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10,062 Posts
Ligs keep getting more and more bizarre. Can't wait for the day when someone puts a simple 2-screw lig on here and everyone ooohs and aaaahs because they've never seen one before.
JLV Ligature
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Rick Margitza plays one sometimes but I don't think he officially endorses them.
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1,773 Posts
Hey Mark-hope all is well. Margitza is a killer on tenor and soprano . . . So underrated.
I tried them at NAMM. I would consider one for my bari which needs some extra help pushing down on the back of the vamp and the arms did that. I couldn't afford one, though. Do recognize that they are trying to get into the US market and that would have them get as many people on board as they could get.
Soprano, Alto, Tenor, Bari and Flute, if you bend my arm > Clarinet
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1,434 Posts
I've tried one on a tenor HR and it was every bit as good as a Silverstein or better however, I put it on backwards. The way they recommend putting it on might be good for an orchestra player looking for a very dark sound but not for a contemporary saxophonist. Very easy to flip it around and have it hold the reed in the traditional spot. It has the least contact with the mpc and secures the reed well. Over priced, yes.... but they work really well...
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2,390 Posts
Okay, there's so much wrong with the video I don't know where to begin. First off, how about starting on position one and work your way from there to position three. I know, shouldn't be a big deal, but if you're going to make a comparison video why not do it with some kind of uniformity. Then, the reviewer plays three different tunes for way too long in my opinion to make any comparison really distinguishable. And last but not least, for position one, played third, his horn in relation to the mike is in a completely different position, changing all the dynamics. Bottom line, one can make better use of the $200 price tag on this lig. Maybe using it to pay for that office visit to a Psychiatrist to get your head examined ....
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3,791 Posts
Phil-Tone's a trained therapist, maybe he'll throw in a session with a mouthpiece order?
Martin C 3 1952 bari, 1966 MARK VI TENOR, 58 Buffet Alto, 28 Martin sop, Leblanc Eb bass clarinet
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240 Posts
I have been testing this ligature on my old HR Ponzol for two weeks. Its technicality requires special care to adapt it precisely (the two side screws first and tightening the top screw). No doubt: it allows you to play slightly weakened reeds. the positioning of the fork on the reed is indeed very sensitive. By definition, this ligature will be more suitable on filed reeds. The articulation is better. The homogeneity of the sound is improved. On the other hand, depending on its positioning, the sound will sometimes be a little less clear. reserve: I have not tested this ligature on mouthpieces with small chambers. Conclusion: maybe a good choice for a stable sound, use a little painful but really brings something in the emission and the homogeneity of the sound ..... Unlike other ligatures, it has a real effect on the feel but the cost is still important. on the other hand, I was not embarrassed about its positioning with filed reeds, less easy with unfiled reeds
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