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Discussion Starter #1
I've been trying for a some time to adjust/modify my Small FL U.L. to fit my metal Yanagisawa soprano mouthpiece better. I found my own lig to still be a bit too big for my sop mouthpiece, and one of the metal tubes was not welded on as straight as it should've been. This presented an interesting dilemma regarding what to do when storing the mpc & lig together without a reed on the mpc. I could either:

1. Put the ligature on the mpc. and tighten the screw, thereby tightening the lig plate against the table and holding it in place rather well... at the expense of having the edges of the plate scratch up the table (I've found this even more of a risk when actually tightening the screw. Because the lig is bigger than my mpc., the lig can slip/rotate and the edges of the plate can bang against/scratch the table as the plate is being tightened).

or

2. Leave the ligature on the mouthpiece without tightening the screw/plate, and have a significant risk of it slipping off the mouthpiece and flopping around the case or wherever it happens to be. The lame "Smart" Cap doesn't help holding it on, either - it's also a bit too big for my mouthpiece w/o a reed on it.

I've gone with Option 1 since I got the ligature. But a while ago I saw one of those inverted FF ligatures, and noticed that the F.L. looked very similar when placed upside down. So I inverted my F.L. (see pic) and, lo and behold, it actually fit and tightened BETTER on my mpc. than in its "normal" position!

The curvature of the pressure plate fit the contour of the top of my mouthpiece perfectly, and the areas of the metal tubes touching the table have no edges to scratch the table. This goes for when I put a reed on the mouthpiece, as well. In fact, this position also holds the reed on more securely.

I now use my U.L. inverted all the time, and I've noticed no drawbacks or changes in doing so. There's no extra stress placed anywhere on the lig or mouthpiece. I also think it's rather unique-looking.

Does anyone else do this? I'm curious as to what other people's opinions/results on this are.
 

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How many stations does it receive? :lol:
 

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Discussion Starter #3
How many stations does it receive? :lol:
I'm not sure... My embouchure doesn't get reception because I haven't had braces for quite a while :whistle:.
 

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well, it is certainly weird and it won't work for anyone , there is the potential to scratch the top part of you mouthpiece since the pressure plate has rather sharp edges and doing this you won't benefit at all of the pressure free pivoting action which is, naturally one of the features that FL sought to give to this ligature. I don't know if you know but FL has also another ligature called pure brass which will in my opinion offer the benefit of being tightened separately form the pressure plate and give a better and more even pressure
 

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Discussion Starter #5
well, it is certainly weird and it won't work for anyone ,
Anyone? I think there are at least a few other people on here that it could work for. Not everyone, but a few people.

there is the potential to scratch the top part of you mouthpiece since the pressure plate has rather sharp edges
Not in this case. The curvature of the top of the mouthpiece happens to match this plate perfectly, so the edges don't dig in to the mpc. And besides, I'd rather have the top of my mouthpiece scratched than the table, wouldn't you?

and doing this you won't benefit at all of the pressure free pivoting action which is, naturally one of the features that FL sought to give to this ligature.
Personally, I don't see how a ligature can be "pressure free" and still hold a reed on the mouthpiece. It's a marketing gimmick to me. I just bought it because it worked well on my mouthpiece/reeds after I figured it out, and the price was great ($30) And, what the heck... it looked pretty, too! I understand the pivoting table is useful for seating the plate against the reed during tightening and positioning.

If I leave the ligature a bit loose (within reason, of course), it plays the same as if I really tighten it (again, within reason) and if I invert the ligature. However, since only the very edges of the plate touch the reed in its normal position, if I even think about moving my mpc. or adjusting or anything, both ligature and reed go way out of alignment. So I have to crank it tight anyway to keep the reed secure.

Note: This is my experience on my soprano mouthpiece only; I didn't have problems with an Ultimate Lig on my tenor Jumbo Java. It may just be due to my sop mouthpiece size and/or construction differences between each individual FL lig.

I found the inverted setup is more akin to using an inverted (rails over reed) Rovner EVO-5 or Star Series, that I find works well on alto for me.

As for the Pure Brass, one of my friends bought one for tenor, and one of the flat metal bands broke within a month. It makes sense to me – you're basically bending the flat bands (that are already bent to form the ligature!) back and forth whenever you tighten and loosen it, as opposed to the "straight up-and-down" screw on the Ultimate. I don't know if that was just a fluke, but it kept me from buying one. They just seem too fragile.
 

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well, if you have the reed in between the pressure plate will never scratch your table. if the pure brass was too small for the mouthpiece AND your friend tightened it too much (as lots of people do) all the time, yes it can brake otherwise there is no chance of this (unless it is a faulty one, which can happen)
 

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For storage: I use an old reed that I snapped in half. It lets me tighten the ligature to its normal position, but the table is protected by having a reed there. No worries about scratches.

As for playing it inverted: Yes, it is designed to go the other way, but if you like the way it plays then go for it!
 

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Discussion Starter #8
well, if you have the reed in between the pressure plate will never scratch your table. if the pure brass was too small for the mouthpiece AND your friend tightened it too much (as lots of people do) all the time, yes it can brake otherwise there is no chance of this (unless it is a faulty one, which can happen)
Obviously I know that it won't scratch the table if the reed is on. I said I was concerned about that when I was storing the lig + mouthpiece with the reed off.

If I can find a Pure Brass for a good price, I might consider trying one


swperry: Wow, that actually never crossed my mind... talk about oversight! :faceinpalm:
I actually like using the lig inverted though, so I think I'll keep it that way for now.
 

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Discussion Starter #9 (Edited)
EDIT: Accidentally double posted my previous post.
 

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Obviously I know that it won't scratch the table if the reed is on. I said I was concerned about that when I was storing the lig + mouthpiece with the reed off.

If I can find a Pure Brass for a good price, I might consider trying one


swperry: Wow, that actually never crossed my mind... talk about oversight! :faceinpalm:
I actually like using the lig inverted though, so I think I'll keep it that way for now.

I now play the pure brass, but I keep the old reed in place because storage presents the same issue.

I just tried my ultimate in the inverted position...no difference noted.

The main difference I find between the Ultimate and the Pure Brass is that moving the mouthpiece on the cork is WAY easier with the Pure Brass. Still not as easy as some ligs, but I used to hate adjusting with the Ultimate on.
 

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Discussion Starter #11
I just tried my ultimate in the inverted position...no difference noted.

The main difference I find between the Ultimate and the Pure Brass is that moving the mouthpiece on the cork is WAY easier with the Pure Brass. Still not as easy as some ligs, but I used to hate adjusting with the Ultimate on.
I don't find a difference in tone or response or anything. It just fits my soprano mouthpiece better that way. I also find that inverting it helps regarding the adjusting issues. Again, this is only on my soprano mouthpiece. Results may vary.
 
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