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Hi,


I am going ligature shopping and am considering a Silverstein Ligature to pair with my Meyer 5. From the people who own one in this forum, what do you think about it? Is it worth the premium? Also, how bright are these ligs? I'm looking for a slightly brighter sound, and I just want to know if these ligs would work in producing a brighter sound.
 

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the forum ownership is not involved much or at all with saxophones, probably you mean the participants of the forum( who constitute the basis of the people whom debate things).

This Silverstein have been discussed before and before you post any thread it is always a good idea to run a search.

I will do this for you here two relevant discussions.

https://forum.saxontheweb.net/showthread.php?203220-Silverstein-String-Ligatures

https://forum.saxontheweb.net/showt...ied-the-Silverstein-Cryo-Silver-Gold-ligature

Obviously you think that a ligature will be changing your sound and I don’t so I won’t try to discuss this topic. I will just put it to you that it always seems to me that is the expensive ligatures which make these claims or that people ascribe these properties too which there is nothing in the physics that would be like this.

There are many more ways to produce a brighter sound and more economically but the really, best way is to create a bright sound in your mind, once you have that concept that you body will adapt to produce a bright sound.

There are no boxes anywhere in the world containing anything that would replace what the mind and body of a player does.

Good Luck
 

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I have the cryo 4 silverstein for tenor and play on it. It's a nice ligature, but the price is quite high.
The difference from one good ligature to another is not worth the time searching for it.
I like the silverstein because it looks cool mainly. Get a solid ligature that is easy to put on and take off with one screw like the vandoren optimum or M|O.
I find the silverstein gives a darker sound compared to those. I find the M|O to be the brightest/thinest response.
 

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Most of us parse our own tone (which is influenced by what we feel as well as what we hear), but listeners don't hear those things.

Many will tell you that all a ligature does is to hold the reed on the mouthpiece . . . and to a certain extent, that is all there is to it. I certainly hear subtle differences when I switch among several different ligatures, but I seriously doubt that anyone else hears those differences.

So it comes down to just how much you want to spend for those subtle differences. And, keep in mind that it usually is annoying when one tries to adjust the mouthpiece for pitch and the whole reed-ligature comes off the piece. Then, you'll wish you had the old two-screw/two-band ligature (which I like the best). DAVE
 

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Try different reeds.

The difference between two reeds of the same brand and strength will be orders of magnitude greater than the difference between two ligatures.

Make absolutely sure the back of your reeds is flat and seals properly to the mouthpiece table; if you do so, any ligature will do as long as it holds the reed in place and is easy to use. Personally I prefer the plain old Rovner although the plain old two screw one is fine too. I find the two-screw ligatures require a small amount more fiddling than the Rovner and I hate fiddling so I prefer the Rovner. (It's fashionable to hate Rovners, but that just makes me like them more.)
 

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I actually use my Silverstein Cryo when I want to reduce the brightness of the sound, particularly when I'm using a mouthpiece that's already bright to start with. It's certainly not as bright as my Ishimori or even the Vandoren Optimum I used to have.

It does look very cool, but as others have noted, adjusting the mouthpiece can be a pain as the reed can keep sliding all over as you make the adjustments.
 

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This subject has been discussed here several times and I don't want to wrestle anyone with this topic. Please just for an instance think and look what is a Ligature doing "Holding the reed to the table of the mouthpiece" that's it. You will get a better response from the ligature that fits best the conical or cylindrical shape of the mouthpiece and creates a better, more even seal between the reed and the mouthpiece's table. No matter what ligature manufacturers say , the area of the reed seating on the table is NOT supposed to vibrate. Otherwise you will get a hell a leak between the reed and mouthpiece, so it translates to resistance, muffled sound, you name it ... In theory a perfect seal between reed and table should get the optimum response from the tip of the reed, therefore should be the brightest feedback. For example, the rovner mark III I have doesn't suit my Navarro Maestra. It doesn't hold the reed in place without over tightening and if I squeeze the hell out it, it will tend to shrink the edges of the the reed in, bending that area of the reed a little bit and it doesn't press the centre evenly. So there will be no perfect seal. I get a stuffy, resistance feedback. The gap created by the bending of the reed is minuscule. In some cases you can't see it with the naked eye. The difference between 8 and 8* you won't see it with naked eyes either, but you will feel it. On the other hand on My Gaia HR the rovner works perfect. I don't feel the difference between the rovner and the enlightened lig. So everything is about fitting and personal feedback. The rest is just marketing BS. And again the perfect seal shouldn't sound darker, it's when the reed is vibrating at its best so quite the opposite. That's why FL ligs are so effective. They have those plates that move to suit the shape of the Mpiece. Actually for some people their feedback is too bight on certain pieces. Exactly the reason I explained above, they create a great seal. Just my advice try several ligs and pick the one you like best. You must know that (only you)is hearing the difference. As it was said by others before, a different reed will make more difference regarding the brightness/ darkness perceived by the listener. I prefer and I find more down to earth when someone says, "I like the way this ligature looks", not "I like the way it sounds".
 

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An other thing. Just in case you r falling for the marketing strategies. There have been several claims in years past that this or that ligature or the material is made of , squeezes the mouthpiece too much, and even I remember somewhere it was being compared to the human throat and your neck. First you shouldn't over tighten any lig for several reasons. So the squeezing too much is out of question. If a lig doesn't hold the reed properly with just a bit of pressure, it just doesn't fit the piece. Standard two screws and some other metal ones do that job amazingly well. Second the mouthpiece is dead matter and the physics don't apply to both things the same way. Anyway I will buy into to the BS. If you were a singer. Would a tight(not shocking) necklace made of plastic, Gold, silver, diamonds, shoe string, adamantium(like wolverine) or an other metal kept at -1000 degrees for a century, make you sing darker, brighter, or project more? Ah!!!! At last I got rid of it. I have never written or said anything about this before. I was just swallowing in silence. Today I really went nuclear.
 

