How to choose a clarinet ligature?
The ligature is sometimes considered a simple clarinet accessory.
However, its role is essential: to hold the reed correctly against the mouthpiece while allowing it to vibrate under good conditions.
When a clarinetist wants to change their ligature, they quickly discover a very wide range of options:
- metal ligatures;
- fabric ligatures;
- single-screw systems;
- two-screw systems;
- inverted ligatures;
- cord systems;
- very light or more massive models;
- systems using different contact points with the reed;
- and now, systems that facilitate and automate part of the reed's positioning.
Prices also vary considerably.
So, how do you choose your clarinet ligature?
Should you prioritize sound? Ease of emission? The number of screws? The material? The precision of assembly? Reed protection? Speed? Comfort? The accessories provided?
And most importantly: which ligature truly suits your playing style?
The answer depends much more on the musician than one might think.
What is the true purpose of a clarinet ligature?
The primary function of the ligature is simple:
to hold the reed against the table of the mouthpiece.
The reed must remain stable enough not to slip during playing, while retaining the ability to vibrate freely in its upper part.
The ligature must therefore strike a balance between:
- support;
- stability;
- pressure distribution;
- vibration freedom;
- ease of assembly;
- reproducibility of positioning.
It operates within a much broader ensemble:
musician + clarinet + mouthpiece + reed + ligature.
It is therefore difficult to completely isolate its influence.
Is there a "best clarinet ligature"?
Not really.
There is primarily a ligature that is better suited to a musician, their mouthpiece, their reeds, and their playing style.
A ligature favored by one professional clarinetist may not suit another.
A beginner may have entirely different priorities than an orchestral musician.
A teacher might primarily look for:
- simplicity;
- solidity;
- student autonomy;
- reed protection;
- reproducibility.
An experienced clarinetist will rather seek:
- comfort;
- precision;
- ease of emission;
- speed of change;
- stability of assembly.
The first piece of advice is therefore simple:
do not choose a ligature simply because it is well-known or used by another musician. Choose it based on your own needs.
1. Check compatibility with your mouthpiece
Before any acoustic consideration, mechanical compatibility must be checked.
A ligature must be able to:
- fit correctly around the mouthpiece;
- hold the reed;
- be tightened without reaching its stop;
- remain stable.
Not all mouthpieces have exactly the same external dimensions.
An apparently small difference can make a ligature:
- too large;
- too small;
- difficult to tighten;
- poorly positioned.
When buying a ligature, always check the manufacturer's recommendations.
2. Check compatibility with your reeds
Compatibility with the reed is also important.
Most traditional ligatures accept major cane reeds as well as many synthetic reeds.
However, some more specific systems may have particular constraints.
Easy Lig is compatible with a very wide range of clarinet mouthpieces and reeds.
However, some particular geometries require verification. This is notably the case for Légère European Cut reeds, whose specific shape is not compatible with the current Easy Lig system.
Clear information on compatibility should therefore always be part of the choice.
3. Reed retention
This is obviously the primary function of a ligature.
Once tightened, the reed should not be able to move easily.
It must remain stable:
- during the attack;
- in dynamics;
- during register changes;
- when handling the instrument.
However, one should not confuse:
good retention
and
excessive tightening.
A properly designed ligature should immobilize the reed without requiring the musician to overtighten the screw.
4. One screw or two screws?
Both systems have existed for a long time.
The two-screw ligature
A traditional two-screw ligature offers two clamping points.
It is:
- classic;
- very widespread;
- mechanically simple;
- known to almost all clarinetists.
However, it requires adjusting two screws sequentially.
The one-screw ligature
A single-screw ligature generally simplifies tightening.
The musician acts on a single mechanism.
This can allow for:
- faster assembly;
- fewer manipulations;
- simpler reed changes.
But a confusion must be avoided:
the number of screws alone does not determine the quality of the ligature or its acoustic behavior.
Geometry, materials, contact surfaces, and pressure distribution also play an important role.
5. The screw itself is a comfort criterion
People often focus on the number of screws and much less on their ergonomics.
