Your best bet is to go and try them out and see what you like the best . . . take another player with you (whose opinion you trust) to make honest comments on what he/she hears. Bring some kind of recording device too so you can listen back. As far as what to pick, there's plenty out there to try . . . it all depends on what direction you want to go . . . If you're looking for a very dark sound, then a Rovner might be the way to go . . . personally, I'm not a fan of Rovners because they deaden the vibrations of the mouthpiece too much. My personal preference is the Winslow (there are many ways you can set it up), but sadly they're not in production anymore. The Francois Louis is a good vibrant ligature, built upon the 2-rail concept of the Bonade, but some players have had issues with its stability when tuning the horn. The Brancher is an interesting setup for vibrancy, as it makes very little contact with the mouthpiece . . . it has a 2-rail reed contact as well. The Vandoren Optimum has 3 different tone plates to choose from. It's a good stable ligature. Some players favor the Olegature, which is a metal version of the Rovner. It gets a nice focused sound, however my issue with it is that it tends to be a compressed sound, meaning it cuts out the lower and higher frequencies of your sound. Since you're playing a C*, I'm assuming you're more of a legit player . . . one option would be the BG Tradition. There are a number of classical cats who like those. Ishimori has come up with some new ones . . . I recently picked up an Ishimori Wood Stone for one mouthpiece . . . it had a nice focused centered tone, however it added a little back pressure to my setup. I vacillate between that and a traditional Selmer metal on that mouthpiece. The differences can be very subtle and it may take you years to be able to hone in on those subtleties, but realize that the two ends of the spectrum are vibrance and control: the more control the ligature has, the less vibrance your sound will have; conversely the more vibrance your liature gives your sound, the less control your setup will have . . . ultimately it all depends on what you want for your playing. Don't settle on one brand just because someone on this board tells you to do it . . . it may be the wrong match for you. Do your own hands-on research and find out what works best for you. Best of luck!

Rovner light or dark. Ligatures are gimmicks. It works the best when it holds the ready steady with allowing it maximize vibration. So why would you go and put a beefy lig on with a vibration absorbing metal plate on etc. etc. They're ridiculously expensive for an unnecessary thing as well. Rovners are cheap and work.

Fuzz- What's wrong with the Selmer ligature that should have come with that mouthpiece? I have heard that ligatures can make a difference, but I doubt if I'm good enough to tell that difference and I've been taking money for playing for more than a decade.

If a mouthpiece is set up well with a nice flat table, the ligature being used makes little difference to most players.