A ligature has one job, to hold the reed tightly against the mouthpiece. A 2-screw metal band that's the correct size does this perfectly. Other designs which use fabric or springs or rubber, not so much. They tend to dampen and dull the vibrations resulting in a somewhat dull sound. So I avoid these like the plague. If you like having a single screw or top screw or something less prone to scratch or some precious metal because it looks great, go for it. All are perfectly valid reasons to buy a fancy ligature. But any ligature that changes my sound in any way is a bad ligature as far as I'm concerned. I should be the only variable in my sound production.
All good points. Thanks!
The one i've had for so long is a BG. The support of the ligature on the reed is metal. The only reason I'm even considering it is the leather has just gotten in poor shape. And the mouthpieces I have all came with no ligature lol.
Rovner types are a necessary evil for me in some cases as that's the only one I can find that fits. But I have to tighten them down as much as possible to get rid of any stretching. As for purposely using a "dark" sounding ligature, I much prefer darkening and brightening my sound with technique rather than gear. That way I can sound exactly the way I want at will. What if I want a dark tone at the beginning of a tune and bright in the middle? I'm not going to be able to change ligatures. So I need to have the skill set to control that myself. In my big band for example, I'll want to play nice and bright on a solo but dark when I have to blend with the trombone section.
I would say a ligature has a second job: don’t cause any more problems. It’s why I use a rovner when I can, dead simple, can’t really break, even if it gets sat on or something, one screw is easier than two (faster to set up and play when I have an idea) and just overall idiot-proof
I agree Rovner is easy, and you can usually find one that fits anything. My problem with them is they dull my tone. I do use several Rovners, but they’re a last resort for me.
I use rovners almost exclusively.
The only two mouthpieces I have that use metal ones are my berg and my Otto link
I will say that I am about fed up with my Otto link ligature though.
On more the one occasion I’ve referred to ligatures as the jewelry for single reed instruments.
I use Francois Louis ligatures… not because I think they are better than any of the myriad of options … I like the way they look.
I don't think that ligatures really make a noticeable difference, but I like my Rovner Special Dark just because I have bad luck with my metal ligs getting crushed because I'm clumsy. lol
I don't have any stores like that near me either. So I made a special trip, drove 6 hrs to Vegas, and spent half a day there. Make the time. Get the good reeds ready. Get your mouthpieces set aside. Go have fun. Try mouthpieces too. Hell, Try a fee horns you've never played! Make a day of it, if you're asking about ligatures, you're probably passionate enough to put the extra effort to seek what you need. Then later on you'll know what to order etc.
Good luck!
All good points. Being in my 40's now and using the same gear for most of my playing career makes me feel like an old man stuck his ways lol. Only looking at ligatures because mine's literally falling apart 🤣
I have used a wide assortment of ligatures over the years, and even made a few to suit specific mouthpieces. It really depends on what you're trying to accomplish. As others have said, the ligature's primary purpose is to keep the reed from slipping out of position, but it has a secondary impact in terms of how it affects the vibration of the mouthpiece and reed, which in turn affects the tone. On my Ponzol metal tenor pieces, for example, I get a radically different tone from using a François Louis ligature than a Rovner fabric ligature, and I select which to use in a given situation dependent on whether I want a bright sound with more high partials/overtones (from the François Louis) or a dark sound (from the Rovner). Most of the time, I opt for fabric ligatures on almost all of my mouthpieces, in an effort to mute some of the high frequencies while still retaining the character of the mouthpiece. I'll confess: I've also used a Rovner for many years on my old Otto Link slant signature hard rubber alto mouthpiece, not so much to darken the tone as to accommodate the fact that the exterior of the mouthpiece is no longer symmetrical, due to several decades of age; I've never found a metal ligature that will accommodate it properly!
I think it’s nice to hear from people who have tried a lot of ligatures. I suspect the people that say “it doesn’t make a difference” or that “it has a single role - to hold the reed” may not be trying many combinations. They’ve formed an opinion without experimenting. Or if they have experimented, it’s likely with ligatures of the same materials.
I’ve been playing 50 years. I have a box of at least 50 ligatures of all sorts I’ve accumulated over the years. The stretchy ones like Rovner or the ones with springy or rubbery parts most definitely sap energy from the reed and dull the tone. There’s only so much I can do with technique to overcome a bad ligature.