However, a screw is handled daily.
It must be:
- easily accessible;
- pleasant to grip;
- precise;
- sufficiently large;
- easy to use without excessive effort.
This is particularly important for:
- a young student;
- a musician who needs to change reeds quickly;
- someone with less finger dexterity.
6. Easy Lig: different screws to adapt grip
Easy Lig also pays particular attention to this detail.
The system offers screws of different colors and shapes, depending on the musician's choice.
It's not just an aesthetic matter.
The shape of the screw can also change how it is gripped and make it easier to handle.
The musician can thus choose their preferred finish while benefiting from a unique, easily accessible screw.
The color also allows for visual personalization of the ligature.
This small detail contributes to the overall comfort of the system:
a single screw, easily identifiable and easy to handle.
7. How is the reed positioned?
This is an extremely important criterion, yet rarely mentioned when comparing ligatures.
With most traditional ligatures, the method is as follows:
- place the reed on the mouthpiece;
- adjust its height;
- center it from left to right;
- hold it with your fingers;
- install the ligature;
- check that the reed has not moved;
- reposition it if necessary;
- tighten.
The positioning of the reed therefore depends essentially on the musician.
A poorly positioned reed can also give the impression that it is not working properly: discover why a clarinet reed doesn't sound correctly.
8. Lateral centering: a delicate adjustment
A correctly installed reed must be centered with respect to both sides of the mouthpiece.
With a traditional ligature, this adjustment is generally performed:
by eye and by hand.
The musician slightly moves the reed to the right or left until the desired position is achieved.
With experience, the gesture becomes very precise.
But it remains manual.
This also means that it must be reproduced after each disassembly or reed change.
Precise assembly also helps limit handling of the tip: discover how to avoid breaking your clarinet reeds
9. Lateral adjustment and vertical adjustment: two different things
The positioning of a reed essentially involves two axes.
Lateral adjustment
It corresponds to the positioning:
left ↔ right.
The reed must be correctly centered with respect to the mouthpiece.
Vertical adjustment
It corresponds to the positioning:
up ↕ down.
It determines the height of the reed tip relative to the end of the mouthpiece.
With a traditional ligature, both of these adjustments must be made manually.
10. Reproducibility is a real criterion
Imagine installing the same reed multiple times.
Even with great care, its position can vary slightly:
- a little further to the left;
- a little further to the right;
- slightly higher;
- slightly lower.
These differences can be very small.
But this means that a variable of the assembly changes.
Therefore, a ligature must be evaluated not only on:
the quality of the assembly achieved
but also on:
the ease with which this assembly can be reproduced exactly.
11. Easy Lig: automatically guided lateral centering
This is one of Easy Lig's main distinguishing features.
Unlike traditional assembly, the reed is first installed in Easy Lig.
The system's geometry then guides it laterally.
The clarinetist no longer has to manually search for:
"a little to the left";
"a little to the right";
"slightly more to the center."
Left/right centering is handled by the ligature's design.
12. Centering that is above all reproducible
The benefit is not only obtaining good centering easily the first time.
The main benefit is to regain this centering from one setup to the next.
With Easy Lig, the reed returns to a lateral position determined by the system.
The precision of the adjustment therefore no longer depends solely on the musician's eye and hand.
This reproducibility is a real practical advantage.
13. One less adjustment variable
With a traditional ligature, the musician must manage:
lateral position + vertical position.
With Easy Lig, since the lateral positioning is guided by the system, what mainly remains to be adjusted is:
the vertical position of the assembly on the mouthpiece.
The clarinetist thus retains the ability to slightly adapt the height of their reed according to:
- their mouthpiece;
- their reed;
- their sensations;
- their habits.
Easy Lig therefore primarily automates centering, which must be reproducible, while leaving the musician the freedom of vertical adjustment.
14. Once the reed is installed, it is practically untouched
This is another significant advantage.
Once the reed is placed in Easy Lig, the clarinetist practically no longer directly handles the reed.
