+1If you find ligature placement and design makes a big difference in your response, I have a theory about this.
If your mouthpiece table and reed are flat, ligatures hardly matter at all. If not, then the ligature contact points play off the irregularities in the reed/mouthpiece fit. This is why some players experience a big difference and others none.
That would be interesting. I think it would not show a difference. The player feels it but it is not measurable.I think there is a small difference in sound between ligatures that put metal on the reed and ones that put fabric on the reed. Fabric (or other soft materials) on the reed does seem to take some of the high-end out of the sound. I guess I should pull out the Rovner dark and do a spectrogram test of that....
And of course the Eddie Daniels Rovner (now the Versa, I believe) has a metal plate in contact with the reed. So it shouldn't 'dampen' the reed any more than a metal lig, assuming you buy the idea that anything holding the heel (the non-vibrating part) of the reed firmly to the mpc table can somehow dampen the vibrating part of the reed. I don't see how that can happen; maybe it can, but I'm not convinced.I only trust my old Rovner Eddie Daniels II. It feels almost as good as a metal ligature to play, but is the most secure of any ligature I've ever used.
I make this point often when these threads come up. For me, "response" is the sensation I get from how long the note seems to stick to the reed. The lesser so, the better ligature for me for any given mouthpiece.To clarify, not necessarily in as much the sound that comes from the horn, but more in the response.
What, that he sounded like Brecker?I have the same opinion!