I have a friend that's an average golfer that's always chasing the latest equipment in the hope of improving his game. He's convinced that the best equipment makes a difference but his game never really gets any better no matter what he buys. I suspect if he put as much time into practicing as he does researching equipment, he'd be a much better golfer. I believe this works for musicians too. Most of us will never be good enough that the equipment is the limiting factor. All of the Yanigiswa saxophones are top quality. If you own own any one of these instruments consider yourself very lucky.
As a player who hits 80s frequently in golf, I can safely assume, even with the latest ping black irons, and the fastest drivers out there, you cannot hit further if you can’t perfect your swing.
Excellent analogy, and so true about Yanagisawa saxes. They sell on the basis of reputation worldwide and don't seem to require a lot of marketing. I still love my T991 and have no interest in another at this time.
What's the phrase - all the gear and no idea. I've recently started playing the tenor and got a YTS-280. I'd love to get the Yani or the Selmer, and I'm fortunate to be in a position to buy one without affecting my financial wellbeing. However, I am nowhere near the skill level to do one justice. Hopefully, within a few years but until I genuinely feel I can do it justice, what's the point?
I am a proud owner of a Yanagisawa TW01 and it is superb. In fact I just had it looked over by my tech after playing it for 2 years and even he commented how well it plays.
As a tech, and pro player of 50 yrs., the thing Ilike about dbl. arm const. is that an aggressive technique will not torque the key cup of the mech. itself, causing it to leverage, creating a leak. My old Super20 uses that. Same for underslung 8va, if you grip the top of the neckcrook when you put on the mpc., there's a tendency to tear the 8va pad faster, and exert torque on the 8va key of the neck, which wearsand/or can create regulation problems. Good vid. Always loved Yanis.
I chose the Elite in bronze over the Professional in bronze only because of the ribbed construction and the double tone arms. And that was only because i wanted to save on trips to my sax tech. I honestly feel no difference playing wise. For me though, the big difference is between the material, and my preference is the bronze. I play a variety of styles and I have no problem with flexibility of expression. For me-a great horn.
I actually prefer the pro bronze over the elite, mainly because I found the pro WO2 was rich and more lively and the sound seemed more flexible over the elite model which had the rich, sound but it felt it had more depth but not the resonance of the WO2. I prefer the bronze over the brass for the extra richness in the sound and I found the brass a bit too bright. The pro models seem so well made that not having the extra features that the elite models have to me, it doesn't matter as much if you look after your saxophone well.
Combination. The bronze doesnt respond as quickly but adds warmth and the post to body adds back response. I had a 902 bari which was reccomended for that reason and I put a bronze neck on my 990 u brass alto to mellow it out just a tiny bit. It worked. 50 yr pro player
In December I bout an AWO2. I was torn between it, AWO2U, AWO20 and the AWO10. I liked the rich mellower sound of the bronze more than the brass AWO1/AWO10 which I found a little bright for my taste and was initially considering the AWO2U but I didn't like the idea of the saxophone tarnishing and feeling grubby after a while. I considered the AWO20 but I found the AWO2 had a slightly brighter, lighter tone, not as dense sounding and seemed more flexible as I play a range of music styles as it doesn't have the ribbed construction that adds weight and more depth to the sound, which I think makes more of a difference with the bronze models since the bronze is already adding more weight and a bit of a darker sound than the brass in the WO1/WO10 models. Given the amazing build quality of the AWO2 and playing it since then, I don't feel the extra ribbed construction and other features added to the elite models is necessary if you are considering an elite model on build quality only. Jay Metcalfe (Better Sax) says this as well. I find the pro model has excellent solid build quality. It plays really well too with an immediate sound. For the first time I had a saxophone where a low notes, especially low Bb came out with no effort and played well as did all the other notes, I could even sub tone a low Bb without feeling that it might not come out properly and I can't foresee it going out of adjustment in a vary long time as its so well made. Because I find the AWO2 has a lighter, less dense sound to the AWO20, I can have some more flexibility and if I want more projection and or to darken the tone more than just changing the mouthpiece setup or getting a different neck, I have a Cory Bros tone tablet and a Yany BooStar neck screw. For me, when I put the tone table in the lyre holder, it smooths the sound and it increases projection when playing the same way as I did before adding the tablet so I wasn't trying to play any louder with the tablet than I was without it. While I know heavy mass neck screws opinion differs between players, I do find using it over the standard neck screw changes what I feel when I play but also the sound in a small way. I feel that with the heaviest screw setup, I get a more resistant feel which I like when playing classical music and the sound is a little darker and a bit more dense over using the standard neck screw.
