Sax on the Web Forum banner

1 - 10 of 10 Posts

·
Registered
Joined
·
133 Posts
Discussion Starter #1
I was planning on buying an ishimori. However there near impossible to find. I started looking at the vandoren m/o

Can you guys who have more experience let me know of there will be any kind of difference between the two for playability? Focus, articulation, response?

If there is I'll wait for the ishimori, but if the difference is negligible I'm probably better off purchasing the vandoren.

Thank you kindly!
 

·
Registered
Joined
·
9 Posts
You might take a look at the Marc Jean ligatures. I just picked one up and am quite surprised at how much I like it. Though, of course everyone has their own opinions.
 

·
Registered
Joined
·
5,458 Posts
I was planning on buying an ishimori. However there near impossible to find. I started looking at the vandoren m/o

Can you guys who have more experience let me know of there will be any kind of difference between the two for playability? Focus, articulation, response?

If there is I'll wait for the ishimori, but if the difference is negligible I'm probably better off purchasing the vandoren.

Thank you kindly!
I would urge you to consider that there are a significant number of players (myself included) who believe that if you will just make sure the back side of your reeds is flat, all ligatures will be pretty much identical.

I can tell you that I have never found a dime's worth of difference among ligatures as to response, tone, etc., when the back side of the reed is flat. (I will admit that I have not tried any of the high dollar whiz-bang ones, but since I am satisfied with the way my mouthpieces and reeds respond when I flatten the back of the reed, there hasn't been any incentive. Between the Rovner ligature (much reviled) and the el cheapo el plaino two or one screw metal jobbies, I can't detect any difference in the playing.)

Personally I would suggest putting a small fraction of the $$$ into a small Swiss Army style knife and a metal straightedge, then spend some time flattening the backs of your reeds. Apply this for a year or so and you will very likely find that your interest in spending big money for different ligatures has magically disappeared, leaving your time and money free for things other than the Great Ligature Wild Goose Chase.

As another data point, the only time I find myself daydreaming about equipment changes is when I haven't been practicing enough. when I'm really putting in the practice time, any old lump of plastic and sliver of cane seems to work just fine.

Oh well, what do I know. Only been using the Rovner lig since 1978.
 

·
Banned
Joined
·
2,814 Posts
Ligatures can and do sometimes make a difference. Very subtle differences in timbre/brightness and response can be noticed by the player. Will your overall sound drastically change? No, but the response you feel and minor changes in brightness or darkness can happen. Yes, proper reed prep. and making sure the back is flat to seal well with the table of the mouthpiece (like turf stated above) are definitely important as well.
Having said that, I play m/o's on alto and clarinet and love them. They secure the reed(s) well and have great response. They're made solid and I personally like the single screw. I've never played an Ishimori, so can't give you a comparison, but I doubt you'd hear or feel much, if any difference between a lig. that costs about $40 versus whatever insane price they get for an Ishimori. Just my opinion...
 

·
Registered
Joined
·
133 Posts
Discussion Starter #5
Thanks guys. The last time I checked this thread I had no response, so I just focused on what I wanted to do. This morning after sitting with things again I decided that I do whole heartedly agree any difference will be small, however I've been desiring an Ishimori for a while, I saved up for an Ishimori and I wanted to buy one! Nothing wrong with that. Even if the Vandoren plays the same, its not what I wanted and I'm grateful I had the resources to purchase the Ishimori.

First and foremost I make sure my reeds are always flat - I wish I could practice more but I'm a family man now, so 4-6 hours a day is all I can fit in. I've recognized that the quality of my practicing (Am I having fun, am I enjoying and appreciating my music, am I letting my heart be my guide) is far more important then if I'm practicing 10 hours a day but judging everything I do and getting frustrated with not being where I want to be yet etc.

