Ok so I think a good summary of the video for what to look for in a ligature is this: 1. Make sure that the reed is attached to the mouthpiece well (you can’t move the reed around with the lig on) - this helps prevent biting as the sound is more readily produced because the reed is already strapped to the mouthpiece and it makes for an easier transportation if you are switching clarinets 2. Make sure the articulation goes sharp - it just sounds better 3. Make sure the articulation is even throughout the notes (he tested the clarion register in this video) 4. Leather dampens the sound 5. Pay attention to how big of a sound you’re getting with it Very helpful thanks a lot! Let me know if I missed anything else i should focus on when trying to find ligatures for me
I agree up close. My issue is: in the back of a dead hall, it's very muted. I like a ligature that THROWS the sound for orchestral playing. Also: RESPONSE. My staccato is a million times more clear with my best Bonades vs the old German method.
Hi, Realy like this talk / demo - interesting in all aspects. I am a clarinetist myself- I’m all to well familiar with all these problems. BUT I play lots of historical clarinets professionaly and well that’s something different/ of course. Everything is different, no ligaturers at all only string. BUT for modern equipment: I played so manny different clarinets as a student / Buffet - R13, Elite, Prestige , Festival and all where good but I realy liked my Elite. Allso RC Prestige was a nice clarinet. I used Harris ligatures for manny years and then I bought a Bonade / nickel B 40 was my mouthpieces. Now since manny years after playing so much Early clarinet I changed emboushyre and I play Wurlitzer Reform Boehm. They are amazing clarinets so eaven and a deep fokus and a bottom E F allways in tune. For those I use german setup/ Leuthner reeds and Viotto and Zinner mouthpieces. I think you use much more air and less bite with the getman gear. When I pick up my french clarinets I have huge problems finding balance in the reed mouthpiece- it is just to spread for me. But when I put german cut on my B40 and Marcellus it works wonderfull. I stop biting. That was my thoughts - If you some nice thoughtfull hints or ideas please let me know. Thanks again
Great video. I had no idea that a clarinet ligature could make a single note go flat and leave the others still in tune. I'm an adult learner on about grade 4 and I never can find anything that works better than a rovner dark, or string, for me. With all the others I struggle to cross the break legato and in my situation, that is what counts.
I had no idea the ligature could effect the pitch but I have noticed some notes come out easier or more difficult to play depending on the ligature I am using. I have tried quite a few ligatures and for me what I notice overall is if I get too much resistance, I end up with the mouthpiece being hard to play and also more moisture build up easily and I often get a spitty sound and certain ligatures for me tend to give me that spitty sound easily. I have used a Rovner Versa ligature and I find it is a bit resistant to use. I have also had issues with the plate falling out even when tightened. I have used one on my alto and straight soprano sax mouthpieces and I found the same thing, its too resistant and the plate is prone to falling out. Moving the flaps and taking out the plate does make a subtle difference for me, but not as much, although I think its a little brighter when the plate cradle is sitting directly on the reed and isn't covered by the flaps. I have also used a Rovner Dark and Light ligature and found the dark plays fine but is just a bit dull sounding and the light seems the most resistant out of the 3 Rovners I have used and I have one for my soprano sax and can barely get a sound with it. I have Vandoren M/O gold lacquer which I like as it has less resistance but it does have a lighter tone and it fits better on Vandoren mouthpieces than some other mouthpieces. I had a Francois Louis ligature and I liked the feel and sound I got from it but the metal plate scratched the table of one of my mouthpieces and it would sometimes move even when tightened, so I stopped using it. I once had a Rico H ligature and maybe I tightened it too tight (it seemed to move even when tightened) but the H left 4 imprints, 2 on each side of the reed and the table of my mouthpiece so again I stopped using it. I currently use a BG Duo gold lacquer as it plays well for me and fits every mouthpiece I have tried, although I have tried it on my alto sax mouthpieces and while it is designed to work on them as well, the two rails it has on the bottom inside of the ligature are designed to fit clarinet reeds and I don't think it sits as well on alto sax reeds as they are wider. I play with Legere reeds and I had issues getting some ligatures to tighten fully on them. I asked a clarinet and saxophone player who also plays on Legere reeds and she said she puts a BG Performer patch on the reed as the heel of the reed isn't as thick as it is on cane reeds. I tried it and once I did, I noticed the reeds stopped moving and played better which could have explained why some ligatures I tried seemed to move even when tightened.
