month of 2013.
So, on I moved to the Silverstein website <silversteinligature.com> to find out more about their clarinet model. The ligature has two sliding metal bars that move along the string toward and away from the single adjustment screw. The screw does stick up from the string like a sore thumb, but if the Silverstein really improves sound and response, who cares?
Anybody try one of these yet? And, yes, as Heraclitus said, the world is always, always changing and maybe we never step into the same waters (or clarinet set-ups) twice. At one time, sushi was Chinese, not Japanese. Or is it more a question of old wine, new bottles?
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Author: DougR
Date: 2014-01-01 00:00
Guy I study with (flute, clar, sax), a top pro in the NY market, had just run across them as of my last lesson (some months back) and was tentatively VERY impressed with their performance on clarinet (and basically, if you've heard of a ligature for clarinet, he's already tried it). Subsequently he's become one of their endorsers and uses them on clar/sax. He is a kind of a gear-packrat (aren't we all), but one with incredibly high standards (and the gear has to WORK, or at least work extremely well in a given set of circumstances). At my next (long overdue) lesson I anticipate hearing more about them, and quite probably will spring for a bass clarinet version (if they're making them yet) and a Bb clarinet version (IF I hear & feel them making a difference).
I realize this is second-hand, and YMMV, but I'd certainly try them out.
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Author: qp
Date: 2014-01-02 16:10
These do look interesting, but it seems so far a lot of the reviews are from doublers or jazz players. Any orchestral/chamber classical players out there have any experience with them?
RJS
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Author: Steven Ocone
Date: 2014-01-02 16:45
I have one customer who likes the demo I lent him. I may have to carry them so he can buy it.
Steve Ocone
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Author: Paul Aviles
Date: 2014-01-02 21:21
Remeniscent of the "Vibratstring" ligature of the not too distant past, although I like that these cables don't seem to be nylon.
................Paul Aviles
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Author: Fraeulein Klarinette
Date: 2014-05-26 00:38
apparently, this Silverstein string ligature has made its way to Berlin Philharmonic with Wenzel Fuchs and Walter Seyfarth both using them in recent concerts.
Has anyone here tried them on the clarinet?
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Author: James S
Date: 2014-05-26 01:50
I would argue it is a matter of old wine, new bottles. I've tried a few of there ligatures on my clarinet and I feel they are overpriced. They are very good for getting a "neutral" sound (IE without the buzzing/ringing of metal or the dampening of cloth), but I found very little difference between them and my Rovner Versa (besides about $80).
The great thing about them is you don't have to tie them. I'm a big fan of the single screw design. It's a bit more of a hassle than other single screws but after a while you figure it out.
They are worth your time (if you're willing to pay $140).
James
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Author: seabreeze
Date: 2014-05-26 04:14
I've seen Fuchs play on at least 4 different ligatures and sound good on all of them. I like the omnidirectional sort of tone the Silverstein ligature tends to encourage more than, say, the duller and slightly tubby sound that Rovner dark models give or the brighter tone of the Rovner Platinum. I'm not sure the Silverstein is better, though, then the BG Silver Revelation or two or three models of the metal Ishimori (copper, gold plated, brushed satin over copper) which hold the reed more securely to the mouthpiece.
On the Silverstein, I cannot see that the sliding bars that wrap around the mouthpiece really slide or allow any gradations of pressure adjustment, and I am not always happy turning the main tension screw on top. Sometimes the screw seems secure when it is really fairly loose, allowing the reed to slide left or right. Switching mouthpieces from Bb to A or C clarinets seems risky with the Silverstein, and much more secure with the BG or Ishimori models.
The words "String Ligature" are a misnomer when applied to the Silverstein. It may look as if it was made of string, but the circular strands that appear to be a substitute for string on the Silverstein are really hard, stiff, and wiry--perhaps kevlar material? It would best be described as a "kevlar wire ligature." I would not say that the Silverstein is just a gimmick or ad hype because it really does give a quality of tone and response distinct from other ligatures and perhaps broadens the tone a bit. I'd like to see a Silverstein II improved version.
