...und Blattschrauben machen doch einen Unterschied!

Bei der menschlichen Anatomie mach ich halt !
Es gibt da welche die einen besonders grossen "Resonanzkörper" um das Mundstück herum haben....

 

Und wenn der Schädel brummt, ist das nicht zwangsläufig schlecht...

Sorry für O.T.

 

Hier gibt es von Mike Lowenstein den ultimativen Blattschraubentest von Vandoren über den SChnürsenkel bis zur Klammer der Heimwerkerholzklemme.
Ja, eine Bassklarinette ist kein Saxophon, aber der Meister selber sagt ja auch zum Einstieg, dass das Ergebnis übertragbar ist.

https://www.youtube.com/watch?v=6ghMCiV8hTg

 

Hallo philipp_b, der Blattschraubentest bestätigt meine Erfahrungen. Die Soundunterschiede zwischen den einzelnen Schrauben sind so minimal, dass sie m.E. vernachlässigbar sind.

Wichtiger ist die Ansprache. Diese wiederum ist ein wesentliches Element, um sich beim spielen auch wohl zu fühlen.

Bezüglich der Ansprache gibt´s nach meinen Erfahrungen sehr deutliche Unterschiede zwischen den einzelnen Befestigungsmöglichkeiten.

Einfach ausprobieren und das nutzen, was einem persönlich am besten taugt.

GadS Bernd

 

Moin,

da ich gestern auf die Ausführungen dieses Kollegen gestoßen bin, ich zitiere:

"....OK, you asked for it!

Ligature Choices

I've tested ligatures extensively, including recording them in performance halls. I'm looking for a vibrant, dark, warm, well projected tone with clear articulation on all clarinets and saxophones. I tend to favor the lower partials, but there must be enough presence of upper partials to give a contained ringing sound and project well.

The testing has led me to believe that metal projects better than fabric, leather, or string and those that have two vertical rails on the reed surface with nothing contacting the edges of the reed, and minimal mouthpiece contact are the best, at least for me. Fabric ligatures and some metal ligatures like the Vandoren Optimum have too much material in contact with the mouthpiece, dampening the tone, in my opinion (and the opinion of those who have listened "blind" to the recordings I have made.)

Beware! Any ligature that has minimal contact with the mouthpiece has issues with slipping on the mouthpiece, especially in an orchestral situation where one is shifting the mouthpiece between A, Bb and C clarinets. A thin mouthpiece patch on the back of the mouthpiece almost totally obviates the problem, but not with all ligatures.

“Two Rail” Ligature Reviews

(Note, the site only allows 5 pictures to be attached, but you can "google image" any of these.

Daniel Bonade Inverted


The legendary clarinetist and teacher was the first to design the “two rail ligature,” but unfortunately over a few months of playing, the metal weakens and the circumference of the ligature starts to contact the edges of the reed with a noticeable dampening of the sound. Robert Marcellus, Bonade’s most influential student, pioneered cutting out the center part of the ligature so that there are four shorter rails. This gives the reed more freedom and expression, but at the expense of seating it firmly, since the metal is a little soft, so one loses a little bit of the focused ring in the sound. Articulation is improved a little. These are fine ligatures but need to be replaced once or twice per year, as soon as the metal “tires” and starts to contact the edges of the reed.

BG Super Revelation



Amongst the best of the fabric ligatures. Smooth and warm with good projection, but a little dampened by the fabric constricting the mouthpiece.

Rovner Versa

This was originally the “Eddie Daniels” model. It has two different plates, thick and thin, and can also be played without the plate at all. In addition, there are two “flaps” of fabric that can be pulled out from just under the edges of the plate and placed over the plate, so there are really six different setups. I don’t recommend pulling the fabric over the plate, as it just dampens the reed…very warm, but restricted upper partials and less projection. The thicker the plate, the darker the sound. I’ve found these ligatures good for jazz, with a thicker, slightly coarser and rougher sound, but still find the fabric dampens the vibration of the mouthpiece.

BG Traditional

One would think this ligature would work very well indeed. It’s modeled directly from the Bonade ligature and the metal never touches the edge of the reed. I don’t know why, but I’ve found it a little dull and stuffy on every instrument. That includes the gold plated version!

Vandoren Optimum

Great job by Vandoren. The plates are very easy to change and they are held loosely enough so that they will adapt to slightly uneven reeds. The “four point” plate will actually dig little holes into the stock of the reed and does not seat it that well on the mouthpiece table. Nice and warm, but lacking “ring” and clean articulation.
The “sideways” rails do not work at all in my opinion. They dampen the reed a lot. This is the same rail design as the Vandoren M/O ligatures. Vandoren’s promotional material says “Two small contact points secure the reed without dampening or restricting it’s natural vibrations.” I couldn’t disagree more. If you switch plates back and forth on the Optimum ligature you can form your own opinion. The plate to use, in my opinion, is the one with two vertical rails.
However, there is an awful lot of metal on this ligature and it seems to dampen the sound to me.