Smiled the whole time! This is a fantastic review: Ligature Review "On Steroids!" Holy Cow! You are a Clarinet Smithsonianesque Artist! Unbelievable :)!!
I agree! Leather ligatures deaden the sound. I relate those leather ligatures like someone covering Pavorati mouth and tell him to sing! Dead dead dull
Hearing back and forth the Brancher video and the gold Bonade of this video, I think you have bigger projection with the Bonade.. By the way, did you try the Platinum Bonade from RDG?? I'm waiting for your impressions compared to the gold..
I got a gold-plated Bonade from Taplain Weir, I played on that lig for about eight years...Donald Montanaro liked the ligatures from Taplain Weir. I have been meaning to try RDG's platinum ligature. I'm sure they have a specific way of replating and reshaping, much in the way Taplain Weir does. I love these companies that provide some quality control on what could be such a great product (that has had quality control problems for many decades). I will let you know once I try them!
16:57 Probably you meant the Rico H, not X.. Is It 100% sure that Harisson ligature is better in any case than Rico H? How do you know? You tried Rico H and Harisson back to back?
Right, I put that in my description that I misspoke. Yeah, I'm 100% sure, Rico H is so much worse in every way, response, projection, resonance, overtones
@@jimis3167 Yeah definitely, I think the Harrison would be a great match! I also typically play V.12 3.5/3.5+/4, I also play blue box 4 & 5 and OCCASIONALLY a Rue Lepic
I have a Vandoren M/o gold and Optimum, but I don't how is better, I would like to try another ligature, I like the gold's sound but I would like another with better articulation, What do you recomend? Thanks... great video...
Thank you for your comments! I'm glad you enjoyed it. I think that vandoren ligatures are good but they have small sounds. there are some aftermarket plated Bonade ligatures that RDG and Taplain-Weir make that are awesome. Also, check out the brancher video on my channel!
I've tried a lot of different FL's, as well as the Spriggs which is similar. For me, I think they are better on a more resistant setup. But they do respond quickly!
Hello Dale, I have watched through this (and other) video's of you a couple of times and I love the way you share your information.. But I seem to be missing something that IMHO could be essential. You Clearly prefer your old german silver Bonard and with good reason. Besides that you compared old and new nickle plated brass benards, but i missed comparing the old silver bonard with a modern (sterling) silver bonard. I looked around online, but I didn't find any. Aren't these made? an thought on this?
could it be that the old german silver, isn't actual silver, but an alloy we all alpaca nowadays (because we can't call it silver anymore) that with a bit lead added to it?
Like this one? Yes I have! I think they're good but they don't have the "throw" of a great Bonade. www.ebay.com/itm/Vintage-Boosey-Hawkes-Clarinet-Ligature-/264616282031
Is there anything quantifiable regarding the Bonade ligatures that you look for in terms of mass? Do you find a variance in the mass of these ligatures?
This is a VERY good question!!!!!! I will have to go to my scale and perhaps make a video. If you want my advice for a good modern Bonade, I'm fond of the gold-plated version from Taplain-Weir.
Thank you for your question! David Hite Premiere Mouthpiece or Brad Behn Overture, Vandoren Blue Box 2.5 (probably quickly switching to 3 with oversight and a private teacher adjusting the reeds), and a Daniel Bonade ligature.
@@DaleFedele These are the 2 clarinets: Bundy ser#49424 (just picked up), D Noblet Paris 9122B(has been professionally restored) If this info will make a difference. Thank You.
@@terrydoberstein6742 The Noblet is a great French wood horn. I love these horns and as long as the pads are new it should give you a great time! The main issue with some older French horns like this is pitch, so I stand by what I said with the David Hite premiere. Since the bore of the horn is larger, you may find yourself switching to stronger reeds sooner, but that mouthpiece will accommodate a variety of strengths of reed
@@DaleFedele I am getting these ready for my Grand Daughter. Thank You for the great information. She will be going into band and wish to have everything ready to make it easier for Her. Premiere by Hite Dh-111 the correct mouthpiece?
I really like the Spriggs! My teacher in high school played one on a Matson-faced Chicago Kaspar, and his sound was (and is) among the finest I've ever heard...especially from a distance! The reason I moved away from it was entirely personal. I feel that clarinetists have an unhealthy aversion to any "edge"...yet when I hear some of my favorite players (Harold Wright, Ralph McLane, even some Leister recordings!) I hear a tangible edge that allows them complete control to cut through the ensemble. I know, the politically correct term for it is "soar above," but let's be real...Harold had a visceral sound! It forced you to pay attention. Of course it was also extremely beautiful and refined, but I feel the contrast with that "pop" in the sound just made it that much more beautiful by contrast. And with the Spriggs, I got a beautiful mass of sound, beautiful overtones, but I felt that I had less control (the ishimori is the opposite for me, I have so much control with an ishi! Almost too much!) but both are some of my favorite ligatures of all time.