Omg that opener (Not the intro) is absolutely beautiful. Tone is amazing and intonation is perfect (To me). I already love yani for their curved sopranos but this tenor is amazing.
I like the consistency of these videos with Jim playing, but this is an instance it would have been interesting to hear George play also. Just to see how the instruments react to different players. Personally I hear more of a core to the rib construction. Which is why I chose the rib construction.
I chose a two2 because it is lighter. Yani build quality is so good that I don't worry about it being sturdy. If I played on the road for a living like I used to then I might consider an elite, but now only playing at home and occasionally out, I like a lighter weight. Same tubes, just keywork and under slung neck differences that I see. Bigger difference would be between bronze and brass. I tried a bronze and like the way it plays and sounds. That's what is important to what ever you choose. Oh, the pro models are cheaper too. A consideration, don't you think? Response is so nice on this horn along with the sound and intonation.
"If I played on the road for a living like I used to then I might consider an elite, but now only playing at home and occasionally out, I like a lighter weight"...Actually some pros think the opposite....anyway is just a matter of preference!
I agree a lighter weight on the road might be a consideration for comfort, but I had a Selmer SA80 and even trying my best to baby it and care for it, 14 years of road work took its toll. I was sometimes in the middle of nowhere and needed some work done. I learned to keep extra pads and tools with me to keep it playable until I had time at home for my repairman to work on it. My comment was more along that line thinking maybe the Elite could take more abuse and keep playing well. Never had the luxury of a backup horn like some of my friends. Would have been nice...
I just pulled the trigger and bought a TWO20. When I tried it out initially I had it right next to a TWO2 and tried them both. The salesperson at the store was telling me he didn’t believe the difference between the two was worth the extra almost $2k more for the 20. As I played them both I couldn’t disagree more. The TWO20 just had a rounder, beefier tone to my ears. It was a touch heavier but not much. There was definitely more resistance to the 20, but I rather liked that. I like when a horn pushes back a little. Makes me feel like I have more control over the tone. That being said the TWO2 was an exceptional horn as well. I would’ve been very pleased with the 2 had I never tried the 20. The key to both was that they were both so easy to play and just oozed “quality” with their feel, look, and consistency.
You have to remember that it may have been variances in the particular saxophones you tried, rather than differences between models. I've tried 3 AWO10 altos at the same time and all were different in terms of resistance, tone etc. I recently tried 2 TWO20s and the first was super free-blowing but the one I bought has more resistance. There will always be differences across identical models of saxophone! The takeaway from this is - try as many as you can 'of the same model' before you buy. Not always easy, I know.
@@Patrick_OBrien In the UK the TWO20 is about £4090 and the TWO2 is £3175, so a difference of £915. These are figures based on reputable music stores that will setup the instrument for you. I would always buy from an authorised Yamagisawa dealer.
My old T880 seems to share the same properties as the Elite model (underslung octave key arm, ribbed post-to-body solution, double key arms on B and C. Do they compare in the way they feel and sound also?
Isn't there also a minor difference in the LH table with the little plastic piece that makes it easier to go from low C# to B? I thought I remembered that only the 10 has that feature, not the 1.
What Yanagisawa calls bronse is an alloy of copper and zinc (not tin), so brass with a higher percentage of copper than usual. Bronze would be an alloy of copper and tin, which it is not.
I own a TW01 for almost two years now and I get it the elite is a better horn but keys flapping in the wind because of a single arm? Come on guys that must be a line for people that have no clue.
@5:34 "older vintage horns (mk vi) had the post soldered onto the body" WTF...actually its the opposite. MKVI has full ribbed construction where is needed , of course. @9:00 Just add spring tension ;) By the way , excepting this wrong ideas/concepts, this is a useful and nice review..
You are right. Repaired thousands of those, only thing that bugged me was key bounce on f#key when depressing right stack keys. I used ultra suede under the keyfeet, which helped a little.
My AWO20 has a weird overtone on high A, when warmed up. I've taken it to two different repair guys, but they can't find the issue. It's not me, I don't experience this when I play my very inexpensive Jean Paul ' travel' sax. Do your mechanics have any idea? Must be something just slightly out of adjustment?
High A can be an issue is some saxophones, it does not sound consistent as other surrounding notes. It is possible to remedy it with a different mouthpiece, different embouchure, slightly different angle of playing / mouth position, or maybe using a bit harder reed. Depending in which direction that inconsistency colours the tone, either it appears too bright or too subdued, it's worthwhile to consider repadding it, and changing a resonator type on its pad.