I was playing a rovner dark, to MK3 - Then I grabbed a vintage otto link two screw ligature from my sax tech for free (He just thought it was an old no named ligature) I wanted to try a simple two screw design and I loved it! The rovner did something to dampen response and sound, the two screw livened things up tremendously. It's on its last legs though, and it doesn't form 100% to the reed, there are slight gaps. Ishimori seems like a similar type lig with increased reed vibration and a glove like fit so I'll take it:)
As far as improving my tone, I've recognized that I have to make it a priority when I practice! When I work on my scales, am I focused solely on articulation and fluidity / tempo, or am I focused on breathe control, making it sound just as beautiful as I would one of my solo's. Am I working on my overtones, altissimo, throat control ETC. Those things are top on my list so my tone can grow alongside my technical abilities with speed and fingering.
After a few days I was able to play all three ranges of B flat - D! for overtones, that excited me:) Didn't need to move my embouchure much or bite, all I did was imagine the tone in my head and close my throat a little and vuala! You can't teach this stuff, you have to fiddle around with your horn with the intention of figuring it out to learn and understand it.

Time to practice now:) All week it's been technical work, so today I'm just going to improvise and enjoy what I've already accomplished with regards to my tone, skill, creativity. I forget to do that sometimes! It's all strive strive strive without appreciating what I've already managed to accomplish in only 6 months time:)

I hope everybody has a wonderful weekend! Feel free to continue discussing things in this thread if you wish, I'm sure others will search this on google and may benefit from your responses.
 

·
Distinguished SOTW Member/ Forum Contributor 2011
Joined
·
2,574 Posts
I moved from a M/O to an Ishimori.

The perception I had from the mouthpiece end of the horn was that the tone was ever-so-slightly fuller (thicker maybe?) and darker on the Ishimori. There was just something there when I tried it out that I could not put my finger on, but liked when I tried it. That said, I doubt that there is a listener-perceivable difference.
 

·
Registered
Joined
·
133 Posts
Discussion Starter #7
I received the Ishimori today. All I can say is Wow!.... I wasn't expecting such a noticeable difference TBH, I knew there would be some... but this is brilliant.
Before testing it on a good reed, I already had planned on rotating through my dead ones to confirm they could be tossed. Over the last week these reeds would not articulate, they just close on me and articulation was very slow... Pop on a reed and It felt brand new! Articulating 120bpm 16th notes with ease - I'm like seriously? They all played like that. Before I even used a good reed, my tone was so Pure, Warm, Focused. Thicker upper registry and Altissimo was noticeably easier. My practice was cut short - Broke in some new reeds and that was basically playing as quietly as I can over long tones and that used up my time before dinner. Now I'm about to give a good reed a go as we speak:)

It's like my reeds are wrapped in angel wings - Others I'm sure will assume I'm exaggerating, and thats okay:) We all have our own experiences with ligatures. I'm pleasantly surprised, extremely surprised even! I highly recommend this lig to anybody. I bought the simple brass model - It surprisingly fits my mp like a glove, and I'm in love<3

Beautiful, absolutely beautiful! Everything is easier to play, quicker response, bigger projection, warmer and focused.
Next on my list are Diddario Jazz Select reeds! I ordered a box today and can't wait to try them. I'm hoping they add more focus compared to the Java Reds I've been playing for months.

Take care everybody:) Thank you for your feedback in this thread.
 

·
Distinguished Member, Forum Contributor 2008-2017
Joined
·
2,234 Posts
Ligatures can and do sometimes make a difference. Very subtle differences in timbre/brightness and response can be noticed by the player. Will your overall sound drastically change? No, but the response you feel and minor changes in brightness or darkness can happen. Yes, proper reed prep. and making sure the back is flat to seal well with the table of the mouthpiece (like turf stated above) are definitely important as well.
Having said that, I play m/o's on alto and clarinet and love them. They secure the reed(s) well and have great response. They're made solid and I personally like the single screw. I've never played an Ishimori, so can't give you a comparison, but I doubt you'd hear or feel much, if any difference between a lig. that costs about $40 versus whatever insane price they get for an Ishimori. Just my opinion...
One of the best posts about ligatures I have read.
 

·
Registered
Joined
·
109 Posts
Good that the Ishimori works so fine for you, although it sounds to me that you just practiced a lot. I myself never found any difference with ligatures, but very much difference with flattening and adjusting reeds. That´s why I like the Rovner, it allows for fast reed exchange, and the reeds hold their position any time.
 
1 - 10 of 10 Posts
Top