For sound emission, I would say the Silverstein is quite good--fine for solo performances, chamber music that does not require changing clarinets midway, and practice. For max security in an orchestra, I'd still go with a BG silver revelation or one of the metal Ishimori models. Maybe Fuchs' threaded German mouthpiece provides a tighter hold on the Silverstein? (He probably uses the German model, smaller circumference Silverstein for his Nick Kuckmeier mouthpiece.)
Post Edited (2014-10-09 04:38)
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Author: Hurstfarm
Date: 2014-10-09 02:55
Out of curiosity I ordered one of these following an interesting technical piece in the Summer edition of the UK's Clarinet and Saxophone magazine analysing the response produced with various ligatures under scientific test conditions.
I tend to resist hankering after all the latest gizmos and extras, and having stuck for years with my preferred Vandoren Optimum ligatures of various sizes against all newcomers, I fully expected to be sending the Silverstein back for a refund. Not so. I found I liked the response and the different tone colours, so decided to keep it. One month on, I'm happy with the decision, and it's in daily use.
Inevitably it's not perfect though. On the "cons" side, it's less secure than the Optimum. Whereas with the Optimum it's usually possible to remove the mouthpiece with ligature and reed intact, which can be useful, it's not easy with the Silverstein. If it's not fastened quite tightly enough (more difficult to judge precisely than with the rigid Optimum), a passage of vigorous tonguing can push the reed downwards slightly, so a bit more care is needed in setting it up to get the tension right. Finally, the overgrown and not very elegant plastic cap means the mouthpiece assembly won't fit comfortably in a standard case.
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Author: Paul Aviles
Date: 2014-10-09 20:49
Well, my story is similar to above. I borrowed a friends for a day and liked it. Then ordered one and liked it enough to keep it.
I found that it is in the category of ligatures such as the Vandoren Leather and the Optimum in that it tends to allow a more robust sound. Unlike the other mentioned ligatures though, it seems to do it without the least bit of damping.
I also compared it to a highly touted Ishimora which is a leather pouch design with a wooden insert. Both where very very close in characteristics with the Silverstein being just slightly less 'colored' in sound.
The one objection I had is with respect to the Silverstein company's insistance that the fibers will help retain moisture. Perhaps there may be some difference in the material's ability to retain moisture as it becomes "broken in," but as of right now, it retains moisture about as well as any metal ligature (the fibers seem to be carbon fiber - how could they retain moisture????).
.................Paul Aviles
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Author: Paul Aviles
Date: 2014-10-10 21:45
Sorry, two more quick notes about Silverstein:
As for the cap, I prefer to use the Francois Louis Cap with these sorts of ligatures. It is enough coverage at the tip and it is small; far less obtrusive than the provided mouthpiece cap.
The gizm that actually presses down on the top of the mouthpiece is basically a "saw-horse" design with rubber pads at the point of contact. I strongly feel these rubber pads will wear out or squeeze out sooner than later. It seems that the metal 'feet' themselvs would work fine without the pads but may need some 'roughing' to help them hold on the mouthpiece. I don't want to expperiment with that aspect until the time comes!
............Paul Aviles
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Author: nellsonic
Date: 2015-07-13 14:52
Paul,
From a web search it looks like the Francois Louis caps are all for saxophone. What model fits a clarinet mouthpiece with the Silverstein ligature? Soprano? Alto? Thanks in advance! Glad to know there's an alternative to the Darth Vader looking thing that won't fit in my case...
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Author: Paul Aviles
Date: 2015-07-13 19:53
You know, the last one I got was hard to find, and was billed as a clarinet cap. I have asked around about them but can't find a ready source.
Soooooo.......