Rico H

This is a direct imitation of the vintage Harrison ligatures. It does have two rails, but they are joined in the middle…forming that letter H. A fine ligature, very warm, not quite as much ring, projection or clear articulation as two rails without the horizontal strip of metal. If a player’s sound is a little bright, this ligature will ameliorate that. It has the benefit of a very secure fit on the mouthpiece…although that does dampen the sound just a little. I use it on my Eb and D clarinet mouthpieces, as the ligatures that have less metal contact with those small mouthpieces tend to slip upwards as they are tightened.

Brancher


This is a lovely ligature, made by a jeweler. Beautiful workmanship, with no chance of any metal contacting the edges of the reed. One of the less “secure” fits on the mouthpiece though, and quite rigid, so it can be a little tough to fit on some larger mouthpieces such as bass clarinet and baritone saxophone. Wonderful center and ring to the sound and excellent articulation.

Francois Louis
Francois Louis.jpg

This ligature is available with stainless steel, rubber covered stainless steel and “pure brass” plates. Very secure on the mouthpiece but with minimal metal contact. Really a revolutionary ligature, and saxophonists have embraced it. I find the stainless plate a little bright, and the heavy brass plate (while very dark and warm) restricts upper partials and limits projection, so I would recommend the rubber covered stainless plate. Terrific articulation. The brass plate for clarinet is not curved enough and the full plate contacts the reed with very obvious dampening of vibrations. However, the Wanne Enlightened Ligature silver plate can be cut and bent to fit clarinets and installed on this ligature, transforming it into one of the finest clarinet ligatures available. I’ve installed modified Wanne Silver plates on many of these ligatures and think it enhances their sound for all single reed instruments. More on this modification of the Wanne Silver plate in the next section.




Theo Wanne Enlightened Ligature

This excellent ligature has very minimal metal contact with the mouthpiece and is available with 6 different plate materials, all with distinct tones. I prefer the Silver plate for it’s combination of warmth and projection. The plate is held by one screw in the center so it will adapt to reed irregularities, as does the Francois Louis. The plate is 13 mm across and works better on all sizes of reeds when it is placed in a vise and bent to 11 mm so it is more concave and contacts the reed a little closer to the center. For clarinet, it needs to be trimmed and bent to 8 mm. Otherwise it contacts the edges of the reed, and dampens it quite dramatically. Here is a picture of some plate modifications. The ligature on the left is a Wanne clarinet ligature with the plate trimmed and then bent to 8 mm wide by Sandro Massullo. The ligature on the right is a Wanne soprano ligature with a silver plate that I bent to 11 mm wide. The plate at the front of the picture is an unmodified plate, still 13 mm wide.

wanne clar-sop-plate.JPG








Peter Spriggs Floating Rail Ligature
Spriggs Floating Rail.jpg

This ligature has two rails that have pivot points in the center, so that they are independent of each other. The rails are slightly concave but flattend on the ends whter they meet the reed for just 4 mm. Wonderful warmth, clarity, ring and projection. Excellent articulation. Made only for soprano clarinet and bass clarinet. While the next ligature is my absolute favorite, the Spriggs is more secure when changing mouthpieces between differently pitched clarinets in orchestra, so it is my first choice for that situation.

Rovner Platinum
Rovner Platinum.jpg

My current favorite ligature, the Rovner Platinum, has a fair amount of metal in contact with the mouthpiece, but the platinum is so thin and lightweight that it allows the mouthpiece vibrate more than any other ligature. The “rails” that touch the reed are strips of hard rubber. They seat the reed very well indeed and the flexibility allows for the best legato I have ever heard and enhances response from the low end of all instruments. Unfortunately, the ligature is so slippery that it is hard to adjust tuning on saxophones without moving it. I still find it is worth it! However, the ligature will never work for an orchestral clarinetist, as it is impossible to move the mouthpiece from A to Bb to C clarinets without the ligature slipping. I still use the Spriggs ligature for orchestra work due to this.

My touchstone for beautiful sound and acoustical engineering is Vancouver’s Morrie Backun, who in my opinion is this century’s Theobald Boehm. When I mentioned the Rovner Platinum to him after I had switched to them, he had just returned from exhibiting his clarinets in Germany, where he had heard this new ligature. He instantly said “Best sounding ligature in the world, but you could never use them in orchestra.”

Sympatico!

Superb artists use all of these ligatures, and I’ve kept all of them in my collection. I could play any of them happily. However, I do have my current favorites and I’ve given reasons why I don’t currently play some of these…but they are just my opinions.

