That was more or less the point of the analogy. The dollar amounts are not set hard and fast, but are relative to each other in the general way that horn and accessory pricing is set up.
Here in the United States there is a tendency that goes by the acronym of GAS, for gear acquisition syndrome. Musicians of all skill levels fall into the habits of thinking that there is a substitute for hard work on the part of the player, and that this substitute only requires the expenditure of money, usually in increasingly greater amounts as time goes on, to achieve some new level of tone quality, articulation, range or whatever.
Taken at the most basic level (either the purchase of clarinet reeds, or the trial of new ligature substitutes, but certainly not through succession of baritone sax reeds, each of which costs the equivalent of a quality fast food luncheon), it is relatively harmless. Move up to item like goofy Backun barrels and bells, mouthpieces or (shudder) successions of instruments, and you find that the player is spending a hell of a lot of dosh for little or no return in musical value.
I've bought a succession of ligatures for the clarinet, but I did my buying as part of the patent development process for my patented approach to the problem. All of the ligature "junk", for that's what it is from my experience, resides in a freight container somewhere, as we prepare for our big move over to Florida, but it matters not a whit for I moved back to a basic many a year ago. And, mine is extraordinarily similar to what our Germanic brethren have been using for two and a third centuries.
My approach is inexpensive, removes a couple of the problems with the string ligature that it so cleverly emulates, and is incredibly "plastic" in its approach to all styles and shapes of mouthpieces. Indeed, you can even use a ligature designed for the contra-bass clarinet on your Eb soprano if conditions require a quick replacement.
But, as flexible (pun intended) as the Reedwrap approach (US Patent 4,796,507) is, it's only one of many solutions. An inexpensive one, to be sure, but everyone's feelings differ on such matters (as some of the replies to the YouTube video point out in excruciating detail). And, just as the maker of the video pointed out in reply, I'd agree that everyone's experience does actually differ in these matters.
If you feel that the silver-plated, computer-machined jazz mouthpieces are the key for your unique sound, and if you can afford the freight, by all means take that approach. On the other hand, you could take the more practical approach, save your money (or invest it into something less costly and more practical), basing that approach on those who have gone before.
GAS in its most extreme form manifests itself in the purchase of numerous instruments, always seeking that indefinable something that will take a player to the next level. However, it's quite possible to purchase instruments at a very reasonable price that, with the proper practice on the part of the operator, will (assuming basic instrument integrity and maintenance) render a much more acceptable result.
It's all summed up in the old musician's joke, the reply to the musicians seeking directions on how do you get to Carnegie Hall: "Practice, man - practice." An extra half hour a day learning how to operate the tools of your trade is far more valuable than spending many hundreds chasing the mouthpiece chimera.
Most hereon would end this with another acronym, but I'll spell it out completely: your mileage may vary.
Abbreviated "YMMV", it's a saying that had its origins in the practices of automobile marketing in the 1960s, when miles per gallon figures were first quoted for US automobiles - an ad would announce the miles per gallon figure for a particular car, but always hedge the statement by adding somewhere in the body of the ad: "Your mileage may vary"
