Favorite Ligature and affects on tonal qualities

[SteveSklar]

Do ligatures really make a difference in tonal qualities ?

If a mouthpiece has a perfectly flat table how does the ligature affect the way the reed responds ?

Many experts say , well, many things. Some say a ligature has no impact others say it does.

I believe a ligature does have an impact on tonal qualities. Assuming a good embouchure (and reed). Try to use as light pressure as possible on the ligature while maintaining good tone. I think if the ligature is not "crushing" the reed it will allow the reed to vibrate more freely.

Several years ago I played one of my clarinets for a retired pro player. He interupted me and said that I had great tone and technique but my tone had a very high pitched squeal to it. It took me a minute to recognize that but he was right. it was there.

Why? How?

We happened to have about 8 clarinets, over a dozen mouthpieces etc at my disposal right there. So I went through different clarinets and different mouthpieces even different reeds !! the squeal was still there !!!

Why? How ?

The only item I did not change through this entire endeavor was the ligature. It was a simple lower double screw. I found a ligature with a flat plate that held the reed. I tried it ... to my amazement the squeal was now gone. completely. My tone was now much more pure and clear .. wow.

It goes to show you no matter what, there is always someone else that knows more and can hear things that you may be overlooking.

But, there are many, many ligatures on the market today. I don't play the ligature GAS game. I visually look at them and identify whether I think they could help my tone. Some I avoid because they look too delicate, or too expensive.

The best ligature I've found for the money are:

Vandoren Klassik - a string ligature which seems to allow the reed freedom and gives the tone more colors. I would only use for extended playing though as I would not want to stretch it out too much.

Vandoren Optimum (or Masters) - The optimum really lets you play around with your tonal quality. the 3 plates vary it ever so slightly. but be aware that the plate with the 4 pins needs to be on light pressure, otherwise you simply entrench the pins into the reed. The Masters is nice too as it is cheaper but duplicates the plate with the high and low ridges.

Rovner or DG other other leather ligs - very quick and easy too use and inexpensive. Though these seem to deaden the tone a bit especially if over tightened.

So why did the double ligature create such a problem? looking at it it seems to pinch the reed from the sides way too much and also clamps down from the top. Other lower double screw ligatures vary in their clamp but this is certainly something to look out for.

before anyone asks .... no scientific study was done .. i just tried a bunch of ligatures, fiddled with screw pressure, etc over time.

[pete]

Remember, original clarinet ligatures were essentially strings tied around the reed.

And the reed faced up, not down, but that's a different issue :).

I like the leather ligs, but I've also been partial to the Gigligotti (http://www.wwbw.com/Gigliotti-Ligatures-i80296.music). Cheaper, even. Durable. But I've used approximately this (http://www.wwbw.com/Rovner-L5-Light-Bb-Clarinet-Ligature-and-Cap-i19389.music?cm_sp=SearchResultsMid-_-Top%20Sellers-_-19389) Rovner, too.

(Interesting aside: the Gigliotti clarinet lig can fit on a Berg Larsen hard rubber bari sax mouthpiece. And I've used this for gigs.)

The one problem, even with the leather ligs, is that there can be a little too much extra material -- or pull, at least -- on the sides of the mouthpiece. If the idea behind a lig is to have consistent pressure on the reed, that'd be a problem.

FWIW, I've found that I can play harder reeds with some different ligs.

[pete]

(Continuing, after lunch.)

So, my point is, I wonder if the lig you were using that caused the "squeal" was damaged in some way, even if just a stripped screw. Further, I'd think that the "squeal" was an overtone caused by the reed vibrating in an odd manner because of some problem with the lig.

Another point to mention would be that it's not necessarily the ligature that makes the difference, but where it's being positioned on the reed, itself. One of the reasons I liked using Vandoren (and Rico Royal) reeds was because there was that little "cut" (no, I don't know reed terminology; sorry) where you could line up your ligature and it'd be almost perfect.

[Ed Svoboda]

The French filed reeds have a straight line where the bark starts. I assume you mean that line.

[pete]

That sounds about right to me, Ed.

Since we're talking clarinet, Vandoren (just went to their website) only has this "line" on the V12 and "Traditional" reeds, not the 56. So there you go.

Hmmm. I thought it'd be easy to find a "reed nomenclature" chart, out there. Interesting that neither Vandoren.com or Ricoreeds.com seem to have one.

[pete]

Ah. Here we go. (http://www.tcnj.edu/~mckinney/the%20reed.htm)

It's the line that's cut on the aforementioned reeds between the vamp and the stock.

[Roger Aldridge]

Steve,

Vandoren Klassik has my vote.

When I first tried the Klassik it completely destroyed the preconceptions I had about a string ligature....that it would be difficult to use, that it would darken or have a muting effect on my sound. A classical clarinet buddy of mine recommended the Klassik to me. So, I tried it on clarinet and was amazed at how my sound was actually bigger, more vibrant, and had a greater amount of projection with the Klassik string ligature. Being deeply impressed with the Klassik on clarinet, I got an alto saxophone version of the Klassik (from 1stopclarinet.com) and happily discovered that it expanded enough to easily fit my Morgan 6C tenor mouthpiece. I was equally happy with the Klassik on tenor. No question about it, I'm happier with the Klassik than with any of the metal ligs I've used over the years.

I've been curious about WHY Klassik works like it does. It's my theory that string does not inhibit the vibrations of the reed and mouthpiece in the way metal or fabric does.

Now, Vandoren needs to make a Klassik for bass clarinet!

PS, I've not had any problems with the Klassik stretching. After I play, I put my Klassik back on the wooden plug it came on with the ligature cap.

Roger

[SteveSklar]

Pete,
the metal lower double screw lig is original equipment with a 1970s Noblet clarinet. Nothing is busted, broken, bent et all. Like i said, I didn't even notice any squealing. It's not immediately visible to the ear .. it was very, very, very, very, very faint but still there.

it was gone after a change of ligs I'm not saying all double lower screw ligs are exactly the same - that was just my experience on one such lig of that nature.

[SteveSklar]

Roger,
With the Klassic i'm just nervous because I may switch between 10 mpcs in 20 minutes. That's not all the time, just sometimes. I plan on keeping the Klassic for those special occasions or long practice sessions.

[pete]

I'd actually like to try something like the Klassik, primarily because it's so 17th century. And it might just be "better".

[Roger Aldridge]

Steve,

Of course, the Klassik does not make sense to use when you're working on or testing mouthpieces and need to switch quickly. I'm speaking about for performances or even practice.

Roger

[Tony]

I'm using a nylon Luyben model. Screws are on the top. The lig has 4 posts that pin the reed against the mpc.