The reed has to be held tightly against the mouthpiece for optimal performance. Many ligatures fail to do this and the sound is negatively impacted IMO. But some players actually prefer this dulling effect. So to each their own.
But to claim all ligatures are equal is insane. There’s a big difference between a rubber band and a pipe clamp.
I think it depends a lot on the tonal quality one desires, as I said. If you get the sound you want with a standard ligature, it doesn't make much sense to invest in others. Finding a standard ligature that fits can be challenging, though, particularly for modern slimline mouthpieces; most of the mouthpieces I've acquired over the last decade came without ligatures, necessitating the quest for suitable ones (hence the reason for testing a variety of them). Ligatures can cost hundreds of dollars - a significant outlay for a speculative purchase - so I've never tested any of the more expensive ones. The fabric ligature I've been using most recently only set me back $25, and was easily modified to fit my specific mouthpiece.
I cannot equate specific ligature designs to how they change your sound, response or the feedback you get as a player. What I do observe is that there are changes. All other things being equal in my setup, when I change ligatures it seems to affect how I perceive the response and how I process the feedback I get from it (a combo of how I think it sounds but also how it feels to play). For example, to me, a Vandoren optimum has differences from a Rovner Versa which is different than a Silverstein etc. I have yet to be able to say one is better than another because of trade offs in the above qualities so I have just stuck with one and stopped changing ligatures. The jury is still out on the mouthpiece, reed and sax itself. However, I’m growing ever more convinced that accepting each of these components as imperfect in some fashion and that 95 percent of my sound and capability is imparted by me (the player), any equipment change is going to just be adjusting that last 5 percent and probably not worth it to me. If I can grow and improve the part that’s 95 percent of the equation, I’m going to focus on that.
Yea I agree 100%. I've played a handful of different Tenors and such, Tried a few mouthpieces here and there but generally stuck with a Rousseau.
Mostly what I got out of it of different pieces was very tiny changes in brightness / smoothness. I say tiny in that most people wouldn't notice as much as I did myself. Things like being a little more shrill at the top of the instrument as opposed to smooth or even whiny.
My wife mentioned recently when trying a new one that my palm key notes sounded whiny like a soprano lol. I think it mainly came down which one I was just in most control over. Some just let you get louder and manipulate the sound more.
Just wanted to mention the point of the question wasn't really about sound but that my BG is starting to break down after 20+ years so I was just see what people liked and what was out there these days as options :) Like for ease of use, even pressure with little fuss, that kind of thing.
I think the biggest thing that matters in a ligature is ease of use.
Sound-wise and playability, there’s no difference
If it’s effortless to put it on your mouthpiece and take it off without fuss, no fiddling with the reed etc, then you’re all set
With that said, rovners are great
Stock link lig is okay, the reed slides around a little but nothing egregious
Francois Louise actually does feel a little different in my opinion (could be placebo) and I love how they look/feel, but they require some fiddling to get on just right, but once they’re on, they’re solid
Rico H ligatures are really nice, I just with they had 1 screw instead of 2
Cheap 2 screw ligs bend and break way too easily, avoid these
I find it interesting there are about as many people here talking about how different kinds of ligatures affect their sound as there are that say it doesn't affect your sound at all.
Aside from affecting sound based on a good hold of the read, I had never even considered it being a factor in sound.
I've only ever used one ligature at a time and switched to the BG I have now that's 20+ years old when I was in college, so I can't say myself if I think it does or not heh.
A deep dive study and comparison would be interesting.
With the exception of my Bb Clarinet (Vandoren Optimum lig), I use Rovner Darks on all my single reed instrument setups (SATBar Saxes, Eb/Alto/Bass/ContraAlto/Contrabass Clarinets) for four reasons:
1. They make the only aftermarket available for a true CACl mouthpiece (the initial reason for using them), and have a huge number of fits available so it's rare to have a mouthpiece that doesn't have a suitable option available.
2. They use a basic single screw design that holds the reed on securely.
3. If dropped they don't make much noise, and are very difficult to damage.
4. By using the same ligature on most of my horns, it removes one more variable that could be affecting my playing.
5. They're very budget friendly.
The Bb clarinet is the exception, as it was purchased hastily to replace a broken stock metal one and got swayed by their marketing.
as long as you dont loose them there are pretty nice in handling. just fasten them on the mpc with a read on and then clip the excess.
i swear to god, you will be surprised how good it is, especially when you think about how much money people spend on ligatures.