They take:
the Easy Lig + reed assembly.
They place it on the mouthpiece.
They adjust its height.
Then they tighten it.
If a correction is needed, they move the ligature with the reed, not directly the fragile tip of the reed.
15. Position the ligature rather than reposition the reed
The difference can be summarized very simply.
With a traditional ligature
The reed is positioned on the mouthpiece.
Then the ligature is installed around it.
If the reed moves, it is repositioned directly.
With Easy Lig
The reed is installed in Easy Lig.
Then the Easy Lig + reed assembly is positioned on the mouthpiece.
Manipulation is therefore mainly carried out on a solid part rather than directly on an extremely fragile reed.
16. Reed protection
The tip of a reed is extremely thin.
With a traditional setup, it remains exposed while the ligature is placed around the mouthpiece.
There is then a risk of:
- catching a corner;
- touching the tip;
- displacing the reed;
- having to pick it up again with your fingers.
For an experienced clarinetist, this risk is low.
For a young student, it can become much more significant.
17. Easy Lig particularly secures this step
With Easy Lig, the order is reversed.
The reed is first installed in the ligature.
Once in place, the clarinetist mainly handles:
Easy Lig + reed.
The ligature therefore no longer has to pass around a reed already exposed on the mouthpiece.
Direct repositioning also becomes very rare.
This significantly reduces:
- contact with the tip;
- delicate manipulations;
- the risk of snagging;
- accidental breakages during assembly.
18. Ease of assembly
A ligature is used very often:
- before a session;
- when changing a reed;
- during a rehearsal;
- sometimes urgently before a musical entry.
Ergonomics therefore really matter.
A few extra seconds and movements seem insignificant when assembling a clarinet only once.
But this operation is repeated thousands of times in a musician's life.
Simple assembly quickly becomes a real comfort.
19. An easy ligature is not just for beginners
The idea must be avoided that:
easy = reserved for beginners.
A professional also seeks:
- speed;
- precision;
- reliability;
- reproducibility;
- comfort.
Being able to perfectly perform an operation manually does not mean that one necessarily wants to continue repeating it when a system can simplify it.
20. Quick reed change
A musician may need to replace their reed:
- because it's getting worn out;
- to compare two reeds;
- before a concert;
- during a rehearsal;
- following a sudden problem.
A ligature that is easy to disassemble and reassemble therefore offers a real practical advantage.
With Easy Lig:
- the reed is placed in the system;
- it is laterally centered;
- the assembly is mounted on the mouthpiece;
- the height is adjusted;
- the screw is tightened.
The change can therefore be particularly quick.
21. Another important criterion: switching from B-flat clarinet to A clarinet
Orchestral clarinetists frequently use:
- a B-flat clarinet;
- an A clarinet.
Depending on the repertoire, the musician sometimes has to switch quickly from one to the other.
When using the same compatible mouthpiece on both instruments, it can be particularly advantageous to keep the entire:
mouthpiece + reed + ligature.
22. Why keep the same assembly?
A musician who has just played has a setting with which they are comfortable:
- their mouthpiece;
- their reed;
- their reed position;
- their tightening;
- their sensations.
They have no reason to want to start all over again simply because they are changing instruments.
Keeping the same assembly allows for maintaining:
- the same reed;
- the same strength;
- the same centering;
- the same vertical adjustment;
- the same tightening;
- great continuity in embouchure sensations.
23. Easy Lig particularly facilitates the B-flat ↔ A transition
Once the reed is correctly mounted with Easy Lig on the mouthpiece, it is not necessary to disassemble the reed or the ligature to change instruments.
When the same mouthpiece is used and compatible on both clarinets, the musician can:
- remove the mouthpiece + Easy Lig + reed assembly from their B-flat clarinet;
- take their A clarinet;
- install this same assembly directly;
- continue playing.
The reed assembly remains intact.
24. No adjustment needed
This is probably the main advantage of this operation.
The clarinetist does not need to:
- remove their reed;
- re-center it;
- find its height again;
- re-tighten their ligature;
- find their setting again.
