jeremyjuicewah
Senior Member
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- 1,807
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- Costa Blanca Spain
So this is the reed sitting to one side of the table with the ligature pulling the overhanging feed lengthways against the fulcrum of the table?
Thats it precisely.
I have found that with synthetics even a tiny difference in reed location can make a significant difference in how it plays on a mpce.
I have also found that (at least for me) each mouthpiece has a strength of Legere Signature that seems to work best. I have no idea how much my embouchure/style impact that but its an ara worth experimenting with methinks
I agree 100%. I sometimes am aware that I am struggling to make a good sound. Struggling to sound some notes at all. I check the mpc and the reed is slighty askew or is further down or up than I would normally set it. A small thing but makes a massive dif with the Signature reed. I use 2, 21/4 and 21/2 variously on the std PPT and Hooligan. The 2 is best for the Hooligan, the 21/4 on the other. The 21/2 I use now and then when a piece is almost exclusively up in the high notes, mostly because I have one I guess, but never on the Hooligan.
Email Legere....NOT the UK distributor (from what I have read they are not so easy to deal with) I would be surprised if they wouldn't replace a split reed.
I think it was my fault entirely. Its a movement I have learned to make as almost second nature, one of those fiddling things like smoothing your hair or pulling your nose or tapping your fingers. With cane I have never had a problem, you can bet I will never have this problem again with the Legere.