They're impossible to find...my friend is making copies by hand, and hopes to eventually have them manufactured. I can put you in contact with him if you would like. He also makes exceptional Moennig barrels, and is a great craftsman/repairman.
@@DaleFedele Thank you, Dale. I think I'll hold off at the moment. I'm a former student of Montanaro and was very interested in what you noted in your video.
Ok so I think a good summary of the video for what to look for in a ligature is this:
1. Make sure that the reed is attached to the mouthpiece well (you can’t move the reed around with the lig on) - this helps prevent biting as the sound is more readily produced because the reed is already strapped to the mouthpiece and it makes for an easier transportation if you are switching clarinets
2. Make sure the articulation goes sharp - it just sounds better
3. Make sure the articulation is even throughout the notes (he tested the clarion register in this video)
4. Leather dampens the sound
5. Pay attention to how big of a sound you’re getting with it
Very helpful thanks a lot! Let me know if I missed anything else i should focus on when trying to find ligatures for me
I'd be interested if you did a video like this but on different brand reeds.
THANK YOU FOR WHAT YOU'RE DOING FOR THE CLARINET WORLD! SO MUCH INFO HERE! BRAVO! :)
I had no idea that the ligature could affect the pitch of different notes! Fascinating!
Hand tied string is still the benchmark gold standard of all ligatures in terms of tonal richness and purity of sound.
I agree up close. My issue is: in the back of a dead hall, it's very muted. I like a ligature that THROWS the sound for orchestral playing. Also: RESPONSE. My staccato is a million times more clear with my best Bonades vs the old German method.
Hi,
Realy like this talk / demo - interesting in all aspects. I am a clarinetist myself- I’m all to well familiar with all these problems.
BUT I play lots of historical clarinets professionaly and well that’s something different/ of course. Everything is different, no ligaturers at all only string.
BUT for modern equipment: I played so manny different clarinets as a student /
Buffet - R13, Elite, Prestige , Festival and all where good but I realy liked my Elite. Allso RC Prestige was a nice clarinet.
I used Harris ligatures for manny years and then I bought a Bonade / nickel
B 40 was my mouthpieces.
Now since manny years after playing so much Early clarinet I changed emboushyre and I play Wurlitzer Reform Boehm. They are amazing clarinets so eaven and a deep fokus and a bottom E F allways in tune.
For those I use german setup/ Leuthner reeds and Viotto and Zinner mouthpieces.
I think you use much more air and less bite with the getman gear. When I pick up my french clarinets I have huge problems finding balance in the reed mouthpiece- it is just to spread for me. But when I put german cut on my B40 and Marcellus it works wonderfull. I stop biting.
That was my thoughts -
If you some nice thoughtfull hints or ideas please let me know.
Thanks again
Great video. I had no idea that a clarinet ligature could make a single note go flat and leave the others still in tune. I'm an adult learner on about grade 4 and I never can find anything that works better than a rovner dark, or string, for me. With all the others I struggle to cross the break legato and in my situation, that is what counts.
I had no idea the ligature could effect the pitch but I have noticed some notes come out easier or more difficult to play depending on the ligature I am using. I have tried quite a few ligatures and for me what I notice overall is if I get too much resistance, I end up with the mouthpiece being hard to play and also more moisture build up easily and I often get a spitty sound and certain ligatures for me tend to give me that spitty sound easily.
I have used a Rovner Versa ligature and I find it is a bit resistant to use. I have also had issues with the plate falling out even when tightened. I have used one on my alto and straight soprano sax mouthpieces and I found the same thing, its too resistant and the plate is prone to falling out. Moving the flaps and taking out the plate does make a subtle difference for me, but not as much, although I think its a little brighter when the plate cradle is sitting directly on the reed and isn't covered by the flaps. I have also used a Rovner Dark and Light ligature and found the dark plays fine but is just a bit dull sounding and the light seems the most resistant out of the 3 Rovners I have used and I have one for my soprano sax and can barely get a sound with it.