They keep exactly the same assembly they were using a few seconds earlier.
For an orchestral musician, this is a real comfort.
25. A particular advantage in concert
During a rehearsal, a few extra seconds are usually not dramatic.
During a concert, the situation can be different.
Some B-flat/A changes must be made quickly.
Every eliminated movement then provides security.
The musician can put down one clarinet, pick up the other, and transfer their complete mouthpiece without touching the reed adjustment.
They immediately find their usual equipment again.
26. Ease of emission
This is obviously a criterion often used to compare ligatures.
Some musicians feel differences in:
- response;
- attack;
- resistance;
- articulation;
- ease in certain registers.
These sensations must be evaluated with:
one's own mouthpiece + one's own reeds.
One should not draw a conclusion solely from the number of screws or the material.
27. Can a ligature improve the sound?
A ligature can alter the musician's sensations and the conditions under which the reed functions.
But it would be excessive to claim that a ligature automatically produces a "better sound".
Sound quality greatly depends on:
- the reed;
- the mouthpiece;
- the instrument;
- the embouchure;
- the breath;
- the musician.
A good ligature must primarily allow the reed to be correctly positioned and correctly held.
28. Consistency of assembly can be as important as sound
A particularly interesting concept is regularity.
If your reed is mounted slightly differently each day, some of the perceived differences may simply come from its positioning.
By making lateral centering reproducible, Easy Lig eliminates a variable.
The musician thus starts from a more consistent configuration.
29. The ligature material
Ligatures can use:
- metal;
- leather;
- textile;
- composite materials;
- polymers;
- or several associated materials.
Each choice can influence:
- weight;
- rigidity;
- resistance;
- ergonomics;
- sometimes the musician's sensations.
But one must avoid shortcuts such as:
metal = such sound
or
textile = such sound.
The overall design of the ligature is more important than the material taken in isolation.
30. Contact points with the reed
Some ligatures apply pressure over a large surface.
Others use:
- rails;
- plates;
- contact points;
- cords;
- bands.
These different designs can alter the sensations.
The objective always remains the same:
to correctly hold the lower part of the reed without unnecessarily hindering its vibrating part.
31. Inverted or traditional ligature?
An so-called inverted ligature generally positions the tightening mechanism on the side opposite the reed.
This can provide:
- a different ergonomics;
- a different distribution of pressure;
- a different assembly sensation.
But the simple fact of being "inverted" does not guarantee that a ligature will suit a musician better.
You have to test it.
32. Weight
Some ligatures are very light.
Others are much heavier.
Musicians may feel differences in:
- response;
- resistance;
- balance.
However, there is no universally superior weight.
This remains a personal criterion.
33. Included accessories: a frequently overlooked criterion
When comparing the prices of two ligatures, you should also look at what is actually provided in the pack.
Some ligatures are sold alone.
The musician then has to purchase separately:
- a mouthpiece cap;
- possibly a case;
- certain accessories.
Easy Lig has chosen a different approach by offering a complete set designed for daily use.
34. Screws of different shapes and colors
Easy Lig offers screws of different shapes and colors, depending on the chosen option.
This brings two dimensions.
Aesthetic customization
The musician can choose the finish that corresponds to their preferences.
An ergonomic dimension
The shape of the screw affects the grip.
For:
- a child;
- an adult;
- a quick change during rehearsal,
an easy-to-grip screw can truly improve comfort.
This detail complements Easy Lig's philosophy:
simplifying assembly right up to the final tightening.
35. A mouthpiece cap included with Easy Lig
Easy Lig also comes with a suitable mouthpiece protector / cap.
This is an interesting element because it is not always provided when buying a ligature alone.
The mouthpiece cap is particularly useful.
During:
- a break;
- a rehearsal;
- movement on stage;
it protects the most fragile part of the assembly:
the reed tip.
It also helps protect the mouthpiece from accidental minor impacts.
The fact that it is directly included therefore avoids having to search separately for a model compatible with the ligature.