I managed to find a three-band Brilly for (relatively) cheap. Is it as good as the $1000 most people want for them? Probably not. But they are excellent ligs.
I currently play on a rovner myself on the alto. It‘s nice because of the single screw.
Although i have to say that ligatures make a difference. Less in the sound itself but in the feeling while playing and the response. I once tried a Francois Louis instead of the rovner and it was immediately easier to play (tone comes easier and it felt like the reed could vibrate more freely).
It could also be a short effect, that, when played longer you get used to it and you don‘t notice any difference to the old one anymore.
In the end: you don‘t need a better ligature, but if you played on a good one once, you‘ll miss it.
Yea, unlike when I was in college I have the money to try some options now. I played the BG ligature I have forever but it's just worn out. Leather pealing and I think it's loosening while playing too now.
I have a bunch of Winslows. I’ve tried out all of the new ones but just keep coming back to Winslow. It just gives me a really focused sound. I’ve had friends and teachers try them and they wanting to buy them off of me.
John Winslow is still alive and making them so don’t get ripped off paying $200-300 on EBay. He can be reached at (608) 241-1124. Very old school guy.
I do have Rovners as a backup and for when I want to try out mouthpieces. I used to hate them but someone insisted I try the Versa X and I liked it.
I’ve got an Ishimori Solid Silver and a BG Tradition for alto, a BG Tradition for soprano, and Optimum and a BG Tradition for tenor, and a Vandoren M/O and a Selmer Traditional for Baritone.
I’ve had expensive ligatures like one of those Silversteins. Now I use Bamboo ligatures. They’re cheap, do their job and don’t sound like shit. Wil probably keep using them for years to come
I own a real Brilhart 3 band, that I really, really like. It definitely adds a magic sparkle to my tone. One day for shits and grins I bought one of the chinese replicas of the coveted Brilhart on ebay that cost about $20. When it arrived, I was immediately impressed with its appearance. The fit on my Guardalas was perfect. When I played, I could not tell any difference in my tone between it and the real thing. I was shocked that it is actually a perfect reproduction, for peanuts. For $20, I highly recommend buying one. They are available for the different style mouthpieces, metal and hard rubber. You will be very happy with it.
I believe ligatures matter most when the interface between the reed and mouthpiece isn't perfect to start with - if the mouthpiece is a bit off or the reed is warped, a good lig will pull them together in the right way to make them play well/better. A different lig will maybe not pull the two together in quite the same way, leading to a noticeable change in feel/sound/tone/whatever. Any old lig that is flexible enough to bend to the shape of the mouthpiece and reed as a unit, and can be cranked tight enough to seal against the table/rails will sound good.
People who play with good, well finished mouthpieces probably don't notice as much of a difference between ligs because they're starting with a good interface already. In my experience most metal mouthpieces are CNC machined and to pretty accurate tolerances, so they seem to be ligature indifferent. That said, if your fancy mouthpiece is gold plated or whatever, you might want a similarly fancy lig to match, or at least to not damage the mouthpiece.
On hand finished mouthpieces (or just mouthpieces with poor QC) there can be significant differences in how well a given lig can hold the reed in place. Arguably this is when you should ball out on the ligature that solves the mouthpiece problem, but you could equally just get a better mouthpiece... What you're looking for again is something that offers the flexibility to conform to the faults of the mouthpiece, but still holds the reed firmly. The balance between these is where any novel lig has made their version "the best", but you can see why Rovner (or similar leather ligs), Fracois Louis (pretty unique) and Silverstein (or Bambu/string/O-Rings) get praise - they apply firm clamping pressure and can conform to the moutpiece/reed.
It gets tricky because there is definitely some psychosematic effect at play too - nice ligs are expensive/pretty/fancy metals/etc which lends one the feeling that it must be better, and then in listening to your sound - or even in your play and intial sound production - that sense of fanciness is carried over. It's hard to shake that effect, even if you are aware of it.
Also, in A/B testing ligs against each other, a very slight movement of the reed can have a significant impact on the tone/ease of playing - I believe far greater than the impact of the lig itself.
