 The Clarinet BBoard
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Author: Raff P
Date: 2011-01-24 08:16
Hello Forum,
While browsing through the internet, I happened upon an interesting ligature called a "leatherature" on Ben Redwine's site. It is reminiscent of the Pyne handwoven ligature or the Vandoren Klassik.
I'm just wondering if anybody has tried one, it looks like an interesting investment.
http://www.redwinejazz.com/Accessories.htm
Many Thanks
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Author: USFBassClarinet
Date: 2011-01-24 08:28
I tried the bass clarinet one this year at Clarinet Fest. The claim of being able to pull the mouthpiece off with the reed is quite true even on bass since you can actually grasp the ligature without breaking it. I didn't like the sound I got with it though. For me, it was very close to the all leather rovner ligature, which was what I was using at the time actually.
Your mileage may vary. I ended up with a metal bay so I went to the opposite end of the spectrum.
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Author: cigleris
Date: 2011-01-24 08:55
I have also tried this ligature. I tried one a colleague had bought at the 2010 ClarinetFest. I have to say that initial impressions were on the positive but further play tests and using it in a rehearsal I wasn't convinced and went back onto the Vandoren Klassik that I was using at the time. I felt ultimately that the sound wasn't resonant enough for me and that it limited the reed vibrations. I also found that it did have a tendency to slip when changing clarinets.
Each to their own.
Peter Cigleris
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Author: alanporter
Date: 2011-01-24 15:16
Looks very similar to the old TRU-BLO, made of plaited leather strips, which I find very good.
tiaroa@shaw.ca
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Author: cigleris
Date: 2011-01-24 17:22
Ken and Bob,
Thank you so much. I do have the other movements from the concert. Used the 2nd as the file was the smallest. Email me off line and i'll dig it out and send you the MP3s if your interested.
Peter Cigleris
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Author: redwine
Date: 2011-01-24 17:58
Hello,
(Disclaimer--I sell the Leatherature)
My friend Warren Cadwell, an engineer and fabulous amateur clarinetist (he also studied with my grandfather!) designed these hand-woven leather ligatures (he made templates and weaves them all himself). He showed me one last summer in Oklahoma. I fell in love with it and now play one on all of my instruments, from e-flat clarinet through tenor sax! The idea is similar to the old string style ligatures, but I believe Warren's design improves this concept, with the weaving preventing any stretching of the material. It is also an easy application, just slip the ligature over the reed and mouthpiece. There does require some "muscling" of the ligature at the end so that it does hold the reed firmly enough. If you grasp the leatherature with equal pressure all the way around (like trying to crack an egg in your hand) it grips the mouthpiece and reed and allows one to remove the mouthpiece, no matter how tight the cork is, without moving the placement of the reed. If you do find that it is limiting vibrations, my guess is that you did not put it on securely enough. Cheers!
Ben
Ben Redwine, DMA
owner, RJ Music Group
Assistant Professor, The Catholic University of America
Selmer Paris artist
www.rjmusicgroup.com
www.redwinejazz.com
www.reedwizard.com
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Author: clarinettefaerie
Date: 2011-02-10 22:29
Ben's right... I got one (just yesterday, in fact), and I can hear and feel some stuffiness if the ligature is not placed just right and set correctly. But, when it is placed correctly, I really love the tone it can produce. Very dark, but the reed resonates well and still produces a vibrant tone, which allows for flexibility.
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Author: Clarinet1965
Date: 2011-02-11 04:59
Hi to all,
(Disclaimer: I make the Leatherature)
First of all, I want to thank Ben Redwine for the kind words and I'm honored that he uses my "Leatherature".
Here are some instructions for its use, some history and other comments.
The “Leatherature” consists of leather cord woven conically in the shape of the appropriate woodwind mouthpiece. There are 2 main “settings” which are easily seen when looking on the inside of the Leatherature. ( I will attach pictures if you’d like) For example, the B-flat Leatherature takes 14 wraps of cord to make. One setting allows 7 windings of cord to touch the cane of the reed, while the other setting allows the full 14 to affix against the reed cane. One of these settings will be better for your tone and sound quality than the other. It is best not to skew or mix the 2 settings as this would result in uneven holding pressure on the reed. (This may have caused the stuffiness that some have mentioned here)
I am an amateur clarinetist and have been playing since 5th grade, more than 45 years ago. I play in the Oklahoma City Symphonic Band, different ensembles, and at my church….and have spent a lot of rewarding time trying to better myself at playing the clarinet. I have spent hours and hours reading the knowledge on this website. In attending a couple of OU Clarinet Symposiums and local clarinet performances by different groups, listening to recordings, and accepting my playing limitations, I constantly marvel at a professional's unmatched talent.
Continuing....
The “Leatherature” began after I read “The Clarinet and Clarinet Playing” by Daniel Pino. In his book, he mentioned his “conversion” to a string ligature using a shoestring. He made a statement something like he would never need to try another ligature. With this I was very intrigued. So, I tried a shoestring ligature, but found it difficult to wrap it the same from playing session to playing session. I am an engineer, by education and career, so I have a sense of “making things” to solve problems. After several different styles and materials, the “Leatherature” provided consistent pressure against the reed and surprisingly improved my articulation while advancing a tone and sound goal I had.
Is the “Leatherature” a good idea? A couple of years ago I gave one to every clarinetist in my community band. Of those 15, I would say about 8 of them gave it a serious try with feedback for me. Of those, 5 still play the “Leatherature” to this day…which makes good sampling statistics in my opinion. For saxophonists in my band, 2 of the 3 who have tried it still play it. What I heard most from them is that it makes their reed easier to play and it was simple to use. It would be difficult for me to predict the improvement you may see….I can only tell you what it has done for me and others.
Thanks very much for reading.
Warren Cadwell
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