The other alternative is the Vandoren Leather Cap (for their leather ligature). I just checked, it works fine with the Silverstein. They are a bit pricey but also work with just about anything because they hold on with a foam rubber surround at the interior.
The other bonus is that even at the the quietest moments of a Mahler symphony you can drop it on the floor and NO ONE WILL KNOW!
...............Paul Aviles
P.S. It too looks a little like a Darth Vader helmut but it fits into cases quite well.
Post Edited (2015-07-13 20:09)
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Author: MarlboroughMan
Date: 2015-07-15 19:47
Good questions--I asked them myself for a couple of years, until a friend mentioned that he could never get string to wrap as tightly, in the same manner. Then I had the opportunity to test one out. Though it looks just like string, those (kevlar?) bands are much stronger (they don't flop like string, and can be bent, etc).
I've played string ligs, and this is no ordinary string lig. I actually bought a Silverstein and used it, but found, eventually, that it was a bit of a hassle for me, and I wasn't convinced it sounded or felt better than others I use.
Having said that, the Silverstein is a new thing--and it really does yield excellent results. Everyone can make up their mind as to whether the cost is prohibitive, but it's definitely not string with a bolt, and worth trying.
Eric
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Paul Aviles
Date: 2015-07-15 19:53
See, that's just it, it is NOT string! These are some form of cable that bends only when some pressure is applied. It plays like the best of the metal ligatures or the ligatures with some plate between them and the reed like the Ishimori leather with the wooden plate.
I realize that you are just zinging the ligature but we should be clear, that it in no way has ANYTHING to do with string either in material or how it plays. Anyone who thinks it looks enough like string to be categorized that way needs to buy one first before commenting on it.
.................Paul Aviles
P.S. I have gone back to mine since this last round of posts and I do find it to add a real robustness to the sound.
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Author: nellsonic
Date: 2015-07-15 21:26
I got mine for $100 at the NAMM show in January. I tried it before I bought it. It was a very significant improvement over the ligature I had been using, especially in the way it enhanced the quality and roundness of my fast staccato playing. I would not have paid $140 for it sight unseen, or maybe at all. I find it a bit unwieldy to deal with, but I'm still happy I bought it. The amount of improvement was worth about $100 to me, and I'm not a gear-head. Your mileage my vary.
P.S. The tonal difference produced by changing the position of the metal sliders is also impressive and has helped me to more successfully blend in a variety of ensembles. In this regard it's like having a couple of different ligatures in one.
Anders
Post Edited (2015-07-15 21:44)
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Author: Ed
Date: 2015-07-16 14:25
Quote:
See, that's just it, it is NOT string!
That is right. According to the site it is a cord.
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Author: Paul Aviles
Date: 2015-07-16 16:41
A cord made of a hard to bend material (far less malleable than leather cording if you're familiar with that).
In fact I thought, oh well I'll just take the "tuning bars" off and twist the material around and perhaps that will make it "move" better (kinda like working leather).
NO.
No amount of manipulation seems to make the material move more. And despite what they say on their website about absorbing water to keep the reed moist, that is poppycock. You would get the same "beneficial" effects putting your Bonade ligature under running water.
............Paul Aviles
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Author: Midday
Date: 2015-07-19 03:46
I personally own a cryo 4, absolutely fantastic. Trumps any other ligature I've played on, including rovner versa, vandoren leather, bonade, BG duo, ishimori pink+silver and ishimori brushed gold. The key difference is in the great free blowing resonance I'm getting without sacrificing any focus.
I've heard complaints from some pros such as Romain Guyot and Francois Houle that it doesn't stick on the mouthpiece tightly enough to swap off the mouthpiece for another clarinet easily, and that it's a bit tricky to operate, but I find either sticking a bit of Teflon tape on the mouthpiece cork, or grabbing the mouthpiece with your palm on the reed and fingers wrapped around the back make it quite easy and stable to shift, plus oiling the screw a bit.
-Samuel He
Post Edited (2015-07-19 03:48)
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