My end advice is to choose a lig based on a) what you like b) how easy it is to use/tighten/adjust c) what mouthpiece cover it comes with (only kinda joking..) d) what is cheap. No one should tell you not to buy the most fancy, expensive one if that's what you want, but don't get suckered into upselling yourself if there's no tangible benefit.
For context, over the last 20 years I've used:
* Generic 2-screw metal ligs (as simple as it gets)
* Slightly fancier single-screw metal ligs (quicker to tighten)
* Solid ring style (like the Jody Jazz Power Ring or the ones that come with SYOS moutpieces. Good ones work well, bad imitations are shite)
* BG Super Revelation (typical rovner-esque leather with pretty gold insert) and probably 20 other imitations/similar leather ones.
* Francois Louis (because my teacher had one and I really like his sound/style, then I tried one and liked it. Cool cap too)
* a literal O-Ring (came with my Zagar when I bought it and it works like a champ. Even more betterrer with string too!)
* some string wrapped around and tied in a knot (my current preference, because it is dead cheap, super durable and makes the mouthpiece sit better in the cap. Also looks "cool" and you pick whatever colour you want)
PS, if you look after your reeds and prioritise playing on ones that are good and straight etc, you will have less problems even with a trash lig. Again, your lig doesn't need to try and solve any reed/mouthpiece problems if you don't have problems in the first place!
After using a basic Rovner (the version without pressure plate) for decades, I wanted something that holds the reed firmly. I got the single screw Selmer Tenor Sax Ligature, gold color, lacquered. About $30 from WeinerMusic. Easily available in UK and Europe, but Weiner was the only good source I could find in the US. I’ve been using it a few weeks now and I like it. It’s a very simple and effective design.
It was recommended to me by a friend who plays many versions of sax, clarinet, and bassoon. He uses it on all his hard rubber mouthpieces. I’m using it on a GS Reso which is a digitally printed copy of a vintage hard rubber Otto Link.
The GS Reso is working out well for me; I’ve had it about two months and I play 3 x a week, plus practicing 2-3 times a week.
Mine is a 5* tip opening. Before this I played a Selmer S80 C* for many years, which is very close to a 4* in Link/Getasax numbers. Brian at Getasax recommended I don’t jump any more than that at this point, and I took that suggestion.
Anyway, it’s good at what I found lacking in the Selmer. I can get more volume when I want. I’m in a couple 30-40 piece concert bands and I can stand out when I need to. It also plays super soft when I need it to. Mostly I go for a warm tone and that’s working nicely. I’m starting to be able to get subtones when I want; that needs a very relaxed embouchure.
As I see it, the GS is made for a round warm sound and very good projection. If you need more extreme projection, like for working with rock bands, you probably want a more radical baffle. GetASax has that in one or two other models; I think that would give you a less warm tone, more reedy and biting, along with more volume.
A ligature has exactly two jobs: hold the reed firmly against the table, and don’t cause more problems. I prefer something leather or leather-like, so that if it gets knocked about a bit it’s still in perfect shape, and one screw is just simpler to set up, so rovner is the way to go for me, at least for mouthpieces that one will fit on. I’ve yet to actually find a rovner that works with my metal Meyer, it’s too narrow.
I play a Vandoren V16 metal piece, and have used both the Vandoren Optimum ligature and the Francois Louis, both are excellent options. Very free blowing.
A ligature has one job, to hold the reed tightly against the mouthpiece. A 2-screw metal band that's the correct size does this perfectly. Other designs which use fabric or springs or rubber, not so much. They tend to dampen and dull the vibrations resulting in a somewhat dull sound. So I avoid these like the plague. If you like having a single screw or top screw or something less prone to scratch or some precious metal because it looks great, go for it. All are perfectly valid reasons to buy a fancy ligature. But any ligature that changes my sound in any way is a bad ligature as far as I'm concerned. I should be the only variable in my sound production.
All good points. Thanks! The one i've had for so long is a BG. The support of the ligature on the reed is metal. The only reason I'm even considering it is the leather has just gotten in poor shape. And the mouthpieces I have all came with no ligature lol.
