I didn't think that kind of thing was contagious between Clarinets...
My "main" set up at the moment is the legendary Noblet 27, Vandoren B45 MP, 56 Rue Lepic 3.5 Vandoren reeds and a "standard" ligature.
My other frequently used set up is a Leblanc Bliss 210 with the included Cadenza mouthpiece and inverted bonade ligature which I turned out to really like (I love when that happens!).
Steve, did you have any issues when breaking in the inverted ligature, like having it slide towards the tip?
For the first couple weeks of playing on it, I had that problem almost constantly. It worked itself out though, I remember reading elsewhere that other folks had that issue as well.
Out of my not-so huge collection, it is one of my favorites.
my Bonade ligs are vintage ones, so no break in period.
I have heard of the problem of them sliding up and I think that is mostly due to the design begin slightly off - the front of the lig gets too tight compared to the back so it has pressure to move up. I have some non-Bonades that do this, one in particular the lig is designed wrong and the back clamps together too soon unless you put it way too far back.
But i've never had a problem with my vintage Bonades
Two-screw ligs of any ilk are not my favs. But when I do use them I have been told to screw down the one closest to the tip first. Works for me in most cases. I have been known to throw away a cheap lig or two though.
the front of the lig gets too tight compared to the back so it has pressure to move up. I have some non-Bonades that do this, one in particular the lig is designed wrong and the back clamps together too soon unless you put it way too far back.
That makes a lot of sense and definitely seems to have been the problem.
I most likely don't have anywhere near the size collection you do, but I have enough of them laying around to be able to determine which ones kinda really stink. I at first thought the bonade was one of them, with that issue, but it didn't take too long to break it in (I practice for 3-4 hours on average per day), and the problem went away quicker with thicker reeds (something having to do with the reed-mp vibration ratio?).
I guess, like wine, they get better with age.
I used to have the Bliss LB310, which is just the composite horn with a wooden barrel, which would have been a great secondary horn.
I and the Forte C had a love/hate relationship. The horn made me love the idea of having a C but made me hate fighting it over upper clarion/altissimo every time.
Now I dream of a Delrin or Ebonite construct C clarinet (so that the thing cannot shift like wood does), with power forged (non-Chinese compromise) non-tarnishing plating of Palladium or something like that, ergonomically pleasing just as the RS Symphonie is, and will gladly accept a typical French Bb mpc and playing with an even response... something durable and pleasurable to live with. ( Stephen Fox and Alastair Hanson did say that the request is doable, but the thought of it being a one-off scares me out of my wits already, nevermind what that means for my pocket.)