......"

habe ich experimentiert, ob ich das in irgendeiner Form nachvollziehen kann, ob ich irgendwas bemerke.

Ich hab nicht vor, mir eine neue Klammer zu kaufen, hab aber eine für Tenor passende Rovner Platinum, eine Vandoren Optimum (mit der spiele ich normalerweise) und aus früheren Zeiten, als die nicht mehr so hip waren, eine Olegature (für 30 Dollar günstig erstanden).

Ich hab mal das TOTM-Lied gespielt und war neugierig, ob mir irgendwas auffällt.

Am Sax ist nichts drauf, ich hab es ein wenig lauter gedreht, damit man es besser erkennen kann, so da ein Unterschied sein sollte.

Ich beginne mit der Rovner Platinum, spiele dann das Thema beim zweiten Mal mit der Optimum mit den Längsrillen, nach der Pause (wenn es raufgeht und dann den Tonartwechsel) dann mit der Olegature bis zum letzten "Thema", wo ich wieder die Optimum verwende.

Wenn ich es mir so anhöre, empfinde ich schon ein "Soundkonzept" hinter den Klammern.
Da man aber leicht das Gras wachsen hört, lauscht doch mal rein und teilt mir Eure Meinung mit.
Ich werde das gleiche dann noch mal mit meinen Altklammern machen.

Mp3:
My Girl Ligs mp3

Wav:
My Girl Ligs

Danke, liebe Grüße,
Guenne

 

Moin,

da ich gestern auf die Ausführungen dieses Kollegen gestoßen bin, ich zitiere:

"....OK, you asked for it!

Ligature Choices

I've tested ligatures extensively, including recording them in performance halls. I'm looking for a vibrant, dark, warm, well projected tone with clear articulation on all clarinets and saxophones. I tend to favor the lower partials, but there must be enough presence of upper partials to give a contained ringing sound and project well.

The testing has led me to believe that metal projects better than fabric, leather, or string and those that have two vertical rails on the reed surface with nothing contacting the edges of the reed, and minimal mouthpiece contact are the best, at least for me. Fabric ligatures and some metal ligatures like the Vandoren Optimum have too much material in contact with the mouthpiece, dampening the tone, in my opinion (and the opinion of those who have listened "blind" to the recordings I have made.)

Beware! Any ligature that has minimal contact with the mouthpiece has issues with slipping on the mouthpiece, especially in an orchestral situation where one is shifting the mouthpiece between A, Bb and C clarinets. A thin mouthpiece patch on the back of the mouthpiece almost totally obviates the problem, but not with all ligatures.

“Two Rail” Ligature Reviews

(Note, the site only allows 5 pictures to be attached, but you can "google image" any of these.

Daniel Bonade Inverted


The legendary clarinetist and teacher was the first to design the “two rail ligature,” but unfortunately over a few months of playing, the metal weakens and the circumference of the ligature starts to contact the edges of the reed with a noticeable dampening of the sound. Robert Marcellus, Bonade’s most influential student, pioneered cutting out the center part of the ligature so that there are four shorter rails. This gives the reed more freedom and expression, but at the expense of seating it firmly, since the metal is a little soft, so one loses a little bit of the focused ring in the sound. Articulation is improved a little. These are fine ligatures but need to be replaced once or twice per year, as soon as the metal “tires” and starts to contact the edges of the reed.

BG Super Revelation



Amongst the best of the fabric ligatures. Smooth and warm with good projection, but a little dampened by the fabric constricting the mouthpiece.

Rovner Versa

This was originally the “Eddie Daniels” model. It has two different plates, thick and thin, and can also be played without the plate at all. In addition, there are two “flaps” of fabric that can be pulled out from just under the edges of the plate and placed over the plate, so there are really six different setups. I don’t recommend pulling the fabric over the plate, as it just dampens the reed…very warm, but restricted upper partials and less projection. The thicker the plate, the darker the sound. I’ve found these ligatures good for jazz, with a thicker, slightly coarser and rougher sound, but still find the fabric dampens the vibration of the mouthpiece.

BG Traditional

One would think this ligature would work very well indeed. It’s modeled directly from the Bonade ligature and the metal never touches the edge of the reed. I don’t know why, but I’ve found it a little dull and stuffy on every instrument. That includes the gold plated version!

Vandoren Optimum

Great job by Vandoren. The plates are very easy to change and they are held loosely enough so that they will adapt to slightly uneven reeds. The “four point” plate will actually dig little holes into the stock of the reed and does not seat it that well on the mouthpiece table. Nice and warm, but lacking “ring” and clean articulation.
The “sideways” rails do not work at all in my opinion. They dampen the reed a lot. This is the same rail design as the Vandoren M/O ligatures. Vandoren’s promotional material says “Two small contact points secure the reed without dampening or restricting it’s natural vibrations.” I couldn’t disagree more. If you switch plates back and forth on the Optimum ligature you can form your own opinion. The plate to use, in my opinion, is the one with two vertical rails.
However, there is an awful lot of metal on this ligature and it seems to dampen the sound to me.

