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Discussion Starter · #1 ·
I was a bit surprised having heard so many good reviews of Legeré and so few of Fibracell. I ordered one along with my standard Javas and I think it plays just as well and assume it will last longer. It plays amazing all the way up and down from low A to G5 (when I'm having a good day and can play the intermediate notes in the altissimo register). It transfers well between mouthpieces and has no problem in any style. I don't really like the feel of plastic, but this is the closest to cane I have felt excluding the real thing. That is my little rant. Thank you for reading.

For those of you who said Tl;dr...
1. Plays as well as my current cane reeds.

2. Lasts longer.

3. Plays well throughout the whole range of the horn.

4. Suits many mouthpieces and styles.

5. Feels closer to cane than other synthetics I have tried.
 

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That's been my experience too. Although it requires a little more lip pressure to play the upper notes in tune on my mpc than a fully broken in cane reed. I know some people love the Legeré, but I just don't get those. I own the Studio and can't stand it (strange sound, strange feel). Every couple months I'll play the Legeré again and then put it away after confirming my dislike. To be fair though, I recently ordered the Signature to try. Even synthetic reeds are not all alike and you never know so I like to keep trying them once in a while. So far for me the Fibracell are the best synthetic with the Plasticover second. I still prefer cane but I think I could live with the Fibracells if I had to. Just need to adjust my embouchure a bit on the top notes and stop switching between it and cane.
 

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I use Fibracells on alto and clarinet, mainly because those two horns sometimes sit on the rack while I'm playing soprano and I don't want cane reeds to dry out and surprise me when I pick up those horns for a tune or a phrase.

But like I've said before, it took me a while to find the right mouthpiece to accept Fibracells. They don't play on all of my mouthpieces.

Today, I spent some time with my curved soprano (SC902) and discovered that Fibracells (marked SOFT and 1 1/2 for the Premieres) worked really well on an old S-80 G soprano piece I used to play. The Fibracells also worked on most of the closer-tipped soprano pieces I tried - Super Session E, scroll-shank C*, Yanagisawa 5, and a Kessler Custom 7. They still weren't so hot on my favored open-tip soprano pieces, though. DAVE
 

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Discussion Starter · #6 ·
I have been using it as a practice reed and starting tomorrow will use it as my band camp abuse reed. I will be the only one among the saxes and clarinets to use the same reed through the whole week.
 

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I played fibracells on tenor for a while. The first couple I played were good, then I started to realize that about 50% of them were unplayable. They are quite inconsistent (yes, I was using the "premier"), and are not worth adjusting, because then you get the horrible taste, and no matter what you do, they irritate your lip. For $10-11 a piece, they are not a deal, and they don't last that long (you might think they are still playing well, but put on a new one and you realize how soft they get).

Even when I was playing Java Green boxes, the success rate was greater than 50%, and closer to 75% after adjusting. I am playing better than 90% of my Rigotti's with very minimal adjusting. A box costs a couple bucks more than 2 fibracells.
 

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Well, I used them on all my horns for a while (SATB + cl). Since then, I switched to Fiberreed on the low horns, and Légère on clar and alto, mainly for 2(.5) reasons:
_ Fibracells tend to play flat with a relaxed embouchure, which can be very tiring on clarinet (where you cannot push-in the mp)
_ Fiberreeds give you an extra projection on low horns (T, B and bass clar), and really last longer
_ the half reason is that supply is very inconsistent in Switzerland.
I have kept 1-2 for every horn, as an excellent back-up and low dB reed.
 

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I bought 5 Fibracell reeds today (in Germany) with 50% discount. Now I have enough to play for a while in Africa.
 

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i use fibracell as backup, or when i'm too rushed to soak my reed, or travel to more extreme temperature. it was a pain at first but became playable top to bottom after some adjustments. it's okay, there's a bit of a tinny buzz to my ears, it's convenient, but my #1 choice is cane.
 

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Discussion Starter · #11 ·
After a good nine hour beating it is holding up well. Just four more days to go. I am starting to notice that it gives a bit more resistance in the B3-F3 range than I'd like. This is especially the case when playing subdued.
 

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Yeah,... I'm on my second Fibracell with an unopened one sitting in the draw. Tried a Studio Cut with some problems with it on the Barone NY6M, but I could handle it on the Meyer 5M. Only problem,... it imprinted some strange zig-zag patterns onto my Meyer's table. I guess from the lig pressure. Was hoping the pattern would eventually disappear after a while of not using it with the Legere, but it's hanging around. Anyone else experience this on their HR mpc's?

Anyway, sent it back to Legere for an exchange to the Signature with the same strength. I understand a Signature 2.0 is softer than a Studio Cut 2.0 and that's what I was looking for. I'll wait on the Signature, but if it's as problematic as the Studio Cut was, I think I'll leave'em alone, crown Fibracell as the reference, and start experimenting with the Bari reeds. The Fibracell is a little brighter than cane, but I guess that's to be expected,... big difference in tone between a Fibracell and a V16 on the same mpc. I've also heard that Legere recently changed their manufacturing process, with some liking the changes while some are hating the new reeds. There's another thread in here that suggest loyal Legere fans are scouring the land on a mission to buy up and hoard all the older runs of the Studio Cut. LOL!
 

