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For some reason on every bari mouthpiece that has any sort of baffle to brighten it up (i.e. Yany 6, Jody Jazz HR* 6, Rousseau JDX 6), using a metal ligature on those pieces results in my hearing a metal ringing in the overtones. For me it's like listening to fingernails on a chalkboard. While I can't stand Rovner ligatures on alto or tenor, they work really well to dampen these overtones to that I can bear to play a jazz mouthpiece. I especially like the Rovner Mark III on Bari. Does anyone else run into this problem and if so, how do you deal with it?
 

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Don't have this issue, but no reason you have to use a metal lig for anything, use whatever works for you.
 

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For some reason on every bari mouthpiece that has any sort of baffle to brighten it up (i.e. Yany 6, Jody Jazz HR* 6, Rousseau JDX 6), using a metal ligature on those pieces results in my hearing a metal ringing in the overtones. For me it's like listening to fingernails on a chalkboard. While I can't stand Rovner ligatures on alto or tenor, they work really well to dampen these overtones to that I can bear to play a jazz mouthpiece. I especially like the Rovner Mark III on Bari. Does anyone else run into this problem and if so, how do you deal with it?
Although I only play alto, I definitely find step baffle pieces in particular tend to have a certain high overtone that can upset my tinnitus. I use a rovner on bright mouthpieces and a metal lig on dark mouthpieces, and it definitely seems to help. The Mark III in particular is "heavy" but it's a good lig.

If it works, roll with it. Rovner ligs are weirdly divisive but just like every other bit of gear it ultimately is just that, a tool to help you achieve your goal. The other aspect is reed choice which can help, but I know the ligature works and I still get a sound I like so why would I fight it?
 

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For some reason on every bari mouthpiece that has any sort of baffle to brighten it up (i.e. Yany 6, Jody Jazz HR* 6, Rousseau JDX 6), using a metal ligature on those pieces results in my hearing a metal ringing in the overtones. For me it's like listening to fingernails on a chalkboard. While I can't stand Rovner ligatures on alto or tenor, they work really well to dampen these overtones to that I can bear to play a jazz mouthpiece. I especially like the Rovner Mark III on Bari. Does anyone else run into this problem and if so, how do you deal with it?
JoAnn, I had that problem for years on tenor. I never could find a compatible metal piece. Then I took a shot at a NY Link and was surprised at how well it played for me. The NY has a larger chamber and a flatter baffle. I can get a Stan Getz tone to a Dexter Gordon with it. I'm not sure how this compares to a bari but one would think that the science would be the same, baffle and chamber really make a difference.
 

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I just wanted to add. I use mouthpiece patches on all my pieces. I am guessing those have some affect on the mouthpieces. I don't know if maybe those dampen those overtones you speak about, but they might. Anyway, using a mouthpiece match might be something you could try to see if that changes what you are talking about. Though I don't remember ever necessarily having this issue you have talked about.
 

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For some reason on every bari mouthpiece that has any sort of baffle to brighten it up (i.e. Yany 6, Jody Jazz HR* 6, Rousseau JDX 6), using a metal ligature on those pieces results in my hearing a metal ringing in the overtones. For me it's like listening to fingernails on a chalkboard. While I can't stand Rovner ligatures on alto or tenor, they work really well to dampen these overtones to that I can bear to play a jazz mouthpiece. I especially like the Rovner Mark III on Bari. Does anyone else run into this problem and if so, how do you deal with it?
That's a good solution. But it's a band aid. I have the same issue with Metalite and some Dukoff pieces. Dampening the unpleasant frequencies with a certain ligature also dampens some of the pleasant ones. So the best solution is to play a mouthpiece that doesn't have those unpleasant overtones to begin with or get the right reed and technique to make them go away.

Long story short, you haven't found the right jazz mouthpiece for you, or need to find the right reed or techniques to play the pieces you have. What kind of reeds do you play?
 

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Interestingly enough, the amount of baffle on those pieces mentioned is very minor (if you're classically trained and have an ear preference for classical pieces, you may notice more, but it is still not much) . Rovners are good at one thing, holding a reed in a death grip. Yeah they work, but if your other ligatures are producing a nail chalkboard style overtone for you, i feel that they aren't holding the reed properly, and you may be hearing a too much of the buzz/freedom of the reed vibrating. I think you'd do good to find an inbetween, some ligatures that hold the reed better, have more pressure points, but still allow more freedom than the rovner, I'm thinking of something like a vandoren optimum or M/O ligature. Even a rovner light may be a good solution. Wonder what you'd think of an actual High Baffle piece and a metal lig?

I love my Vandoren V16 B7, but I get roughly the same sound from the Rovner Versa and My Ishimori Silver Plated Ligs (Both in HR Tenor size)
 

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Dampening the unpleasant frequencies with a certain ligature also dampens some of the pleasant ones.
This is so true. The only reason a ligature is dampening frequencies is because it doesn't fit properly or is not working properly.
 

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When I was playing classical bari, I came across the KG bass clarinet ligature that I still swear to this day. I don't know the size of your bari, but if you're looking to dampen your sound I'd probably recommend that.
 

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When I was playing classical bari, I came across the KG bass clarinet ligature that I still swear to this day. I don't know the size of your bari, but if you're looking to dampen your sound I'd probably recommend that.
Sorry, what is the KG bass clarinet ligature? I don't recognize the brand.
 

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Sorry, what is the KG bass clarinet ligature? I don't recognize the brand.
My apologies! I meant BG- I guess I was typing out too quickly.
 
