So little can affect so much. For all the expense and effort we put in to the instrument as players, it is just acoustical reality that tiny differences above the barrel or neck of a single-reed woodwind, things as simple as the angle of a particular reed on the mouthpiece, are more consequential than thousands of dollars of equipment under our fingers.
One of the most critical spots is the reed/mouthpiece interface. We’ve experimented with a LOT of different ligatures and as much as we want to believe they are just things exclusively for binding reed to mouthpiece, a ligature is acoustically coupled to the reed and the instrument and so shape, material, and mass matter. We have not arrived at any kind of orthodoxy as to what works “best” — string vs. strap vs. metal band, large moving mass vs. lightweight, leather vs. string vs. gold vs. silver vs. titanium vs. chrome-plated whatever. There are so many variables it is impossible to point to the one true great ligature, and even if we could, every player brings their own techniques and preferences to selection.
We have a good understanding of how the different variables manifest in sound, response, and resistance, so we can guide our clients on how to pick among the options, and we assist in picking even among otherwise identical models since the manufacturing processes rarely yield truly identical end product.
So what do we play? (A reminder that we will only sell what we are willing to play)
Ishimori Woodstone
The Ishimori Woodstone “Standard” is one of our go-to’s. This ligature offers aspects of an old-school design evocative of the Bonade inverted-rail two parallel rails fixing the reed to the table of the mouthpiece and two screws on the obverse side away from the player’s chin. It is available in a variety of metals to suit sonic and aesthetic needs, including copper, brass, and solid sterling silver with a range of plating options.
We primarily stock the solid sterling option as we find it offers the best combination of nimble response, concentration and projection without becoming too penetrating or bright. Available for Eb, Bb and Bass clarinet.
Silverstein Works
There are a lot of permutations of the Silverstein Works string-inspired ligatures, now in their 5th generation of evolution. Their ligatures can be configured with different numbers of windings and different metallurgy for the hardware. All of the options offer the flexibility and resonance of a classic string winding with the adjustability, consistency and control of hardware for spacing, tightening and resonance.
PWIC is primarily stocking the HEXA (six windings) for Eb, Bb and Bass clarinet (in Silverstein’s parlance, size 4, 7 and 11) in champagne gold which we have found offers a blend of resonance and control with very quick response. We do selectively stock limited quantities of other windings and finishes including the Titanium X (based on the HEXA).
Vandoren
Vandoren is an industry standard for a reason. We have liked and confidently played on Vandoren ligatures for decades and at various times have stocked their take on everything from the light metal M|O to the pre-tied string Klassik to the Cuir (Leather) to our all-season favorite Optimum to the ultra-light and cutting-edge Carbon.
We tend to default to and stock the Optimum because of how versatile and reliable it is. Available in silver, rose gold and black plating, we favor the silver plating for overall presence and quickness with a nice density to the sound, and with all Optimums it is possible to dial in the contact points with the reed by changing out the plate (3 options included). We primarily stock for Eb, Bb and Bass, but usually have pairs available for Eb Alto/F Basset as well.
Trials
If you pay us a studio visit, you are welcome to play test anything we have in stock. We do not offer remote trials of ligatures because accidents happen and ligatures are just too easily damaged. Final sales only. Contact us for more information or to consult on a selection for you.