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My experience: Fibracells last longest when you have three or four of them and rotate playing them - a couple of hours on one today, a couple of hours on a different one tomorrow. I did have one that played great for almost two years, but I wasn't playing consistently every day back then either.

I've also seen the inconsistency in Fibracells, but not enough to make me spend months looking for a replacement. On average, I find a bad one (too hard, too soft, already cracked upon opening the case, etc.) about once in every ten. People can say what they want about how consistent these are supposed to be, machine-cut and all, but if humans adjusted the machines there are bound to be errors over time. In discussions of these synthetics, I always tell people, "Your mileage may vary."

I have also tried Legeres. They do not fit correctly on my mouthpieces (stock Yani 5 HR and a Berg 100/3) - they are much wider than the Fibracells (or my older Plasticovers) at about 0.5mm on each side, and that makes them sound way too stiff and stuffy no matter the strength. Upon discussions with Legere - I had thought there was a manufacturing error - I was told that the Legeres I'd purchased were the correct size and that I should try other mouthpieces. I really didn't think they were worth that much more expense and research.
 

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I have tried 2 Fibracell and they sounded like a quacking duck.... I am sure it was just me but the Legere Signature sound like good cane for me and they fit my Personalines just fine. Another reason there are so many different makers of synthetic reeds. Everyone gets to find the one that works for them! :)
 

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Discussion Starter · #15 ·
Another reason there are so many different makers of synthetic reeds. Everyone gets to find the one that works for them! :)
Exactly. I know someone who hated the idea of a synthetic reed, but was convinced to try some. He literally tried every brand available on WWBW and only liked the Legeré studio cut out of the whole lot.
 

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I use them. They can be a bit buzzy in the softer range so I use the premier 3.5 on alto and tenor 4 on bari. I have had a problem with the backing coming off at one stage but not lately.
 

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I agree with Slab Hardcheese that the Legeres produce a strange and awkward tone. I played on a Fibracell about 15 years ago, and didn't like the tone at all. But I recently bought one for my alto and the results were excellent. They must have improved the materials they make them with or something. Anyway, I find that the Fibracell is the best choice when I am playing with my beloved Meyer 6M and I want the volume, projection and edge I am used to getting with a metal mouthpiece. When I am playing with a very loud Gospel choir or jazz band, I can't even hear myself with my Vandoren reeds of choice. But I strap on the Fibracell with my trusty Rovner lig, and instantly I can be heard throughout the room in small and even medium sized venues without needing a microphone. Now I am also playing the Fibracell on my Soprano with excellent results. But I was disappointed with the tone I got out of the Fibracell on my tenor. Perhaps the strength is simply not right for the mouthpiece, but the tone was way too bright and schmaltzy for me. It sounded appropriate for a blues gig, but I don't play in blues bands.
 

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Discussion Starter · #18 ·
It is taking these 9 hour days like a champ. It plays right away every time I pick up the horn. I would never use one for a concert/gig, but I will keep using them to practice with especially for long sessions. I also found that they respond well to ligature adjustments and pressure changes.
 

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My experience: Fibracells last longest when you have three or four of them and rotate playing them - a couple of hours on one today, a couple of hours on a different one tomorrow. I did have one that played great for almost two years, but I wasn't playing consistently every day back then either.

I've also seen the inconsistency in Fibracells, but not enough to make me spend months looking for a replacement. On average, I find a bad one (too hard, too soft, already cracked upon opening the case, etc.) about once in every ten. People can say what they want about how consistent these are supposed to be, machine-cut and all, but if humans adjusted the machines there are bound to be errors over time. In discussions of these synthetics, I always tell people, "Your mileage may vary."

I have also tried Legeres. They do not fit correctly on my mouthpieces (stock Yani 5 HR and a Berg 100/3) - they are much wider than the Fibracells (or my older Plasticovers) at about 0.5mm on each side, and that makes them sound way too stiff and stuffy no matter the strength. Upon discussions with Legere - I had thought there was a manufacturing error - I was told that the Legeres I'd purchased were the correct size and that I should try other mouthpieces. I really didn't think they were worth that much more expense and research.
Exactly my experience. I have been rotating four Finracell tenor reeds for a couple of years. I practice on them every day, and use them on gigs and so far have had one bad one out of 5. I actually think they have improved in sound and playabilty over time - or at least have not gotten worse. I didn't like the response of Legeres.

I have played these on my metal Florida USA link, a RPC rollover baffle, a Ponzol M1 and now my favorite mouthpiece - Phil-Tone Equinox. They have sounded best on the two HR pieces (Phil-Tone and RPC), but very acceptable on the Link (although I prefer ZZs on the Link), and not too good on my Ponzol . Regardless of mouthpiece, I always use Fibracell on gigs so I don't have to deal with keeping them wet or breaking or whatever. Playing through a mic and a house PA it makes little difference as far as the sound the audience hears anyway. And if you're playing at a dicey roadhouse and someone shoots a gun in your direction, you can use the Kevlar as a shield.
 
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