36. A storage pouch is also included
Easy Lig also comes with a storage pouch.
Naturally, it allows you to store the ligature when not in use.
But it can also have a second, very interesting function:
mouthpiece storage.
A mouthpiece is a valuable and relatively fragile part.
It deserves to be protected when not on the instrument.
Having a dedicated pouch is therefore a real practical advantage.
37. Why isolating your mouthpiece from the clarinet can be a good habit
Many quality clarinet mouthpieces are made of ebonite, also known as hard rubber.
Ebonite is obtained through a vulcanization process that notably uses sulfur.
Depending on the mouthpiece's composition and storage conditions, sulfur compounds may be present in its immediate environment.
Sulfur reacts with silver.
This can lead to tarnishing or blackening of the silver-plated keys of the clarinet.
The phenomenon can be particularly noticeable on keys located near the mouthpiece compartment in a closed case.
38. A new mouthpiece can sometimes cause rapid tarnishing
Not all mouthpieces react in the same way, of course.
But some hard rubber mouthpieces, especially when they are relatively new, can promote this phenomenon more strongly.
The clarinetist may then notice that some keys become:
- greyish;
- brown;
- bluish;
- or almost black.
This is not necessarily a disappearance of the silver plating.
It is often a tarnishing linked to a chemical reaction with sulfur compounds.
39. Avoid leaving the mouthpiece in unnecessary contact with the instrument
For this reason, it may be prudent not to systematically leave an ebonite mouthpiece directly near the clarinet's silver-plated keys for long periods.
Separate storage can help limit this proximity.
The pouch provided with Easy Lig offers a practical solution for storing and protecting the mouthpiece separately.
It allows:
- to avoid direct contact;
- to protect the mouthpiece from scratches;
- to facilitate its separate storage;
- to keep the mouthpiece and accessories together.
For a musician with a clarinet with silver-plated keys, this possibility is particularly interesting.
40. The pouch is not just an aesthetic accessory
A small storage bag may seem secondary when buying a ligature.
In practice, it can be used daily.
You can keep in it:
- Easy Lig;
- the mouthpiece;
- its mounting accessories.
This also helps prevent the mouthpiece from being left loose:
- at the bottom of the case;
- against other elements;
- or directly near the clarinet keys.
The pouch thus completes the logic of the pack:
protect the reed, protect the mouthpiece, and facilitate storage.
41. Should precautions still be taken with ebonite?
Yes.
A textile pouch provides physical protection and allows the mouthpiece to be stored separately, but it should not be considered an airtight enclosure.
If you notice particularly rapid tarnishing of silver-plated keys with a given mouthpiece, the maximum precaution is to:
- store the mouthpiece separately from the clarinet;
- or use more insulating storage;
- and follow the maintenance recommendations of your manufacturer or repairer.
The advantage of the Easy Lig pouch remains that it immediately offers a practical solution for not leaving the mouthpiece loose in the case.
42. A complete pack must be included in the price calculation
When comparing two ligatures, also compare the included equipment.
A ligature offered at a lower price may be sold alone.
You may eventually need to add:
- a mouthpiece cap;
- storage;
- various accessories.
The Easy Lig pack directly includes:
- the Easy Lig ligature;
- the screw(s) provided according to the chosen configuration;
- a mouthpiece cap;
- a storage pouch.
The value for money should therefore be assessed on the entire product and not just on the bare ligature.
43. Storage is particularly important for orchestra musicians
For a clarinetist regularly using:
- Bb;
- A;
- possibly several mouthpieces and reeds,
accessories quickly accumulate in the case.
Having a clearly identifiable pouch allows you to keep together:
mouthpiece + ligature + accessories.
This also reduces the risk of:
- losing a screw;
- leaving the mouthpiece unprotected;
- crushing an accessory;
- searching for equipment at the last minute before a rehearsal.
44. Durability
A ligature is often used for many years.
It is therefore useful to examine:
- the robustness of the system;
- the quality of the screw;
- the resistance of the functional elements;
- ease of maintenance.