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Discussion Starter #12
That's a good solution. But it's a band aid. I have the same issue with Metalite and some Dukoff pieces. Dampening the unpleasant frequencies with a certain ligature also dampens some of the pleasant ones. So the best solution is to play a mouthpiece that doesn't have those unpleasant overtones to begin with or get the right reed and technique to make them go away.

Long story short, you haven't found the right jazz mouthpiece for you, or need to find the right reed or techniques to play the pieces you have. What kind of reeds do you play?
You might be right. The Brilhart Ebolin doesn't have those harmonics, but its tone hasn't grown on me. I'm currently using Legere Signature 2.75 reeds, but I'm also using D'Addario Reserves and BSS 3.0 reeds. The Reserves do a better job minimizing but not eliminating the annoying metallic ringing I'm hearing in the overtones. BTW, I tried a several other reeds as well to no avail (Vandoren Blue Box, Hemke, Vandoren Java Red Box & La Voz). It's also hard to compare apples to apples since the same metal ligature doesn't fit all the mouthpieces I'm trying. A BG Tradition Tenor Sax Lig fits the JJ HR* and the JDX (barely) and a Yany single screw lig fits the Yany (of course.) The Rovner Mark III fits all of them well. I'm starting to wonder if I'm overly sensitive to those frequencies since I had grown accustomed to the Selmer S80 C**. I still love that mouthpiece, but I was looking for a piece that could project a little more easily when playing jazz. The BG Tradition Baritone Lig fits the S80 well and produces a really rich, round sound. There is not metallic ring from that piece at all no matter the setup.
 

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Discussion Starter #13
Interestingly enough, the amount of baffle on those pieces mentioned is very minor (if you're classically trained and have an ear preference for classical pieces, you may notice more, but it is still not much) . Rovners are good at one thing, holding a reed in a death grip. Yeah they work, but if your other ligatures are producing a nail chalkboard style overtone for you, i feel that they aren't holding the reed properly, and you may be hearing a too much of the buzz/freedom of the reed vibrating. I think you'd do good to find an inbetween, some ligatures that hold the reed better, have more pressure points, but still allow more freedom than the rovner, I'm thinking of something like a vandoren optimum or M/O ligature. Even a rovner light may be a good solution. Wonder what you'd think of an actual High Baffle piece and a metal lig?

I love my Vandoren V16 B7, but I get roughly the same sound from the Rovner Versa and My Ishimori Silver Plated Ligs (Both in HR Tenor size)
I am more accustomed to classical type mouthpieces so maybe that's what is the the crux of my problem. All of the pieces I've mentioned above are brighter than the S80 I also play, but project much better. I was looking for a moderately bright mouthpiece that projects better than the S80 for jazz and all these pieces satisfy that. I'm definitely not looking for a high baffle piece. I still want to hear the core of the sound more than the buzz. The metal ligs I'm using are either the BG Tradition or the Yany single screw lig. It so hard to find ligatures that fit all of the various sizes of baritone mouthpieces. Neither Optimum Tenor nor Baritone lig fits these mouthpieces. The Rovner fits all three well which is a bonus. I've also considered buying a custom fit Silverstein ligature once I've settled on a jazz mouthpiece.

Trying a high baffle mouthpiece with a metal lig??? I think I'll pass but a nice OL STM might be something to try.
 

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Discussion Starter #14
My apologies! I meant BG- I guess I was typing out too quickly.
Yep, that's my lig of preference. I've been using the BG Tradition since the early 2000s. It's simple and easy to adjust and for me it's just more responsive than many of the alternatives. Although I have not tried the Vandoren MO.
 

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Have you tried different metal ligatures? Seems like it could have a very slight vibration somewhere, screw doesn't fit right, you forgot to tighten the 2nd screw (ask me why I ask that....), loose solder, etc.

If that's not it, try adding a thin piece of leather or cloth tape to the part of the ligature that holds the reed. I did this to a couple of Link STM ligatures, and it made them hold the reed better, and really tightened up the sound as a result. Leather from an old pad is perfect.

I do notice a difference in tone between Rovner and metal ligatures, which is why I don't use Rovner. Richer harmonics with the metal, and a more locked in tone.
 

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I am more accustomed to classical type mouthpieces so maybe that's what is the the crux of my problem. All of the pieces I've mentioned above are brighter than the S80 I also play, but project much better. I was looking for a moderately bright mouthpiece that projects better than the S80 for jazz and all these pieces satisfy that. I'm definitely not looking for a high baffle piece. I still want to hear the core of the sound more than the buzz. The metal ligs I'm using are either the BG Tradition or the Yany single screw lig. It so hard to find ligatures that fit all of the various sizes of baritone mouthpieces. Neither Optimum Tenor nor Baritone lig fits these mouthpieces. The Rovner fits all three well which is a bonus. I've also considered buying a custom fit Silverstein ligature once I've settled on a jazz mouthpiece.

Trying a high baffle mouthpiece with a metal lig??? I think I'll pass but a nice OL STM might be something to try.
Makes sense, and I didn't mean a high baffle piece as a recommendation, just wondering if you play testing one would make it more prevalent in those harsh overtones.

I think skeller's recommendation and mine to try other better fitting ligs is still a good bet for you though as it does sound more like poor matching on some of those! Luckily STMs stock logs work well (imo) and should provide a good option for you.
 

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While I can't stand Rovner ligatures on alto or tenor, they work really well to dampen these overtones to that I can bear to play a jazz mouthpiece. I especially like the Rovner Mark III on Bari. Does anyone else run into this problem and if so, how do you deal with it?
I've long said using a Rovner dark on tenor was like wearing a raincoat on a sunny beach. Swear by them on my sopranos however.
 
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