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Hi

This is for all Winslow lig owners, esp metal tenor mpcs. May I know which is the 'best' setup for your Winslow? I mean which 'combination' or 'arrangement' of the 'studs' works the best for you?

I've been getting poor low register response out of my Winslow and my mpc.

Anybody can offer some advice?
 

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Forum Contributor 2010, Distinguished SOTW Member
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Hmm. I've owned a Winslow for years -- two in fact, one for tenor and one for bari -- and though at present I'm using a Francois Louis, I may go back to the Winslow any second now. I've used Winslows on several different mouthpieces, always with excellent results, and have never fiddled with the setup: I use it in the configuration it came in. This is no help to you of course, unless the problem is that you've adjusted the lig so much that you can't find your way back to square one (I've had that happen to me with a lot of things, including a Rubik's Cube and my first marriage!).
 

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Adrian: When I had Winslow ligs (sop, alto, clarinet), I tried a bunch of different configurations (placing the studs on the plate) and liked the four-corners' arrangement the best. That placement was more stable than the others and gave me the best sound/response. DAVE
 

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I think the four corners option is probably best I've found too. I've been experimenting with the diamond-type pattern lately--one peg in the front center, another in the back center, and two in the middle sides--but I find it harder to get it set squarely on the reed that way, and the response doesn't seem quite as consistent (probably because I'm not lining it up as consistently).

I'm using it on a HR piece, but I don't think that makes much difference really.
 

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Forum Contributor 2008/Distinguished SOTW Member
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Four corners. Make sure you don't have a leak in your horn though (should go without saying, but...). Also, what mouthpiece and reed are you using?
 

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I use 3 down the middle! I tried every configuration before settling on this one. I still think it's strange, but it works. I haven't found that it makes a big difference in the sound compared to the stock lig, but more reeds work with it.

Is anyone still selling replacement parts? Round-headed pins sound good; I don't remember them being available when I got my lig ~15 years ago.

Here's my setup:

MK VI low a bari 2XXXXX
beechler bellite #8
La Voz med
Winslow lig (actually made to fit Otto Link tenor mpc)
 

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adriancwm said:
I've been getting poor low register response out of my Winslow and my mpc.
How does your horn respond with other ligatures on that mouthpiece?

The "blame" may not fall to the ligature.

And, if another ligature works better, why struggle with the Winslow?
 

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I'm surprised you are having trouble with the low end, that was the biggest difference the Winslow made when I used it on my old Dukoff. I did find that I had to be careful not to overtighten the lig as that would choke off the resonance and kill the top and bottom end.
 

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I, too, tend to be in the camp that says tighten the lig only enough to keep the reed on the mouthpiece. It's a ligature, not a vise.
 

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Dr G said:
I, too, tend to be in the camp that says tighten the lig only enough to keep the reed on the mouthpiece. It's a ligature, not a vise.
Plus, with Winslow ligs you can actually damage your reeds...
 

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can someone help me out?

the FL ultimate ligature.

which would be more sutiable for classical music? looking for the darkest sound possible. btw im playing on a reference 54 alto

gold silver or brass.

ps. any combinations you know with the plates, mouthpieces, or reeds would be helpful.
 

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I use Saxxas ligature on Alto and Tenor, undoubtedly they have the best response and ease of blowing for any lig that I've played with.

Recently, I tried the X pattern and it added warmth, fullness and smoothness to the tone.
While the regular pattern sounds more raw, open and woody.
 

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Inverted "Y": middle, middle, far corners. Better for me than "four corners."
Yeah, I used this config on soprano, with a metal Selmer piece. Worked well, but was a bit fiddly if I had to adjust the mp on the horn. On my alto Guardala I use an X pattern - four corners plus middle.
 

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Ive often thought the x would be good, but im too lazy to add the nub! Plus..its already souds so good!!
 
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