ligature (not reed) placement

[harpinblue]

I realized that as I've been swapping reeds, I open the lig, push it forward, swap reeds and then push the lig back to hold the new one in place. This allowed the lig to creep further and further back on the mpc - although I never let it go past the end of the reed. There is a grooved line all the way around on the mpc, at the forward part of the barrel, before the ramp. Am I supposed to be placing the lig that far forward always? I have been trying that recently and it certainly seems to be working OK - just wanted to double check and to understand the ins and outs of lig placement.

FYI - This is a Yamaha YTS-23 tenor with Yamaha 4C mpc and std. lig.

[Steve J.]

You should completely readjust with a different reeds even with brief trials in my opinion.

Some will legitimately argue, but lig placement is critical for me even with flat taple mouthpiece. In general about 1/8" back from reed bark. Yes, you should generally be behind that line on your mouthpiece.

It actually comes down to an optimum position for sound and response. Don't be afraid to experiment with different placement...... exceptions happen and its an education. You can even fool with differing and uneven screw tension and possible effects. Its valuable learning and you develop sound sensitivity and grow toward an optimal tone.

[harpinblue]

Thanks, Steve -

I have been trying some different reeds (all 2 1/2's) - and I was actually pleased that I was able a) to hear the difference and b) to begin to understand what is variance between reeds of a single brand/style/hardness and what is the difference between the styles.

I have been using Rico Royals as a baseline, and they seem to be a pretty good "all-around" reed. But I also bought 2 ea. Vandoren standard, "V16" and "Java". I love the thicker/softer tone of the V16 - I can see it would be great for just noodling around with a friend on a piano. The Java seems at the other end of the spectrum, a much brighter, thinner tone. I don't care for it as much, though I'm sure it would punch through a lot of noise. I'm also confident there are a number of techniques I haven't begun to discover that provide for more latitude on any reed. So much to learn!

I did get a lesson scheduled for a week from tonight though, so that's a good thing. Mostly, I just need to find time to work on what I already KNOW I need to work on!

[Sigmund451]

Just goes to show you how individual things are with different players and setups. I find V16s to be brash and overly bright while Javas (still not my fav) are thicker and richer. Its all a great big experiment. Play around with everything. You never quite know what you will get.

[JL]

I generally use V-16 reeds on my tenor. They seem to be more powerful (not sure about brighter, but maybe) and last longer than other reeds I've tried. My understanding is that a V-16 is a bit thicker or harder than most other brands of the same strength. So that may explain why harpinblue finds the 2 1/2 V-16 to have a thicker or darker tone than the 2 1/2 Java. But I agree with Sigmund on the subjectiveity of all this.

[Sigmund451]

I think the Mpc as well as use of it makes a big difference too. On my Morgan V16's IMHO are just too brittle sounding...Javas are acceptable but Alexanders so far beat them all.

[harpinblue]

My first cupla times with these reeds (I'm trying to break them in as recommended all over) was in a very bright room. I tried 'em again last night and the Java didn't seem so bright - I liked it. Will have to get a LOT more time under my belt to understand the impact of so many different variables - vriation between individual reeds, humidity, soak time, placement, lig placement, and of course, most importantly - ME!

First lesson scheduled for Tuesday so I can get a sanity check.

[Mango Birkie]

I have found some mouthpieces more critical to lig placement than others. The most sensitive of mine is an early Babbit metal Link with a table touched up by JVW. It is a great piece, but if the lig isn't place just behind the window--more or less the same point where the line would be if the Link had one--the mouthpiece goes unstable and it is impossible to get a good seal. Put the lig in the right place, and the mouthpiece sings and the seal is nearly perfect.

[SaxFlutist]

The V16 works well with the 4CM moutpiece that comes with the 82-Z. Gives it a sort of Dexter-ish quality with Joshua Redman overtones.

(The 4CM is slightly too closed for, me. Need a bigger tip opening, but the V16 sounds good with it).

I use a Rovner Dark (something) lig with the 4CM.

[SaxFlutist]

Launched in 1993 to answer the demand of some American jazz musicians, the Vandoren V16 Reeds were the result of experimenting with JAVA reeds (a JAVA with even more wood). These have a thicker tip than the traditional Vandoren reeds and a longer pallet. Their sound tends to be more brilliant, more percussive, and particularly well adapted to all the new styles of music.

Also, be looking for new Flow Pack packaging this year. Reeds will be individually wrapped inside each box, to maintain factory fresh humidity levels for each reed. This will be phased into all of Vandoren's reed lines throughout 2007. The box is a bit larger to accomodate, but there will be no increase in price.

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The above is a cut and paste from:
http://www.saxquest.com/productDetails.asp?productcode=vanv16reeds

[SaxFlutist]

Reed Adjustment Tips
http://www.tibbs-vision.com/tibbs/col.html