Rico H

This is a direct imitation of the vintage Harrison ligatures. It does have two rails, but they are joined in the middle…forming that letter H. A fine ligature, very warm, not quite as much ring, projection or clear articulation as two rails without the horizontal strip of metal. If a player’s sound is a little bright, this ligature will ameliorate that. It has the benefit of a very secure fit on the mouthpiece…although that does dampen the sound just a little. I use it on my Eb and D clarinet mouthpieces, as the ligatures that have less metal contact with those small mouthpieces tend to slip upwards as they are tightened.

Brancher


This is a lovely ligature, made by a jeweler. Beautiful workmanship, with no chance of any metal contacting the edges of the reed. One of the less “secure” fits on the mouthpiece though, and quite rigid, so it can be a little tough to fit on some larger mouthpieces such as bass clarinet and baritone saxophone. Wonderful center and ring to the sound and excellent articulation.

Francois Louis
Francois Louis.jpg

This ligature is available with stainless steel, rubber covered stainless steel and “pure brass” plates. Very secure on the mouthpiece but with minimal metal contact. Really a revolutionary ligature, and saxophonists have embraced it. I find the stainless plate a little bright, and the heavy brass plate (while very dark and warm) restricts upper partials and limits projection, so I would recommend the rubber covered stainless plate. Terrific articulation. The brass plate for clarinet is not curved enough and the full plate contacts the reed with very obvious dampening of vibrations. However, the Wanne Enlightened Ligature silver plate can be cut and bent to fit clarinets and installed on this ligature, transforming it into one of the finest clarinet ligatures available. I’ve installed modified Wanne Silver plates on many of these ligatures and think it enhances their sound for all single reed instruments. More on this modification of the Wanne Silver plate in the next section.




Theo Wanne Enlightened Ligature

This excellent ligature has very minimal metal contact with the mouthpiece and is available with 6 different plate materials, all with distinct tones. I prefer the Silver plate for it’s combination of warmth and projection. The plate is held by one screw in the center so it will adapt to reed irregularities, as does the Francois Louis. The plate is 13 mm across and works better on all sizes of reeds when it is placed in a vise and bent to 11 mm so it is more concave and contacts the reed a little closer to the center. For clarinet, it needs to be trimmed and bent to 8 mm. Otherwise it contacts the edges of the reed, and dampens it quite dramatically. Here is a picture of some plate modifications. The ligature on the left is a Wanne clarinet ligature with the plate trimmed and then bent to 8 mm wide by Sandro Massullo. The ligature on the right is a Wanne soprano ligature with a silver plate that I bent to 11 mm wide. The plate at the front of the picture is an unmodified plate, still 13 mm wide.

wanne clar-sop-plate.JPG








Peter Spriggs Floating Rail Ligature
Spriggs Floating Rail.jpg

This ligature has two rails that have pivot points in the center, so that they are independent of each other. The rails are slightly concave but flattend on the ends whter they meet the reed for just 4 mm. Wonderful warmth, clarity, ring and projection. Excellent articulation. Made only for soprano clarinet and bass clarinet. While the next ligature is my absolute favorite, the Spriggs is more secure when changing mouthpieces between differently pitched clarinets in orchestra, so it is my first choice for that situation.

Rovner Platinum
Rovner Platinum.jpg

My current favorite ligature, the Rovner Platinum, has a fair amount of metal in contact with the mouthpiece, but the platinum is so thin and lightweight that it allows the mouthpiece vibrate more than any other ligature. The “rails” that touch the reed are strips of hard rubber. They seat the reed very well indeed and the flexibility allows for the best legato I have ever heard and enhances response from the low end of all instruments. Unfortunately, the ligature is so slippery that it is hard to adjust tuning on saxophones without moving it. I still find it is worth it! However, the ligature will never work for an orchestral clarinetist, as it is impossible to move the mouthpiece from A to Bb to C clarinets without the ligature slipping. I still use the Spriggs ligature for orchestra work due to this.

My touchstone for beautiful sound and acoustical engineering is Vancouver’s Morrie Backun, who in my opinion is this century’s Theobald Boehm. When I mentioned the Rovner Platinum to him after I had switched to them, he had just returned from exhibiting his clarinets in Germany, where he had heard this new ligature. He instantly said “Best sounding ligature in the world, but you could never use them in orchestra.”

Sympatico!