A ligature that provides good sensations but is too fragile can become a hindrance in daily use.
45. Price
Clarinet ligature prices can vary enormously.
There are:
- economical models;
- intermediate models;
- high-end ligatures largely exceeding €100.
A high price does not guarantee that a ligature will suit your playing better.
Rather, you should ask yourself:
what does this ligature truly bring me?
46. Value for money
Good value for money does not simply mean:
buying the cheapest model.
It means getting genuinely useful benefits.
This can be:
- a particular playing sensation;
- good manufacturing quality;
- easier assembly;
- reproducible centering;
- better reed protection;
- a comfortable screw;
- an included mouthpiece cap;
- a pouch;
- improved ergonomics;
- time savings.
For a beginner who regularly breaks reeds, the gain can be directly measurable.
For a professional musician who quickly switches from Bb to A, the gain will be more related to comfort and the continuity of their adjustments.
47. Choosing a ligature for a beginner
For a beginner, the primary criteria can be:
- ease of assembly;
- centering;
- reed protection;
- few manipulations;
- solidity;
- autonomy;
- ease of tightening.
Based on these criteria, Easy Lig offers several solutions:
- pre-installation of the reed;
- guided lateral centering;
- a single screw;
- less manipulation of the tip;
- mouthpiece cap provided;
- storage provided.
48. Choosing a ligature for an amateur clarinetist
An amateur will often look for:
- comfort;
- simplicity;
- stability;
- ease of emission;
- quick assembly;
- good value for money.
Reproducibility becomes particularly interesting.
The musician wants to quickly find a configuration that suits them without spending several minutes checking their setup.
Easy Lig notably eliminates repetitive lateral adjustment.
49. Choosing a ligature for an experienced clarinetist
An experienced clarinetist naturally knows how to position a reed correctly.
Their criteria may therefore be different:
- acoustic sensations;
- speed;
- reproducibility;
- precision;
- ergonomics;
- reliability.
Easy Lig does not "teach" them how to mount a reed.
Instead, it allows them to eliminate some of the manipulations they already perform perfectly.
50. Choosing a ligature for a professional or orchestra musician
At this level, comfort in real-life situations becomes particularly important.
The musician may need to:
- change reeds quickly;
- switch from Bb to A;
- change instruments between two close passages;
- immediately regain their sensations.
The ability to keep:
mouthpiece + reed + Easy Lig
without reassembling then becomes a real advantage.
The musician retains the settings they have just used.
51. Choosing a ligature for teaching
A teacher may ask other questions:
- can the student assemble their reed themselves?
- does the reed stay centered?
- is there a risk of breaking it?
- do they easily understand the procedure?
- how much time is spent on assembly?
- how many times do they need to readjust its position?
A reproducible system also allows the teacher to eliminate a variable when a student encounters a difficulty with sound production.
Table: What criteria to compare before choosing?
| Criteria | Why it's important | Easy Lig |
|---|---|---|
| Mouthpiece compatibility | The ligature must fit perfectly | Compatible with many mouthpieces |
| Reed compatibility | Some geometries may differ | Very wide compatibility, with specific exceptions |
| Hold | Prevents movement during play | Yes |
| Number of screws | Influences tightening comfort | 1 screw |
| Screw shape | Influences grip | Several shapes offered depending on choice |
| Screw color | Customization and identification | Several finishes available |
| Lateral centering | The reed must be aligned left/right | Automatically guided |
| Lateral reproducibility | Allows the same centering to be found again | Very high |
| Vertical adjustment | Allows personal adjustment | Maintained by the musician |
| Direct reed manipulation | Increases risk of displacement | Very low after insertion |
| Tip protection | Important for preserving reeds | Highly secured assembly |
| Reed change | Important in rehearsal/concert | Fast |
| Bb ↔ A switch | Avoid re-adjusting settings | Mouthpiece + reed + Easy Lig assembly kept if the mouthpiece is compatible |
| Mouthpiece cap | Protects the reed during breaks | Included |
| Storage pouch | Protects and organizes equipment | Included |
| Mouthpiece storage | Avoids leaving the mouthpiece loose in the case | Pouch usable for the mouthpiece |
| Mouthpiece/silver keys separation | Can help limit proximity to ebonite | Separate storage facilitated |
| Beginner autonomy | Facilitates instrument preparation | Very high |
| Amateur comfort | Reduces repetitive handling | Very good |
| Confirmed/pro use | Speed and reproducibility | Particularly interesting |
How to test a ligature before choosing?
