 The Clarinet BBoard
|
Author: Baz
Date: 2013-05-08 18:38
all of us have gone through that searching for the perfect mouthpiece thing, but we have also done the perfect ligature search, in my mouthpiece box I have several different makes and styles of ligatures, some very expensive, I have gone back to the standard metal two screw version, I have been using it for over a year now and it sounds OK to me, most of my jazz heroes with wonderful tones used them, nuff said!
Post Edited (2013-05-08 18:40)
|
|
Reply To Message
|
|
Author: rtmyth
Date: 2013-05-08 19:19
Lee Gibson told me the same story. I liked a Velcro one, especially for plastic reeds.
richard smith
|
|
Reply To Message
|
|
Author: William
Date: 2013-05-08 20:48
I like the Vandy Optimum, for no other reason except a lot of clarinetist's who are better than I am, use them.
|
|
Reply To Message
|
|
Author: curlyev
Date: 2013-05-08 20:55
I think it's worth it, although I say whatever sounds good is right for you. Some people swear by the regular plain ligatures (which I used to use). I like Rovner Ligatures (Rovner Dark and the MK3), and I want to try more, but at least I know that I have some good ligatures that work for me! It's so easy to get carried away when searching for the best ligature for you, especially since we all have such different experiences. I'd like to get my hands on an original Harrison Ligature that isn't ridiculously expensive, but I doubt it will happen!
|
|
Reply To Message
|
|
Author: DougR
Date: 2013-05-08 21:45
I recently went through a modest ligature-search period, having tried a couple of my teacher's (a Robert Scott and a reverse Bonade). They were both different enough from the stock two-screw Buffet ligature I'd been using that I ended up buying both, a/b-ing them further over an extended period along with another old, nickel-plated 2-screw from the back of the drawer. I've been told that different combinations of mouthpieces and reeds are happier with different ligatures as well; one thing the whole experience did was show me the importance of listening carefully to my sound--and trying to discern the differences (tonally and resistance-wise) among all the ligatures was really helpful.
(Among other things, I found that the back-of-the-drawer ligature is pretty darn good, so that's a win, I'd say.)
|
|
Reply To Message
|
|
Author: Ed Palanker
Date: 2013-05-08 22:11
It's all about what makes you happy, what your looking for, your standard and how fussy you are. If the standard lig gives you all you want then go with it, why not?
ESP eddiesclarinet.com
|
|
Reply To Message
|
|
Author: Ed
Date: 2013-05-08 22:19
What Ed said.
There are differences in tone and response. I am not sure if it is as noticeable to the listener as it can be to the player. Play what you like and what works for you.
Many years back in the clarinet magazine Harold Wright said that the best sound and response was when he used his thumb to hold the reed on, but that it was difficult to play that way and his thumb got tired.
|
|
Reply To Message
|
|
Author: marcia
Date: 2013-05-08 23:07
My first priority in finding a new ligature was ease of applying. I tried a few, and in one instance there were two screws on the floor before the ligature was out of the box! Needless to say, I did not choose that one!
I ended up with a Brancher. One screw, stays in place when removing mouthpiece.
|
|
Reply To Message
|
|
Author: Taras12
Date: 2013-05-09 01:50
I have had my search for the perfect mouthpiece, barrel, ligature and reed. I have found that there are subtle differences that each combination makes. IMHO, what I've decided to play influences what I use. I'm not too sold on all metal ligatures, especially the dual screws. I do like the Rovner Versa. I've just inherited a Bois Excellente and think it's cool. I am learning to tie a string ligature. As my emboucher develops more, my preferences will change.
Tristan
|
|
Reply To Message
|
|
Author: pewd
Date: 2013-05-09 03:16
After 45 years, I've concluded that the solution to most sound/playing/response issues is in the practice room, not in the equipment.
If the ligature you currently have works for you, don't mess with it.
- Paul Dods
Dallas, Texas
|
|
Reply To Message
|
|
Author: sfalexi
Date: 2013-05-09 03:41
Rovner dark for years.
Cause it was cheap, and only had ONE screw to turn. Less fuss.
now the Rovner Versa or Versa X. Cause it still has one screw, but gives me a choice between having the flaps covering the metal or not. makes a SUBTLE difference with the sound and response of the reed in my opinion. But still less fuss than all those TWO screw ligatures out there. Also grips the mouthpiece better than the BG ligs so I can twist the mouthpiece off if I need to.
Alexi
US Army Japan Band
|
|
Reply To Message
|
|
Author: Garth Libre
Date: 2013-05-09 12:05
Rovner dark for several reasons. It's easy to put on and when I experiment with lower on the mp, higher on the mp or more pressure less pressure, I can reproduce my settings easily from one day to the next. One reason I stay away from metal ligatures is because they can easily scratch the mouthpiece. The two screw ligatures seem too fussy and too unpredictable. I see no reason to spend $100 on any ligature when it's clear that instrument maintenance, barrels, mouthpieces and reeds make a far bigger difference in sound.
Garth, 305-981-4705. garthlibre@yahoo.com
|
|
Reply To Message
|
|
Author: ww.player
Date: 2013-05-09 14:09
I have tried many of the designer ligatures on the market but always end up using my old Bonade inverted ones. They add fullness to the sound without deadening it and really free up and enhance reed response without adding brightness. I have found a lot of other ligatures that will do most of those things, but not one that does all of them nearly as well as the Bonade inverted.
Admittedly, if I used different equipment, it's entirely possible I would prefer a different ligature, but the Bonades are perfect for the sound and response I want.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2013-05-09 14:18
I bought a Rovner when I was 14 and have used it ever since. I'm 40 now.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2013-05-09 16:12
ww.player -
You're in good company. Harold Wright used one, and Robert Marcellus used a slightly altered one. And of course Daniel Bonade used one.
Ken Shaw
|
|
Reply To Message
|
|
Author: kdk ★2017
Date: 2013-05-09 21:08
I usd to think as a younger player that ligatures had an important influence on the sound I produced. I still hear differences when I experiment with ligatures even now. But along the way I realized I couldn't *hear* the differences when my clarinetist friends were also experimenting.
I think the influence is greater on the response, not because anyone else can necessarily hear how much cleaner a response you get, but because the response is how you personally connect with the set up. So, if it responds differently and you *feel* greater comfort, it's a meaningful difference.
I very much like the response of both the Bonade inverted ligatures and the lighter Rovner (I'm using one whose name I've forgotten - I think it was like or included "evo" in the model name - that Rovner no longer seems to produce, but I think it's fairly close to the "light" Rovner). I also like the response of the Gigliotti inverted ligature, but could never recommend it because of the tendency for the screw heads to shear off the threaded shafts. Recently, I've experimented with string and also like it very much.
Karl
|
|
Reply To Message
|
|
Author: curlyev
Date: 2013-05-09 21:31
I have to use ligatures that can handle being really tightened...like as tight as possible. I always stripped the screws on my ligatures back in school.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