Superb artists use all of these ligatures, and I’ve kept all of them in my collection. I could play any of them happily. However, I do have my current favorites and I’ve given reasons why I don’t currently play some of these…but they are just my opinions.

......"

habe ich experimentiert, ob ich das in irgendeiner Form nachvollziehen kann, ob ich irgendwas bemerke.

Hier noch der Link:
Saxontheweb Posting #10

Ich hab nicht vor, mir eine neue Klammer zu kaufen, hab aber eine für Tenor passende Rovner Platinum, eine Vandoren Optimum (mit der spiele ich normalerweise) und aus früheren Zeiten, als die nicht mehr so hip waren, eine Olegature (für 30 Dollar günstig erstanden).

Ich hab mal das TOTM-Lied gespielt und war neugierig, ob mir irgendwas auffällt.

Am Sax ist nichts drauf, ich hab es ein wenig lauter gedreht, damit man es besser erkennen kann, so da ein Unterschied sein sollte.

Ich beginne mit der Rovner Platinum, spiele dann das Thema beim zweiten Mal mit der Optimum mit den Längsrillen, nach der Pause (wenn es raufgeht und dann den Tonartwechsel) dann mit der Olegature bis zum letzten "Thema", wo ich wieder die Optimum verwende.

Wenn ich es mir so anhöre, empfinde ich schon ein "Soundkonzept" hinter den Klammern.
Da man aber leicht das Gras wachsen hört, lauscht doch mal rein und teilt mir Eure Meinung mit.
Ich werde das gleiche dann noch mal mit meinen Altklammern machen.

Mp3:
My Girl Ligs mp3

Wav:
My Girl Ligs

Danke, liebe Grüße,
Guenne

 

Moin,

da ich gestern auf die Ausführungen dieses Kollegen gestoßen bin, ich zitiere:

"....OK, you asked for it!

Ligature Choices

I've tested ligatures extensively, including recording them in performance halls. I'm looking for a vibrant, dark, warm, well projected tone with clear articulation on all clarinets and saxophones. I tend to favor the lower partials, but there must be enough presence of upper partials to give a contained ringing sound and project well.

The testing has led me to believe that metal projects better than fabric, leather, or string and those that have two vertical rails on the reed surface with nothing contacting the edges of the reed, and minimal mouthpiece contact are the best, at least for me. Fabric ligatures and some metal ligatures like the Vandoren Optimum have too much material in contact with the mouthpiece, dampening the tone, in my opinion (and the opinion of those who have listened "blind" to the recordings I have made.)

Beware! Any ligature that has minimal contact with the mouthpiece has issues with slipping on the mouthpiece, especially in an orchestral situation where one is shifting the mouthpiece between A, Bb and C clarinets. A thin mouthpiece patch on the back of the mouthpiece almost totally obviates the problem, but not with all ligatures.

“Two Rail” Ligature Reviews

(Note, the site only allows 5 pictures to be attached, but you can "google image" any of these.

Daniel Bonade Inverted


The legendary clarinetist and teacher was the first to design the “two rail ligature,” but unfortunately over a few months of playing, the metal weakens and the circumference of the ligature starts to contact the edges of the reed with a noticeable dampening of the sound. Robert Marcellus, Bonade’s most influential student, pioneered cutting out the center part of the ligature so that there are four shorter rails. This gives the reed more freedom and expression, but at the expense of seating it firmly, since the metal is a little soft, so one loses a little bit of the focused ring in the sound. Articulation is improved a little. These are fine ligatures but need to be replaced once or twice per year, as soon as the metal “tires” and starts to contact the edges of the reed.

BG Super Revelation



Amongst the best of the fabric ligatures. Smooth and warm with good projection, but a little dampened by the fabric constricting the mouthpiece.

Rovner Versa

This was originally the “Eddie Daniels” model. It has two different plates, thick and thin, and can also be played without the plate at all. In addition, there are two “flaps” of fabric that can be pulled out from just under the edges of the plate and placed over the plate, so there are really six different setups. I don’t recommend pulling the fabric over the plate, as it just dampens the reed…very warm, but restricted upper partials and less projection. The thicker the plate, the darker the sound. I’ve found these ligatures good for jazz, with a thicker, slightly coarser and rougher sound, but still find the fabric dampens the vibration of the mouthpiece.

BG Traditional

One would think this ligature would work very well indeed. It’s modeled directly from the Bonade ligature and the metal never touches the edge of the reed. I don’t know why, but I’ve found it a little dull and stuffy on every instrument. That includes the gold plated version!