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An other thing. Just in case you r falling for the marketing strategies. There have been several claims in years past that this or that ligature or the material is made of , squeezes the mouthpiece too much, and even I remember somewhere it was being compared to the human throat and your neck. First you shouldn't over tighten any lig for several reasons. So the squeezing too much is out of question. If a lig doesn't hold the reed properly with just a bit of pressure, it just doesn't fit the piece. Standard two screws and some other metal ones do that job amazingly well. Second the mouthpiece is dead matter and the physics don't apply to both things the same way. Anyway I will buy into to the BS. If you were a singer. Would a tight(not shocking) necklace made of plastic, Gold, silver, diamonds, shoe string, adamantium(like wolverine) or an other metal kept at -1000 degrees for a century, make you sing darker, brighter, or project more? Ah!!!! At last I got rid of it. I have never written or said anything about this before. I was just swallowing in silence. Today I really went nuclear.
Your analogy doesn’t work because it’s the vocal chords inside your throat (more precisely, air passing through your vocal chords) and not your neck that create the sound when you’re singing and the necklace is not pressed against the vocal chords, unlike the ligature, which is in fact pressed against the reed. Not the same thing (reed = vocal chords, not reed = neck). Your point about sealing/not sealing completely does make a lot of sense.
 

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Your analogy doesn’t work because it’s the vocal chords inside your throat (more precisely, air passing through your vocal chords) and not your neck that create the sound when you’re singing and the necklace is not pressed against the vocal chords, unlike the ligature, which is in fact pressed against the reed. Not the same thing (reed = vocal chords, not reed = neck). Your point about sealing/not sealing completely does make a lot of sense.
Exactly what I meant !! I didn't do that comparison!! I don't remember who was it. Let me see if can find the link. I just remarked how ridiculous the comprison was.
 

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Exactly what I meant !! I didn't do that comparison!! I don't remember who was it. Let me see if can find the link. I just remarked how ridiculous the comprison was.
Ok, I believe I misunderstood your post. I thought you were using the analogy to illustrate that just like a necklace on the throat, a ligature on the reed does not have any effect. I do disagree with your point on tightening the ligature. I think tightening/loosening the ligature can be used to change the way the reed vibrates and thus the sound it produces, although not to the same extent as tightening or loosening your lips around the mouthpiece and reed will have. In case it wasn't already clear, I also believe the material comprising the ligature does make a difference (though not to the extent bandied about by the respective marketing departments) because the ligature is in fact pressed against the reed and does impact the way the reed can vibrate (and the corresponding sound produced).
 

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Hi,


I am going ligature shopping and am considering a Silverstein Ligature to pair with my Meyer 5. From the people who own one in this forum, what do you think about it? Is it worth the premium? Also, how bright are these ligs? I'm looking for a slightly brighter sound, and I just want to know if these ligs would work in producing a brighter sound.
Metal ligs allow optimum vibration of the reed. String, rubber, fabric, or leather dampen reed vibrations. So, no, the lig that you name will not be brighter than a $6 metal lig.
 

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I remember awhile ago my teacher and I were trying different mouthpieces I recently bought and there was one in particular he really liked. It really sang and was more on the bright end of the spectrum (not overly so). It also came with its own ligature (a metal one). He asked to try it, but used his own reed (obviously) and ligature, which happened to be a Silverstein (silver). When he tried it, it was immediately apparent that the sound was darker. Still projected well, just noticeably darker. He then swapped the Silverstein out for another metal ligature and voila, the sound was almost exactly the same when we first tried it out.

The Silversteins are fantastic but definitely not what you would use if you want your sound to be brighter.
 

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For those who tried them, beyond all the marketing hype, are there real differences you felt between the different Silverstein, like original vs cryo4?
 

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I've tried one on the clarinet and it made no difference from most of my other ligs. In my experience, placement of ligature, any ligature, on the mouthpiece/reed makes more difference than the material. If Silverstein ligatures were reasonably priced I'd say try one just for fun and experiment but spending a lot on a ligature is not my cup of tea.
 

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The reason people think that ligatures made of fabric, string, leather, cryo-preserved gut sinew of a male snark killed during mating season, etc., make the sound darker is that in general these compliant materials do not hold the reed firmly against the table. They allow the reed to lift off the table just a tiny little bit (sometimes more than that!), and this darkens the tone. This is not the case with good fitting metal ligs. I like the two-screw ligs because you can just slightly loosen the top screw and get the same kind of effect, albeit more controlled. The one-screw fabric ligatures mostly do not allow this kind of control.

Those fabric ligatures that show no change in sound to a metal ligature do so because a) they fit the mouthpiece properly; or b) neither of the ligatures fit the mouthpiece properly.

I also think this is why Dexter notoriously kept his ligature near the bottom of the mouthpiece, it allowed a tiny bit of movement of the reed off the table, and thus gave a slightly darker and free-er sound.
 

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I see your point, but my experience with different metal ligatures was that I felt considerable changes between the Rico H, Selmer 2 screw, Vandoren Optimum and Marc Jean. Your point is probably true to some extent, but my intuition is that the process is more complicated than just that.
 

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intuition is a very bad way to make judgments and is what leas people to say that silver plays different than brass while the objective listening from an independent party has way less of a chance to fool oneself with expectations.

“ you are not immune, even if you have no cards in this..."

 

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I bought a mouthpiece that came with one and thought it looked stupid and bulky.
Give me a good old two screw brass ligature any day.
 
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