If possible, use:
- your clarinet;
- your usual mouthpiece;
- a reed you know well.
Change only one element:
the ligature.
Then test different criteria.
Emission
Do notes start easily?
Pianissimo
Can you play softly without losing stability?
Forte
Does the sound remain controllable when you increase the air?
Detached
Do the attacks remain clear?
Registers
Does the transition between low, clarion, and high registers remain homogeneous?
Resistance
How do you feel the instrument?
Assembly
How many steps do you need to perform?
Centering
Is it easy to achieve?
Reproducibility
After disassembly and reassembly, do you easily find the same configuration?
Protection
Does your reed remain exposed during assembly?
Comfort
Would you really like to use this system every day?
Don't just test for five minutes
A ligature can make an excellent first impression.
Whenever possible, try it:
- during a real practice session;
- in rehearsal;
- with several reeds;
- at various dynamics;
- in different registers.
Also simply test:
its daily use.
Assembly may seem secondary during a five-minute test.
It becomes much more important after several weeks of use.
Don't choose only with your ears
The choice of a ligature is sometimes presented as an exclusively acoustic search.
But ergonomics also matter a lot.
A ligature that:
- saves you time;
- better protects your reeds;
- facilitates centering;
- makes your assembly reproducible;
- facilitates Bb/A changes;
- avoids repetitive adjustments;
- directly provides a mouthpiece cap;
- facilitates the storage of your mouthpiece
can very concretely improve your daily life as a musician.
Even if some sound differences between two ligatures remain subtle.
The best choice depends on your priority
Ask yourself a simple question:
what do I really expect from my new ligature?
Do you like the traditional system?
A classic ligature may suit you perfectly.
Are you primarily looking for simple tightening?
A single-screw ligature can be interesting.
Are you looking for a particular acoustic sensation?
Compare several models with your own mouthpiece.
Do you want to simplify assembly?
Look at the number of manipulations required before tightening.
Are you looking for reproducibility?
Look at how the reed is centered.
Do you regularly break reeds?
Pay particular attention to how the ligature passes around the reed during assembly.
Are you a teacher?
Think about student autonomy.
Do you regularly play Bb and A?
See if you can keep your mouthpiece + reed + ligature assembly intact.
Do you want a complete set?
Also look at what is included:
- screws;
- mouthpiece cap;
- storage.
What Easy Lig brings to this reflection
Easy Lig does not simply aim to offer:
a new material
or
a new screw shape.
Its principle is based on a much more fundamental modification:
changing the way the reed is mounted and positioned.
The reed is first placed in Easy Lig.
The system guides its lateral centering.
The musician then manipulates the assembly.
They mainly adjust its vertical position.
Then they tighten a single screw.
This simultaneously provides:
- guided lateral centering;
- excellent reproducibility;
- simple assembly;
- increased reed protection;
- very few direct manipulations of the tip;
- quick reed change;
- single screw with different shape and finish choices;
- increased autonomy for young musicians;
- comfort for amateurs;
- speed for experienced musicians;
- maintenance of settings during a Bb/A change when the same mouthpiece is used;
- mouthpiece protector included;
- storage pouch that can also accommodate the mouthpiece.
An often underestimated advantage: no longer redoing what is already correctly set
Once you have found:
- the right reed;
- the right positioning;
- the right height;
- the right tightness;
you generally wish not to touch it again.
Each complete disassembly potentially requires finding these parameters again.
Easy Lig aims precisely to limit these repetitions.
Lateral centering is reproducible.
The reed remains installed.