Vandoren Optimum

Great job by Vandoren. The plates are very easy to change and they are held loosely enough so that they will adapt to slightly uneven reeds. The “four point” plate will actually dig little holes into the stock of the reed and does not seat it that well on the mouthpiece table. Nice and warm, but lacking “ring” and clean articulation.
The “sideways” rails do not work at all in my opinion. They dampen the reed a lot. This is the same rail design as the Vandoren M/O ligatures. Vandoren’s promotional material says “Two small contact points secure the reed without dampening or restricting it’s natural vibrations.” I couldn’t disagree more. If you switch plates back and forth on the Optimum ligature you can form your own opinion. The plate to use, in my opinion, is the one with two vertical rails.
However, there is an awful lot of metal on this ligature and it seems to dampen the sound to me.

Rico H

This is a direct imitation of the vintage Harrison ligatures. It does have two rails, but they are joined in the middle…forming that letter H. A fine ligature, very warm, not quite as much ring, projection or clear articulation as two rails without the horizontal strip of metal. If a player’s sound is a little bright, this ligature will ameliorate that. It has the benefit of a very secure fit on the mouthpiece…although that does dampen the sound just a little. I use it on my Eb and D clarinet mouthpieces, as the ligatures that have less metal contact with those small mouthpieces tend to slip upwards as they are tightened.

Brancher


This is a lovely ligature, made by a jeweler. Beautiful workmanship, with no chance of any metal contacting the edges of the reed. One of the less “secure” fits on the mouthpiece though, and quite rigid, so it can be a little tough to fit on some larger mouthpieces such as bass clarinet and baritone saxophone. Wonderful center and ring to the sound and excellent articulation.

Francois Louis
Francois Louis.jpg

This ligature is available with stainless steel, rubber covered stainless steel and “pure brass” plates. Very secure on the mouthpiece but with minimal metal contact. Really a revolutionary ligature, and saxophonists have embraced it. I find the stainless plate a little bright, and the heavy brass plate (while very dark and warm) restricts upper partials and limits projection, so I would recommend the rubber covered stainless plate. Terrific articulation. The brass plate for clarinet is not curved enough and the full plate contacts the reed with very obvious dampening of vibrations. However, the Wanne Enlightened Ligature silver plate can be cut and bent to fit clarinets and installed on this ligature, transforming it into one of the finest clarinet ligatures available. I’ve installed modified Wanne Silver plates on many of these ligatures and think it enhances their sound for all single reed instruments. More on this modification of the Wanne Silver plate in the next section.




Theo Wanne Enlightened Ligature

This excellent ligature has very minimal metal contact with the mouthpiece and is available with 6 different plate materials, all with distinct tones. I prefer the Silver plate for it’s combination of warmth and projection. The plate is held by one screw in the center so it will adapt to reed irregularities, as does the Francois Louis. The plate is 13 mm across and works better on all sizes of reeds when it is placed in a vise and bent to 11 mm so it is more concave and contacts the reed a little closer to the center. For clarinet, it needs to be trimmed and bent to 8 mm. Otherwise it contacts the edges of the reed, and dampens it quite dramatically. Here is a picture of some plate modifications. The ligature on the left is a Wanne clarinet ligature with the plate trimmed and then bent to 8 mm wide by Sandro Massullo. The ligature on the right is a Wanne soprano ligature with a silver plate that I bent to 11 mm wide. The plate at the front of the picture is an unmodified plate, still 13 mm wide.

wanne clar-sop-plate.JPG








Peter Spriggs Floating Rail Ligature
Spriggs Floating Rail.jpg

This ligature has two rails that have pivot points in the center, so that they are independent of each other. The rails are slightly concave but flattend on the ends whter they meet the reed for just 4 mm. Wonderful warmth, clarity, ring and projection. Excellent articulation. Made only for soprano clarinet and bass clarinet. While the next ligature is my absolute favorite, the Spriggs is more secure when changing mouthpieces between differently pitched clarinets in orchestra, so it is my first choice for that situation.

Rovner Platinum
Rovner Platinum.jpg

My current favorite ligature, the Rovner Platinum, has a fair amount of metal in contact with the mouthpiece, but the platinum is so thin and lightweight that it allows the mouthpiece vibrate more than any other ligature. The “rails” that touch the reed are strips of hard rubber. They seat the reed very well indeed and the flexibility allows for the best legato I have ever heard and enhances response from the low end of all instruments. Unfortunately, the ligature is so slippery that it is hard to adjust tuning on saxophones without moving it. I still find it is worth it! However, the ligature will never work for an orchestral clarinetist, as it is impossible to move the mouthpiece from A to Bb to C clarinets without the ligature slipping. I still use the Spriggs ligature for orchestra work due to this.

My touchstone for beautiful sound and acoustical engineering is Vancouver’s Morrie Backun, who in my opinion is this century’s Theobald Boehm. When I mentioned the Rovner Platinum to him after I had switched to them, he had just returned from exhibiting his clarinets in Germany, where he had heard this new ligature. He instantly said “Best sounding ligature in the world, but you could never use them in orchestra.”