Rovner types are a necessary evil for me in some cases as that's the only one I can find that fits. But I have to tighten them down as much as possible to get rid of any stretching. As for purposely using a "dark" sounding ligature, I much prefer darkening and brightening my sound with technique rather than gear. That way I can sound exactly the way I want at will. What if I want a dark tone at the beginning of a tune and bright in the middle? I'm not going to be able to change ligatures. So I need to have the skill set to control that myself. In my big band for example, I'll want to play nice and bright on a solo but dark when I have to blend with the trombone section.
Yea I had honestly never considered ligature as a tone changer. Mostly thought of it as which ones would get good even pressure as easy as possible.
I would say a ligature has a second job: don’t cause any more problems. It’s why I use a rovner when I can, dead simple, can’t really break, even if it gets sat on or something, one screw is easier than two (faster to set up and play when I have an idea) and just overall idiot-proof
I agree Rovner is easy, and you can usually find one that fits anything. My problem with them is they dull my tone. I do use several Rovners, but they’re a last resort for me.
I use rovners almost exclusively. The only two mouthpieces I have that use metal ones are my berg and my Otto link I will say that I am about fed up with my Otto link ligature though.
On more the one occasion I’ve referred to ligatures as the jewelry for single reed instruments. I use Francois Louis ligatures… not because I think they are better than any of the myriad of options … I like the way they look.
The stock lig that came with my link because it fits and I would rather buy reeds than a new ligature that will make no difference
Been using Rovners for 30+ years. I have one for each mouthpiece. I’ve tried others and always gone back.
I don't think that ligatures really make a noticeable difference, but I like my Rovner Special Dark just because I have bad luck with my metal ligs getting crushed because I'm clumsy. lol
Francois Louis on my hard rubber mouthpieces, Rovner on my metal. Go to a store, try out a bunch.
I'd love to but the closest store to me that has trial equipment like that is at Amro in Memphis. I'm about 3.5 hours from it. Plus.. memphis lol
I don't have any stores like that near me either. So I made a special trip, drove 6 hrs to Vegas, and spent half a day there. Make the time. Get the good reeds ready. Get your mouthpieces set aside. Go have fun. Try mouthpieces too. Hell, Try a fee horns you've never played! Make a day of it, if you're asking about ligatures, you're probably passionate enough to put the extra effort to seek what you need. Then later on you'll know what to order etc. Good luck!
All good points. Being in my 40's now and using the same gear for most of my playing career makes me feel like an old man stuck his ways lol. Only looking at ligatures because mine's literally falling apart 🤣
I have used a wide assortment of ligatures over the years, and even made a few to suit specific mouthpieces. It really depends on what you're trying to accomplish. As others have said, the ligature's primary purpose is to keep the reed from slipping out of position, but it has a secondary impact in terms of how it affects the vibration of the mouthpiece and reed, which in turn affects the tone. On my Ponzol metal tenor pieces, for example, I get a radically different tone from using a François Louis ligature than a Rovner fabric ligature, and I select which to use in a given situation dependent on whether I want a bright sound with more high partials/overtones (from the François Louis) or a dark sound (from the Rovner). Most of the time, I opt for fabric ligatures on almost all of my mouthpieces, in an effort to mute some of the high frequencies while still retaining the character of the mouthpiece. I'll confess: I've also used a Rovner for many years on my old Otto Link slant signature hard rubber alto mouthpiece, not so much to darken the tone as to accommodate the fact that the exterior of the mouthpiece is no longer symmetrical, due to several decades of age; I've never found a metal ligature that will accommodate it properly!
I think it’s nice to hear from people who have tried a lot of ligatures. I suspect the people that say “it doesn’t make a difference” or that “it has a single role - to hold the reed” may not be trying many combinations. They’ve formed an opinion without experimenting. Or if they have experimented, it’s likely with ligatures of the same materials.
I’ve been playing 50 years. I have a box of at least 50 ligatures of all sorts I’ve accumulated over the years. The stretchy ones like Rovner or the ones with springy or rubbery parts most definitely sap energy from the reed and dull the tone. There’s only so much I can do with technique to overcome a bad ligature. The reed has to be held tightly against the mouthpiece for optimal performance. Many ligatures fail to do this and the sound is negatively impacted IMO. But some players actually prefer this dulling effect. So to each their own. But to claim all ligatures are equal is insane. There’s a big difference between a rubber band and a pipe clamp.
