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Discussion Starter #1
I wonder how much is treu ,or really working with synthetic reeds.
I have been looking at Legere ,but asking like 48 bucks here in Canada for one darn reed.
As most of us,reeds is often an issue when we stop playing for many minutes between tunes,,,so.
They better be good,or better last too!??
Would be nice to get comments.
Thanks
Mario
 

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Mario: I have not had good results with Legere synthetic reeds, but others swear by them. I recently bought two for soprano and while they were the best playing Legeres I'd experienced, they weren't up to the results I got from cane or Fibracells.

At the price they charge for those things, experimenting becomes kinda spendy. Yes, they have a one-time exchange policy, but that, for me, isn't good enough to find one of their products that actually work well. After the one-time exchange and the exchanged reed doesn't play well, just how many more would I need to buy at what I consider to be a VERY high price, before finally finding one that played well? Whatever the answer, it is too much for me.

Again, this is MY result and I don't need to be convinced otherwise - they don't work for me. DAVE
 

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Discussion Starter #3
Hi Dave
Well,comin from you,i am having second thoughts for sure.
Fibracell will be my choice or ordering one then..
I still have one for alto,that still did worked after, even more then a year..
Always nice to hear from you Dave.
All the best
Mario
 

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I use Legere Signature on soprano with great results. Especially since soprano is my second horn after tenor. Always ready to go and sounding good.
 

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Hi Dave
Well,comin from you,i am having second thoughts for sure.
Fibracell will be my choice or ordering one then..
I still have one for alto,that still did worked after, even more then a year..
Always nice to hear from you Dave.
All the best
Mario
I use Legeres on all my horns now. I have a bit of a brighter sound than most classical soprano players, but the Legeres have really been a revelation to me. Quick response, sound good. Just took a while to get used to them.


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I'm not a fan. Their response seems to be very mouthpiece sensitive. I've tried several strengths of the Signatures and they all played poorly (i.e., poor response and intonation) on my main soprano piece, a Morgan Vintage 7 (0.070). They play a little bit better on more closed pieces, but they sound way too bright on these pieces.

I like them quite a bit more on tenor. Though I don't think they can replace a good cane reed, they do respond well and evenly throughout the range of the horn, they seem to respond better than cane in the altissimo range, and they are consistent. I've been using them to practice tenor throughout the week, when practice time is scarce and I don't want to waste my available time messing with cane reeds.

However, I can't bring myself to use them on soprano, even for practicing. It's just not a pleasant experience.
 

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Currently I have two Legere Signature soprano reeds. For me the 2 1/4 feels too soft, the 2 1/2 too hard. I like the fact that I can just slap 'em on & blow. They sound OK, comparable to a very good (but not absolute best) cane reed. From session to session, they behave consistently; however, they seem to have softened temporarily by the end of a lengthy session. They can feel a bit slippery under the ligature, & a bit drooly in one's mouth. Legere reed tips, being nearly transparent, can be difficult to align on the mouthpiece when ambient light is dim.

Fibracell Premiums can sound equally good if you dial in the right strength. Fibracells look & feel like cane, a little more comfy in the mouth than Legere. Fibracells are less costly up front.

I have also tried three different varieties of the Hartmann Fiberreed -- Natural Classic, Carbon Classic, & Hemp. Natural Classic feels resistant & yields a classical tone. Hemp sounded like a kazoo at first but the tone mellowed as I learned to work with it; I like it now for jazz. Carbon Classic feels resistant, with a raucous duck quack tone -- but I just acquired it & am still evaluating.

The performance of any reed depends on your embouchure, your mouthpiece, your ligature, the make & model & condition of your horn, your preferred genre, the room, atmospheric conditions, & how you feel about the tune you're performing. I am merely reporting subjective impressions, not verified by empirical data.

(Am using a Sopranoplanet .063" Open Sky 2 on a 1926 Buescher TT straight soprano sax.)
 

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Discussion Starter #8
Really
Nice,Man from one player to another we do have such different vue of those reeds.
Thanks again for your comment.
Regards
Saxobari
 

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Discussion Starter #9
Fibracelle has been also on my mind.
Will look for that option too.
Thanks
Mario
Currently I have two Legere Signature soprano reeds. For me the 2 1/4 feels too soft, the 2 1/2 too hard. I like the fact that I can just slap 'em on & blow. They sound OK, comparable to a very good (but not absolute best) cane reed. From session to session, they behave consistently; however, they seem to have softened temporarily by the end of a lengthy session. They can feel a bit slippery under the ligature, & a bit drooly in one's mouth. Legere reed tips, being nearly transparent, can be difficult to align on the mouthpiece when ambient light is dim.

