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Call me a hack if you want, but I use BARI plastics most of the time unless there's a certain tone concept (for a solo, for example) that requires cane. It took me a long time to find one that gave me an ultra rich tone that wasn't dead. Thanks for the tip on adding leather! That would really help for more slender pieces or when you place it higher on the mouthpiece.I use Java 3 1/2 on soprano for legit. makes you mentioned.It's the vertical push that seems most useful, rather than the tubes and wires.I'll also try mounting the Rovner further up the table and see if I can hear a difference.I've since worked up some reeds for both the 55 and 75, and keep them separated.Logic says there must be some improvement.Even if it's just a placebo, I'll be playing with a bit more confidence.:I also use Java reeds for both styles of playing.Any thoughts on that?What is the SATB you refer to.? and leather pad covering thefirst eighth inch of vamp.I'd never considered a dampening effect.I'll look for those other lig. and reed to take up the slack.However that has the lig. as close to the beak as possible, assuming better seal.The Rovners are too big to fit at that point, so I use a heavy piece of leather between lig. Hi ManiacYou're forcing me to think.I too had noticed the table depression on the JJs.For that reason, mount ligs. I had one on a Wolf Tayne piece that was very coarse and very difficult to use. If it's too coarsely threaded, you'll be muscling the screww too much based on my experience with several diferent kinds.
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If you go after the single screw lig, again - make sure it's finely threaded enough that you can secure the reed properly. I don't know if shelling out the bucks for a Francois is worth it over paying a mere $15 for a Bonade inverted lig. I think it's not so much a matter of design, but more a matter of contraction after machining that causes this phenomenon.I reface mouthpieces, so I'm not bashful about flattening the table if it needs it, but you can really screw up a mouthpiece easily if you make the wrong move or don't do it evenly.So I do like the single vertical screw ligs, though I use standard Rovners as well.
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I've not tried Vandoren's Optimum lig, but it appears to have a similar type of directional force on the reed.If you're not getting a good seal, it is possible that the table of your mouthpiece isn't truly flat, which I've noticed with modern machined hard rubber mouthpieces. The Rovner Eddie Daniels and Bonade ligs (with the little rails) hold the reed similarly. I do like the response from those types of ligs.
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I have an old Selmer lig that has a similar design. I do really like the Otto Link STM or Strathone Ajustotone type lig with the single vertical screw - so long as it is threaded finely enough to get a decent grip. I'm not good enough for it to matter, I suppose. I use them on SATB and haven't found anything else to make a whole hill of beans difference. (sometimes that's a desired effect, but not normally). I like Rovners because of their ease of use, but you have to be careful not to get too close to the vamp or overlap the vamp or you can kill the response. It was not at all uncommon for a company to source horns from multiple vendors, hence multiple entries.To me, reed variation more affects tone and response than which lig is holding it down - for the most part. There are plenty more out there that do not appear on this list because I am unsure of their origin. There is almost no information available on Asian made stencils.
#DOLNET SAXOPHONE SERIAL NUMBER#
These horns are NOT the same as the manufacturer’s “house brand” and do NOT follow the same serial number sequence. The identity of the true maker is often impossible to trace, but here are a few of the most commonly seen “stencils” and their true identity. Things aren’t always what they seem! Many times an instrument stamped with one name was actually made by another manufacturer.