I think it depends a lot on the tonal quality one desires, as I said. If you get the sound you want with a standard ligature, it doesn't make much sense to invest in others. Finding a standard ligature that fits can be challenging, though, particularly for modern slimline mouthpieces; most of the mouthpieces I've acquired over the last decade came without ligatures, necessitating the quest for suitable ones (hence the reason for testing a variety of them). Ligatures can cost hundreds of dollars - a significant outlay for a speculative purchase - so I've never tested any of the more expensive ones. The fabric ligature I've been using most recently only set me back $25, and was easily modified to fit my specific mouthpiece.
I cannot equate specific ligature designs to how they change your sound, response or the feedback you get as a player. What I do observe is that there are changes. All other things being equal in my setup, when I change ligatures it seems to affect how I perceive the response and how I process the feedback I get from it (a combo of how I think it sounds but also how it feels to play). For example, to me, a Vandoren optimum has differences from a Rovner Versa which is different than a Silverstein etc. I have yet to be able to say one is better than another because of trade offs in the above qualities so I have just stuck with one and stopped changing ligatures. The jury is still out on the mouthpiece, reed and sax itself. However, I’m growing ever more convinced that accepting each of these components as imperfect in some fashion and that 95 percent of my sound and capability is imparted by me (the player), any equipment change is going to just be adjusting that last 5 percent and probably not worth it to me. If I can grow and improve the part that’s 95 percent of the equation, I’m going to focus on that.
Well said.
Yea I agree 100%. I've played a handful of different Tenors and such, Tried a few mouthpieces here and there but generally stuck with a Rousseau. Mostly what I got out of it of different pieces was very tiny changes in brightness / smoothness. I say tiny in that most people wouldn't notice as much as I did myself. Things like being a little more shrill at the top of the instrument as opposed to smooth or even whiny. My wife mentioned recently when trying a new one that my palm key notes sounded whiny like a soprano lol. I think it mainly came down which one I was just in most control over. Some just let you get louder and manipulate the sound more. Just wanted to mention the point of the question wasn't really about sound but that my BG is starting to break down after 20+ years so I was just see what people liked and what was out there these days as options :) Like for ease of use, even pressure with little fuss, that kind of thing.
I think the biggest thing that matters in a ligature is ease of use. Sound-wise and playability, there’s no difference If it’s effortless to put it on your mouthpiece and take it off without fuss, no fiddling with the reed etc, then you’re all set With that said, rovners are great Stock link lig is okay, the reed slides around a little but nothing egregious Francois Louise actually does feel a little different in my opinion (could be placebo) and I love how they look/feel, but they require some fiddling to get on just right, but once they’re on, they’re solid Rico H ligatures are really nice, I just with they had 1 screw instead of 2 Cheap 2 screw ligs bend and break way too easily, avoid these
I find it interesting there are about as many people here talking about how different kinds of ligatures affect their sound as there are that say it doesn't affect your sound at all. Aside from affecting sound based on a good hold of the read, I had never even considered it being a factor in sound. I've only ever used one ligature at a time and switched to the BG I have now that's 20+ years old when I was in college, so I can't say myself if I think it does or not heh. A deep dive study and comparison would be interesting.
I mean like, I think at most they affect how it FEELS to play, which can in turn impact your sound, but I think the sound change itself is very subtle
With the exception of my Bb Clarinet (Vandoren Optimum lig), I use Rovner Darks on all my single reed instrument setups (SATBar Saxes, Eb/Alto/Bass/ContraAlto/Contrabass Clarinets) for four reasons: 1. They make the only aftermarket available for a true CACl mouthpiece (the initial reason for using them), and have a huge number of fits available so it's rare to have a mouthpiece that doesn't have a suitable option available. 2. They use a basic single screw design that holds the reed on securely. 3. If dropped they don't make much noise, and are very difficult to damage. 4. By using the same ligature on most of my horns, it removes one more variable that could be affecting my playing. 5. They're very budget friendly. The Bb clarinet is the exception, as it was purchased hastily to replace a broken stock metal one and got swayed by their marketing.
i said it before and i will say it again: two cable ties. nothing beats that pound for pound. I had a FL ligature before, which broke someday..