Sympatico!

Superb artists use all of these ligatures, and I’ve kept all of them in my collection. I could play any of them happily. However, I do have my current favorites and I’ve given reasons why I don’t currently play some of these…but they are just my opinions.

......"

habe ich experimentiert, ob ich das in irgendeiner Form nachvollziehen kann, ob ich irgendwas bemerke.

Hier noch der Link:
Saxontheweb Posting #10

Ich hab nicht vor, mir eine neue Klammer zu kaufen, hab aber eine für Tenor passende Rovner Platinum, eine Vandoren Optimum (mit der spiele ich normalerweise) und aus früheren Zeiten, als die nicht mehr so hip waren, eine Olegature (für 30 Dollar günstig erstanden).

Ich hab mal das TOTM-Lied gespielt und war neugierig, ob mir irgendwas auffällt.

Am Sax ist nichts drauf, ich hab es ein wenig lauter gedreht, damit man es besser erkennen kann, so da ein Unterschied sein sollte.

Ich beginne mit der Rovner Platinum, spiele dann das Thema beim zweiten Mal mit der Optimum mit den Längsrillen, nach der Pause (wenn es raufgeht und dann den Tonartwechsel) dann mit der Olegature bis zum letzten "Thema", wo ich wieder die Optimum verwende.

Wenn ich es mir so anhöre, empfinde ich schon ein "Soundkonzept" hinter den Klammern.
Da man aber leicht das Gras wachsen hört, lauscht doch mal rein und teilt mir Eure Meinung mit.
Ich werde das gleiche dann noch mal mit meinen Altklammern machen.

Mp3:
My Girl Ligs mp3

Wav:
My Girl Ligs

Danke, liebe Grüße,
Guenne

 

Moin,

hier noch die Altos.
Da es mir bei der Aufnahme mit dem integrierten Mic des Apogee beim Alt die Hufnägel aufgerollt hat, hab ich es mit dem Shure nochmal gemacht.
Trocken, natürlich.

Gelernt habe ich folgendes:
Es ändert sich nicht nur (sehr marginal) der Sound, sonder auch die Intonationstendenz, was ja irgendwie Sinn ergibt, wenn das Blatt unterschiedlich am MPC aufliegt. Oder irre ich mich?

Jedenfalls, hier das Dilemma mit Optimum, Selmer Blattschraube (1-Schraube, war bei meinem Concept dabei) und dann mit der Bronze Borgani (die mir am besten gefällt, und mir der ich auch den Gig heute spielen werde).
Die Optimums haben irgendwie sehr viel Körper, aber nach dem probieren heute bin ich fast geneigt den Ausführungen des Herrn von SOTW zuzustimmen.

Dilemma Ligs mp3
Dilemma Ligs wav

Übrigens, so wie vorher habe ich mir die Klammern so hingelegt, dass ich mich nicht wegbewegen musste, und das Blatt verblieb auch genau so auf dem MPC, wenn ich die Klammer gewechselt hab.

Liebe Grüße,
Guenne

 

Zitat: Ich beginne mit der Rovner Platinum, spiele dann das Thema beim zweiten Mal mit der Optimum mit den Längsrillen, nach der Pause (wenn es raufgeht und dann den Tonartwechsel) dann mit der Olegature bis zum letzten "Thema", wo ich wieder die Optimum verwende.

Wenn ich es mir so anhöre, empfinde ich schon ein "Soundkonzept" hinter den Klammern.
Da man aber leicht das Gras wachsen hört, lauscht doch mal rein und teilt mir Eure Meinung mit.


Hi Guenne,

ich hab mir das Tenor mp3 angehört.
Die Unterschiede sind mariginal.

Jedoch die 2te Phase und die 4te Phase (ist dann wohl das Optimum) klingen etwas kerniger, trockener.

Ob ich das ebenfalls festgestellt hätte, wenn du nichts über die Blattschrauben geschrieben hättest? Vermutlich nicht

YzG
Oswald

 

Ich hab mir My Girl - WAV auf der Abhöre angehört.
Ich höre da nichts, was ich in irgendeiner Weise auf verschiedene Blattschrauben zurückführen könnte.

Für mich: Kein Unterschied.

Gruß aus dem Schwarzwald
Bernd

 

Ich sage nur: alles Blödsinn

 

Das ganze Leben, das Universum, der Glaube an Gott oder was?

Der Typ in dem Video sagt ja, dass da Unterschiede sind, sind sind halt sehr klein. Das scheint mir die Aussage des Videos zu sein, wenn ich es richtig verstanden habe.
Na klar, wenn ich als Spieler damit kämpfe, einen Ton überhaupt unfallfrei rauszukriegen, ist der Unterschied egal.