Fibracell Premiums can sound equally good if you dial in the right strength. Fibracells look & feel like cane, a little more comfy in the mouth than Legere. Fibracells are less costly up front.

I have also tried three different varieties of the Hartmann Fiberreed -- Natural Classic, Carbon Classic, & Hemp. Natural Classic feels resistant & yields a classical tone. Hemp sounded like a kazoo at first but the tone mellowed as I learned to work with it; I like it now for jazz. Carbon Classic feels resistant, with a raucous duck quack tone -- but I just acquired it & am still evaluating.

The performance of any reed depends on your embouchure, your mouthpiece, your ligature, the make & model & condition of your horn, your preferred genre, the room, atmospheric conditions, & how you feel about the tune you're performing. I am merely reporting subjective impressions, not verified by empirical data.
 

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I'm not a fan. Their response seems to be very mouthpiece sensitive. I've tried several strengths of the Signatures and they all played poorly (i.e., poor response and intonation) on my main soprano piece, a Morgan Vintage 7 (0.070). They play a little bit better on more closed pieces, but they sound way to bright on these pieces.
I definitely agree with this point. I've found that if you want to use Legere, you need to match a mouthpiece to the reeds. For example, I use a Vandoren T20 on tenor, which works very well with them. Throughout last year, I playtested over 10 different tenor mouthpieces, and the only one that I could get to work with the Légères was a Selmer Concept. FWIW, I thought that Forestone Black Bamboos were much more mouthpiece-friendly, but I'm not a fan of those in general.
 

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This season I've had great success with a Legere soprano reed (3.25) for my classical performances. I've used it for over half a dozen solo and chamber performances and it was just comparable to the best cane reeds I've used. The experiment is continuing.
Paul Cohen
 

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My experience using Légère Signature has been very good for Soprano and Alto. One has to play around with the right size/strength that works best for yourself. I play a vintage “Riffault” hard rubber Beechler with a Duo BG ligature with a 2.25 Légère on Soprano. It has lasted for about seven months with no problems yet. These are great for uninterrupted practice and playing without having to always find the right traditional reed. Saves me a lot of time. The Duo BG ligature works great on the hard rubber alto mouthpiece as well. You should be good to go once you get your air speed/flow down. Not everyone will have good results with Légère using certain mouthpieces. It will be a trial and error process and patience is required.

At the end of the day.........I have to say that a very good cane reed cannot be beat when it comes to Soprano in my opinion. I will continue to use both. For live performances I would recommend the cane and use the Légère as a back up. Hope this helps!
 

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Discussion Starter #13
Thanks Mezzzz for your comment.
I think it would be great in certain situation,like you said as a back up.
Though a very expensive back up.
:)
All the best
Saxobari
QUOTE=Mezzzz;3786466]My experience using Légère Signature has been very good for Soprano and Alto. One has to play around with the right size/strength that works best for yourself. I play a vintage “Riffault” hard rubber Beechler with a Duo BG ligature with a 2.25 Légère on Soprano. It has lasted for about seven months with no problems yet. These are great for uninterrupted practice and playing without having to always find the right traditional reed. Saves me a lot of time. The Duo BG ligature works great on the hard rubber alto mouthpiece as well. You should be good to go once you get your air speed/flow down. Not everyone will have good results with Légère using certain mouthpieces. It will be a trial and error process and patience is required.

At the end of the day.........I have to say that a very good cane reed cannot be beat when it comes to Soprano in my opinion. I will continue to use both. For live performances I would recommend the cane and use the Légère as a back up. Hope this helps![/QUOTE]
 

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I myself had tried many other synthetics and mouthpieces on soprano and I'm now happy with Yanagizawa metal and Legere Signature. With that combination I can blend with other instruments very well.
 

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I prefer Legere 2.25 Signature for soprano over plasticover and both hemp and carbonfiber. I get a nice solid tone and very good intonation using them.

One must purchase at least 3 reeds so you can rotate them. Using one until it fails is fine but you could make those three reeds last a whole year.
 

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I like Legere Signature Clarinet reeds (european cut or non) 2 or 2 1/2 on my S 80 F for all genres. This is my only "plug and play without problems" - combination on all my reed instruments.
 

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Use them on all my horns. Trying out a Hartmann Onyx also on alto. Been on Legere sig a good few months now. Today I put a tenor sig reed on my soprano, wow its very very nice, nicer that the soprano sig reed. Go figure. Love the no hassle with them. Finding your strength is king and taking time to adjust.
 

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I love legere signatures on all my horns. However, I quit using them because I was having difficulty positioning them relative to the mouthpiece tip. They like to be lined up just so.
 

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Legere sig = more simple life. Still love my Rigotti gold and will still use them on tenor at certain times but 99% is now Legere.
 
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