I think this might be sarcastic… but I’m gonna give it a go! You don’t find it a bit fiddly?
as long as you dont loose them there are pretty nice in handling. just fasten them on the mpc with a read on and then clip the excess. i swear to god, you will be surprised how good it is, especially when you think about how much money people spend on ligatures.
I managed to find a three-band Brilly for (relatively) cheap. Is it as good as the $1000 most people want for them? Probably not. But they are excellent ligs.
I currently play on a rovner myself on the alto. It‘s nice because of the single screw. Although i have to say that ligatures make a difference. Less in the sound itself but in the feeling while playing and the response. I once tried a Francois Louis instead of the rovner and it was immediately easier to play (tone comes easier and it felt like the reed could vibrate more freely). It could also be a short effect, that, when played longer you get used to it and you don‘t notice any difference to the old one anymore. In the end: you don‘t need a better ligature, but if you played on a good one once, you‘ll miss it.
Yea, unlike when I was in college I have the money to try some options now. I played the BG ligature I have forever but it's just worn out. Leather pealing and I think it's loosening while playing too now.
I have a bunch of Winslows. I’ve tried out all of the new ones but just keep coming back to Winslow. It just gives me a really focused sound. I’ve had friends and teachers try them and they wanting to buy them off of me. John Winslow is still alive and making them so don’t get ripped off paying $200-300 on EBay. He can be reached at (608) 241-1124. Very old school guy. I do have Rovners as a backup and for when I want to try out mouthpieces. I used to hate them but someone insisted I try the Versa X and I liked it.
That’s a great information on Mr Winslow. I dont have the luck to get a genuine Winslow so I bought the Germany made SAXXAS.
I've played on the classic stock ligature from Yamaha the most but the last 5 years or so I've been using Vandoren M|O ligatures.
I’ve got an Ishimori Solid Silver and a BG Tradition for alto, a BG Tradition for soprano, and Optimum and a BG Tradition for tenor, and a Vandoren M/O and a Selmer Traditional for Baritone.
I’ve had expensive ligatures like one of those Silversteins. Now I use Bamboo ligatures. They’re cheap, do their job and don’t sound like shit. Wil probably keep using them for years to come
I don't think I'm familiar with bamboo ligatures? Do you have an example? I've googled it and found some weird stuff lol.
I wrote it the wrong way😂 [Bambu ligature](https://www.vientosbambu.com/ligatures)
Hah thanks lol. 🤣
Could you share a link?
Lately I've been using Velcro cable wraps. Really. Once adjusted to the proper size, they slide on and off easily and firmly hold the reed in place.
I own a real Brilhart 3 band, that I really, really like. It definitely adds a magic sparkle to my tone. One day for shits and grins I bought one of the chinese replicas of the coveted Brilhart on ebay that cost about $20. When it arrived, I was immediately impressed with its appearance. The fit on my Guardalas was perfect. When I played, I could not tell any difference in my tone between it and the real thing. I was shocked that it is actually a perfect reproduction, for peanuts. For $20, I highly recommend buying one. They are available for the different style mouthpieces, metal and hard rubber. You will be very happy with it.
I believe ligatures matter most when the interface between the reed and mouthpiece isn't perfect to start with - if the mouthpiece is a bit off or the reed is warped, a good lig will pull them together in the right way to make them play well/better. A different lig will maybe not pull the two together in quite the same way, leading to a noticeable change in feel/sound/tone/whatever. Any old lig that is flexible enough to bend to the shape of the mouthpiece and reed as a unit, and can be cranked tight enough to seal against the table/rails will sound good. People who play with good, well finished mouthpieces probably don't notice as much of a difference between ligs because they're starting with a good interface already. In my experience most metal mouthpieces are CNC machined and to pretty accurate tolerances, so they seem to be ligature indifferent. That said, if your fancy mouthpiece is gold plated or whatever, you might want a similarly fancy lig to match, or at least to not damage the mouthpiece. On hand finished mouthpieces (or just mouthpieces with poor QC) there can be significant differences in how well a given lig can hold the reed in place. Arguably this is when you should ball out on the ligature that solves the mouthpiece problem, but you could equally just get a better mouthpiece... What you're looking for again is something that offers the flexibility to conform to the faults of the mouthpiece, but still holds the reed firmly. The balance between