Und es kann ja auch sein, dass ein Schuhband besser funktioniert als eine 100 Euro Klammer, das bezweifle ich nicht.

Ich hab mir die Files nochmal durchgehört, ich kann die Unterschiede hören, wobei ich jetzt nichts "besser" oder "schlechter" empfinde.
Würde ich jeweils nur eine hören, fiele mir gar nix auf.

Liebe Grüße,
Guenne

 

M.E. gibt es schon deutlich Unterschiede zwischen verschiedenen Blattschrauben. Diese Unterschiede sind aber eher spürbar als hörbar.

Spürbar dahingehend, wie der Ton anspricht, wie ich ihn formen kann, wie ich ihn leise an- oder ausklingen lassen kann.

Alles Dinge, die der Spieler selbst deutlich wahrnimmt. Der Zuhörer nicht unbedingt.

Klar. Wenn ich einen runden und dumpfen Kalng erzielen will, nehme ich ne Rovner dark. Die heißt schon so und klingt dann auch so. Aber der größte Teil des Unterschieds im Klang gegenüber einer Vandoren Optimum z.B. ist psychologisch bedingt. Ich will jetzt dumpf klingen, voice anders und klinge somit anders.

Und ich kann alles hören, was ich hören will

Drehen wir es doch einmal um: Du spielst ein Stück. Verwendest dabei zwei verschiedene Blattschrauben. Dann lässt Du uns raten, wann der Wechsel stattgefunden hat.

Ich behaupte, dass das keiner rauskriegt (raushört), wenn Du Dein Spiel beim Wechsel der Blattschraube nicht änderst.

Was man eventuell hören könnte ist, mit welcher Schraube Du Dich wohler fühlst.

Gruß aus dem Schwarzwald
Bernd

 

Moin,

gerne.

Wobei "wenn Du Dein Spiel nicht änderst" so eine Sache ist.

Liebe Grüße,
Guenne

 

Wenn man versteht, dass die Montage des Blattes auch eine Rolle für Ansprechverhalten, etc. spielt, wird klar, dass die Schraube an sich für 90% der Reinblasenden egal ist, solange sie funzt.

 

Ich kenne einen Saxophonisten, der schwört auf die Klarinettenschnur beim Sax.

Lg Saxhornet

 

Ich finde es schwierig wenn ich so Beschreibungen von einem Spieler über Blattschrauben lese und zu was für Ergebnissen er kommt. Das lässt sich nicht auf andere Personen von den Resultaten übertragen, denn es ist in meinen Augen extrem Spieler- und Mundstückabhängig. Nicht jedes Mundstück passt allein von der Form gut zu jedem Mundstück aber auch nicht zu jedem Soundkonzept, das man vielleicht im Kopf hat.

Ich komme mit etlichen Schrauben bei unterschiedlichen Mundstücken zu ganz unterschiedlichen und auch anderen Ergebnissen als der Spieler, den Mugger zitiert hat.
Gefällt mir bei Mundstück xy Blattschraube a ist es bei Mundstück z eventuell Blattschraube b.

Haben Blattschrauben einen Einfluss? Ja für mich schon, eher auf die Ansprache aber auch etwas auf den Obertonanteils des Klangs. Allerdings wird der Klang nur sehr leicht verändert (ich bekomme dadurch nicht ein dunkel klingendes Mundstück hell oder andersrum), der Unterschied beim Spielgefühl ist für mich dramatischer.

Jedes muss für sich finden was zu ihm passt und die perfekte Blattschraube, die allen überlegen ist und für alle Mundstücke und Spieler funktioniert gibt es nicht.

Lg Saxhornet

 

Genau so empfinde ich das auch.

 

Vergesst bitte nicht,

dass Bernd danach gefragt hat

Beginnen wir mit Leichtem:

Last One wav
Last One mp3

Ich gehe nicht notwendigerweise mit den Herrn von SOTW konform, aber mich interessiert halt, ob "man" es hört.

Ich hab mich wieder nicht vom Mik wegbewegt, das Blatt hat sich beim Wechsel (ist da einer, hehe?) nicht verändert.

Liebe Grüße,
Guenne

 

Vergesst bitte nicht,

dass Bernd danach gefragt hat

Beginnen wir mit Leichtem:

Last One wav
Last One mp3

Ich gehe nicht notwendigerweise mit den Herrn von SOTW konform, aber mich interessiert halt, ob "man" es hört.

Ich hab mich wieder nicht vom Mik wegbewegt, das Blatt hat sich beim Wechsel (ist da einer, hehe?) nicht verändert.

Liebe Grüße,
Guenne