And when you change clarinets with a compatible mouthpiece, the assembly can remain completely mounted.
The principle is therefore simple:
when the setting works, why redo it?
Less adjusting, less manipulating, more playing
Ultimately, it's a very practical way to think about choosing a ligature.
A ligature must naturally fulfill its acoustic and mechanical function correctly.
But it must also allow the musician to spend as little time as possible on:
- re-centering the reed;
- touching its tip;
- re-adjusting its setting;
- tightening multiple screws;
- looking for a mouthpiece cap;
- storing several accessories separately;
- re-assembling after changing instruments.
The goal always remains the same:
to play music.
In summary: how to choose your clarinet ligature?
Before buying, examine at a minimum:
- compatibility with your mouthpiece;
- compatibility with your reeds;
- stability of hold;
- ease of tightening;
- number and ergonomics of screws;
- how the reed is positioned;
- precision of lateral centering;
- reproducibility of assembly;
- vertical adjustment;
- number of manipulations required;
- tip protection;
- ease of reed change;
- playing sensations;
- solidity;
- daily comfort;
- accessories provided;
- storage of the mouthpiece and ligature;
- price and actual content of the pack;
- your level;
- your musical practice.
And if you regularly play on several clarinets, add a particularly important criterion:
can you easily keep exactly the same mouthpiece + reed + ligature assembly when you change instruments?
On this point, Easy Lig offers particularly interesting comfort.
When the same mouthpiece is used and compatible with both the Bb clarinet and the A clarinet, the mouthpiece + reed + Easy Lig assembly can remain mounted and adjusted.
The musician changes instruments without disassembling their reed, without re-centering it, and without re-adjusting its vertical position.
They immediately find the equipment they were using a few seconds earlier.
To go further
The choice of a ligature is closely linked to the assembly and behavior of the reed. Also find our guides:
- to properly position a clarinet reed,
- to understand why a clarinet reed doesn't sound,
- to learn how to avoid breaking your reeds,
- compare a one-screw, two-screw, or automatic system ligature.
- Beginning clarinetists can also find our teacher tips for starting the clarinet.
Conclusion
There is no single ligature that is universally better than all others.
A traditional two-screw ligature can perfectly suit a musician who appreciates this system.
A single-screw ligature can simplify tightening.
Certain specific designs can provide sought-after acoustic sensations.
But choosing a ligature solely by looking at:
its material
or
its number of screws
is very reductive today.
One must also be interested in:
how the reed is installed, centered, protected, and held.
One must look at:
- reproducibility;
- security;
- ergonomics;
- reed changes;
- instrument changes;
- accessories provided;
- and daily storage.
It is precisely on this set of criteria that Easy Lig offers a different approach.
The reed is installed in the ligature before being placed on the mouthpiece.
Its lateral centering is guided and reproducible.
Once in place, it hardly needs to be touched directly anymore.
The musician positions the assembly, essentially adjusts its height, then tightens a single screw.
And when the same mouthpiece is used on several compatible clarinets, the mouthpiece + reed + Easy Lig assembly can remain fully mounted to switch between a Bb clarinet and an A clarinet, for example, without re-adjusting settings.
In addition, practical elements designed for daily use are included:
- different screw choices to adapt aesthetics and grip;
- a mouthpiece cap included;
- a storage pouch that also protects and stores the mouthpiece.
This last option is particularly interesting for ebonite mouthpieces: sulfur compounds present in hard rubber can promote tarnishing of silver-plated keys when a mouthpiece is stored in close proximity to the instrument. Storing the mouthpiece separately is therefore a good habit, especially when this phenomenon is observed.
Easy Lig thus seeks to provide:
precision, reproducibility, safety, speed, and comfort.
For a beginner, this significantly facilitates instrument preparation.
For an amateur, it simplifies daily use.
For an experienced or professional musician, it primarily allows them to eliminate unnecessary manipulations and adjustments while maintaining a perfectly known configuration.
Ultimately, the best ligature is the one that allows you to think the least about your ligature…
and more about your music.