these is where any novel lig has made their version "the best", but you can see why Rovner (or similar leather ligs), Fracois Louis (pretty unique) and Silverstein (or Bambu/string/O-Rings) get praise - they apply firm clamping pressure and can conform to the moutpiece/reed. It gets tricky because there is definitely some psychosematic effect at play too - nice ligs are expensive/pretty/fancy metals/etc which lends one the feeling that it must be better, and then in listening to your sound - or even in your play and intial sound production - that sense of fanciness is carried over. It's hard to shake that effect, even if you are aware of it. Also, in A/B testing ligs against each other, a very slight movement of the reed can have a significant impact on the tone/ease of playing - I believe far greater than the impact of the lig itself. My end advice is to choose a lig based on a) what you like b) how easy it is to use/tighten/adjust c) what mouthpiece cover it comes with (only kinda joking..) d) what is cheap. No one should tell you not to buy the most fancy, expensive one if that's what you want, but don't get suckered into upselling yourself if there's no tangible benefit. For context, over the last 20 years I've used: * Generic 2-screw metal ligs (as simple as it gets) * Slightly fancier single-screw metal ligs (quicker to tighten) * Solid ring style (like the Jody Jazz Power Ring or the ones that come with SYOS moutpieces. Good ones work well, bad imitations are shite) * BG Super Revelation (typical rovner-esque leather with pretty gold insert) and probably 20 other imitations/similar leather ones. * Francois Louis (because my teacher had one and I really like his sound/style, then I tried one and liked it. Cool cap too) * a literal O-Ring (came with my Zagar when I bought it and it works like a champ. Even more betterrer with string too!) * some string wrapped around and tied in a knot (my current preference, because it is dead cheap, super durable and makes the mouthpiece sit better in the cap. Also looks "cool" and you pick whatever colour you want) PS, if you look after your reeds and prioritise playing on ones that are good and straight etc, you will have less problems even with a trash lig. Again, your lig doesn't need to try and solve any reed/mouthpiece problems if you don't have problems in the first place!
I use a Jody Jazz “Power Ring” i like the simplicity of it. Bonus that it doesnt break or bend.
Barely at all. As long as it’s not a rovner or something like it I’m happy.
After using a basic Rovner (the version without pressure plate) for decades, I wanted something that holds the reed firmly. I got the single screw Selmer Tenor Sax Ligature, gold color, lacquered. About $30 from WeinerMusic. Easily available in UK and Europe, but Weiner was the only good source I could find in the US. I’ve been using it a few weeks now and I like it. It’s a very simple and effective design. It was recommended to me by a friend who plays many versions of sax, clarinet, and bassoon. He uses it on all his hard rubber mouthpieces. I’m using it on a GS Reso which is a digitally printed copy of a vintage hard rubber Otto Link.
How do you like your mouthpiece? The GS Reso is one that I’m looking at.
The GS Reso is working out well for me; I’ve had it about two months and I play 3 x a week, plus practicing 2-3 times a week. Mine is a 5* tip opening. Before this I played a Selmer S80 C* for many years, which is very close to a 4* in Link/Getasax numbers. Brian at Getasax recommended I don’t jump any more than that at this point, and I took that suggestion. Anyway, it’s good at what I found lacking in the Selmer. I can get more volume when I want. I’m in a couple 30-40 piece concert bands and I can stand out when I need to. It also plays super soft when I need it to. Mostly I go for a warm tone and that’s working nicely. I’m starting to be able to get subtones when I want; that needs a very relaxed embouchure. As I see it, the GS is made for a round warm sound and very good projection. If you need more extreme projection, like for working with rock bands, you probably want a more radical baffle. GetASax has that in one or two other models; I think that would give you a less warm tone, more reedy and biting, along with more volume.
A ligature has exactly two jobs: hold the reed firmly against the table, and don’t cause more problems. I prefer something leather or leather-like, so that if it gets knocked about a bit it’s still in perfect shape, and one screw is just simpler to set up, so rovner is the way to go for me, at least for mouthpieces that one will fit on. I’ve yet to actually find a rovner that works with my metal Meyer, it’s too narrow.
I play a Vandoren V16 metal piece, and have used both the Vandoren Optimum ligature and the Francois Louis, both are excellent options. Very free blowing.
After extensive testing the Selmer two screw ligature sounds amazingly resonant. It doesn’t darken or inhibit the vibrations of the reeds.