I have Vandoren M/O gold lacquer which I like as it has less resistance but it does have a lighter tone and it fits better on Vandoren mouthpieces than some other mouthpieces. I had a Francois Louis ligature and I liked the feel and sound I got from it but the metal plate scratched the table of one of my mouthpieces and it would sometimes move even when tightened, so I stopped using it. I once had a Rico H ligature and maybe I tightened it too tight (it seemed to move even when tightened) but the H left 4 imprints, 2 on each side of the reed and the table of my mouthpiece so again I stopped using it.
I currently use a BG Duo gold lacquer as it plays well for me and fits every mouthpiece I have tried, although I have tried it on my alto sax mouthpieces and while it is designed to work on them as well, the two rails it has on the bottom inside of the ligature are designed to fit clarinet reeds and I don't think it sits as well on alto sax reeds as they are wider.
I play with Legere reeds and I had issues getting some ligatures to tighten fully on them. I asked a clarinet and saxophone player who also plays on Legere reeds and she said she puts a BG Performer patch on the reed as the heel of the reed isn't as thick as it is on cane reeds. I tried it and once I did, I noticed the reeds stopped moving and played better which could have explained why some ligatures I tried seemed to move even when tightened.
liked the harrison sound. i am almost as sick as you in that i have almost all these ligatures also
you sound great on all of them!
Wow this is amazing
Love the channel.
Thank you Dale, very informative.
You should review the new DICKERSON RESONATOR ligature for clarinet sold on ebay
Smiled the whole time! This is a fantastic review: Ligature Review "On Steroids!" Holy Cow! You are a Clarinet Smithsonianesque Artist! Unbelievable :)!!
I agree! Leather ligatures deaden the sound. I relate those leather ligatures like someone covering Pavorati mouth and tell him to sing! Dead dead dull
We'd like a sound demo of the MOMO you play lately..
This is amazing!
Hearing back and forth the Brancher video and the gold Bonade of this video, I think you have bigger projection with the Bonade.. By the way, did you try the Platinum Bonade from RDG?? I'm waiting for your impressions compared to the gold..
Have you tried the rdg series bonade ligatures? I have a gold plated traditional bonade from them that’s just the best ligature I have.
I got a gold-plated Bonade from Taplain Weir, I played on that lig for about eight years...Donald Montanaro liked the ligatures from Taplain Weir. I have been meaning to try RDG's platinum ligature. I'm sure they have a specific way of replating and reshaping, much in the way Taplain Weir does. I love these companies that provide some quality control on what could be such a great product (that has had quality control problems for many decades). I will let you know once I try them!
Dale Fedele yes it’s great, I switched to it from my silver ishimori which I still love. I’m super curious about the platinum.
Dale Fedele have you tried the Behn epic mouthpiece?
@@matthewfontana9776 Yes I love all of his work! He is like the modern da Vinci of mouthpieces (and other equipment too!)
try the charles bay its terrific
Interesting video, do you prefer similar vintage ligs on saxophone?
Yes I do. I'll make a video on that soon!
nice.
Vintage ligs are cool. I have this old lig that has a plate right behind the screws (reed side). There are no markings on it. Not sure what it is
Can you send me some pictures to my email? dalemfedele@gmail.com
Love your channel!! What’re your thoughts on the Silverstein Original ligature?
Please! Can you tell me your impressions about the Platinum Noir Bonade from RDG woodwinds compared to the gold you have?
I had a Eddie Daniels tenor lig and it had this funny little buzz that I'm sure only I could hear but it was irritating
guess I shouldn't play "buzzed" !
Have you ever tried an Elton ligature? I just ordered one..
Dale, would you review the Silverstein ligs?
16:57 Probably you meant the Rico H, not X.. Is It 100% sure that Harisson ligature is better in any case than Rico H? How do you know? You tried Rico H and Harisson back to back?
Right, I put that in my description that I misspoke. Yeah, I'm 100% sure, Rico H is so much worse in every way, response, projection, resonance, overtones
@@DaleFedele I play BD5 with v12 3.5 reeds, again you would recommend me the Harisson over the Rico H?
@@jimis3167 Yeah definitely, I think the Harrison would be a great match! I also typically play V.12 3.5/3.5+/4, I also play blue box 4 & 5 and OCCASIONALLY a Rue Lepic
I have a Vandoren M/o gold and Optimum, but I don't how is better, I would like to try another ligature, I like the gold's sound but I would like another with better articulation, What do you recomend? Thanks... great video...
Thank you for your comments! I'm glad you enjoyed it. I think that vandoren ligatures are good but they have small sounds. there are some aftermarket plated Bonade ligatures that RDG and Taplain-Weir make that are awesome. Also, check out the brancher video on my channel!
Is The Brancher in silver good???
Do you like Francois Louis ligature? Have you ever tried one?
I've tried a lot of different FL's, as well as the Spriggs which is similar. For me, I think they are better on a more resistant setup. But they do respond quickly!
Hello Dale, I have watched through this (and other) video's of you a couple of times and I love the way you share your information.. But I seem to be missing something that IMHO could be essential. You Clearly prefer your old german silver Bonard and with good reason. Besides that you compared old and new nickle plated brass benards, but i missed comparing the old silver bonard with a modern (sterling) silver bonard. I looked around online, but I didn't find any. Aren't these made? an thought on this?
could it be that the old german silver, isn't actual silver, but an alloy we all alpaca nowadays (because we can't call it silver anymore) that with a bit lead added to it?
another option could be to german 80 (vs sterling) silver.. I would love to have a deeper dicussion on this topic!
Have you tried the boosey and hawkes clarinet ligature?
Like this one? Yes I have! I think they're good but they don't have the "throw" of a great Bonade.
www.ebay.com/itm/Vintage-Boosey-Hawkes-Clarinet-Ligature-/264616282031
How do I find an old Bonade ligature?
You are the Albert Einstein of the clarinet....
Is there anything quantifiable regarding the Bonade ligatures that you look for in terms of mass? Do you find a variance in the mass of these ligatures?
This is a VERY good question!!!!!! I will have to go to my scale and perhaps make a video.
If you want my advice for a good modern Bonade, I'm fond of the gold-plated version from Taplain-Weir.
@@DaleFedele Good thing John Weir is back in my home town. I'll give him a call. Thank you for this.
For a beginner what would you recommend reed: mouthpiece: ligature combination? Thank You for Your time.
Thank you for your question! David Hite Premiere Mouthpiece or Brad Behn Overture, Vandoren Blue Box 2.5 (probably quickly switching to 3 with oversight and a private teacher adjusting the reeds), and a Daniel Bonade ligature.
@@DaleFedele These are the 2 clarinets: Bundy ser#49424 (just picked up), D Noblet Paris 9122B(has been professionally restored) If this info will make a difference. Thank You.
@@terrydoberstein6742 The Noblet is a great French wood horn. I love these horns and as long as the pads are new it should give you a great time! The main issue with some older French horns like this is pitch, so I stand by what I said with the David Hite premiere. Since the bore of the horn is larger, you may find yourself switching to stronger reeds sooner, but that mouthpiece will accommodate a variety of strengths of reed
@@DaleFedele I am getting these ready for my Grand Daughter. Thank You for the great information. She will be going into band and wish to have everything ready to make it easier for Her. Premiere by Hite Dh-111 the correct mouthpiece?
I switch between an Ishimori and a Spriggs floating rails lig. Have you tried the Spriggs?
I really like the Spriggs! My teacher in high school played one on a Matson-faced Chicago Kaspar, and his sound was (and is) among the finest I've ever heard...especially from a distance! The reason I moved away from it was entirely personal. I feel that clarinetists have an unhealthy aversion to any "edge"...yet when I hear some of my favorite players (Harold Wright, Ralph McLane, even some Leister recordings!) I hear a tangible edge that allows them complete control to cut through the ensemble. I know, the politically correct term for it is "soar above," but let's be real...Harold had a visceral sound! It forced you to pay attention. Of course it was also extremely beautiful and refined, but I feel the contrast with that "pop" in the sound just made it that much more beautiful by contrast. And with the Spriggs, I got a beautiful mass of sound, beautiful overtones, but I felt that I had less control (the ishimori is the opposite for me, I have so much control with an ishi! Almost too much!) but both are some of my favorite ligatures of all time.
Where can I find the protoype ligature by Donald Monanaro?
They're impossible to find...my friend is making copies by hand, and hopes to eventually have them manufactured. I can put you in contact with him if you would like. He also makes exceptional Moennig barrels, and is a great craftsman/repairman.
@@DaleFedele Thank you, Dale. I think I'll hold off at the moment. I'm a former student of Montanaro and was very interested in what you noted in your video.
@@DaleFedele I’m very interested in where to find these moennig barrels!!
@@bradp2021 Hey Brad, email me @ dalemfedele@gmail.com
What model is this BG ligature? 16:09
Tradition. They're great!
@@DaleFedele agree. love mine in silver
Where did you get so many ligatures????
I just collected them over the years! Since high school!