G# and side F# keys are pearls on the 10 and 20, brass on the 1 and 2! Absolutely no difference to playability but a nice added touch to the Elite models 😊
Exactly. Wives tales. I own a TW01 and tried to blow as hard as I could much harder than any player would try to play and nothing. Having said that I’m a Yanagisawa devotee and would love to own the tw010
If spring tension is insufficient then a key that is sprung closed will flutter under breath pressure. I learned that while messing with the spring for my RH Eb key...
@@lukasalihein maybe but that is more likely not going to be the case with new and decent to great quality saxophones and you definitely don’t need double arms on the cups etc.
Are all the differences listed here the same on the Yanigasawa altos? I know that it is pretty much physically the same but do they play that differently?
It's not better, it's different. That's the whole point that the salespersons in the video should be saying, but they insist that one is "pro", the other is "elite". It's nonsense. They are both professional level saxophones, with two different design specs to produce a different outcome.
I wonder if the rib construction patented by Selmer simply made the manufacturing process easier compared to American pro horns like King; Conn; Martin et al with post construction. Also the skill required to solder posts to a rib versus the tube. I have a King S-20; Martin Comm III and Conn 30M and all are free blowing and resonant. I also have a MVI 86xxx from the same period and it seemed pretty free until I owned these great American classic pro horns. Is rib construction anything more than an improved less costly manufacturing process hyped to be some kind of "improvement" in tone?
The only sonic consideration for me is the ribbed vs. post construction. The Elite horn is very heavy and as you said it takes a lot more energy to get the Elite to resonate like the "Pro" model. I don't think the squeeze is worth the juice in this situation. My opinion is that heavy is not a good thing. I've owned both, the "Pro" and "Elite" models and the underslung neck just looks so much better then the over the top octave key. The engraving on the "Pro" model is absolutely atrocious, the engraving on the "Pro" horn is so bad it is "almost" a reason not purchase the horn, I know that sounds crazy but it is really bad it's disturbing. Yani should just not install that engraving. I own many vintage saxophones and even an entry level intermediate stencil saxophones from the 60's and 70's have beautiful engraving. For example the Selmer S brace series was an upscale student horn that has beautiful engraving. But in the end, the sound and response is the primary reason to purchase a specific horn not esthetics. And for me both the "Pro" and "Elite" horns sound sterile, I've played them both extensively while comparing them to vintage horns. To use an analogy if you drink milk from a farm that is straight from the cow without processing or buy it from the store that has been homogenized and pasteurized they are both milk but the unprocessed product is a completely different experience. The sound of the Yani horns are sterile without resonance. Don't get me wrong the intonation is second to none and the response is great and the build quality of the Yanagisawa "Elite" horns are works of art but for me the sound doesn't have that depth or resonance in the sound that even a good vintage intermediate horn can provide. Naturally both new vs vintage horns need to be in perfect working condition to provide a fair comparison. If you want a modern horn the Yani is like the best option but in my opinion you're getting everything one could ask for but the "Sound."
I don't think any drummer would agree that adding a piece of gaffa tape to a snare makes it resonate more. A strip of brass with a sandwich filling of soft lead-like solder inside will dampen a sax, I would have thought. I reckon the truth is the strip is a batten and there to reduce manufacturing cost as it doesn't need as much care in positioning. The rest is marketing spin. Simple as!
I had a Super 20 for 34 years. It had single arms, post construction, and the cool looking underslung neck. I just purchased an AW02 because I prefer the sound of post construction. The double arms are a complete waste. In 34 years I never had an issue with my Super 20’s single arms. I do miss the underslung neck because that is what I’m used to. I will probably purchase a silver underslung neck. And when I need new pads I will get metal resonators.
As someone who seems to have unlimited access to just about every brand saxophone, could you please let me know the instrument that has the darkest full bodied sound not contingent upon the player’s skill or gimmickry. I intend to purchase the best possible instrument, price no consideration, suitable for church choir, small ensemble, chamber group or ballad work. Edge, projection, centered sound, response do not figure in my wish list. I hope to receive a totally unbiased comment and thank you sincerely.
George always looks pissed, like finding out moments before filming that for the past week Jim was the one who's been eating his chocolate pudding snack from the company fridge.
You Know, You are not Helping Us Blind People with This and that. We cannot See this and that. Please Explain what you are showing. Put on a Blindfold and Listen to Your Pardner explain something Then you will Begin to understand. Thanks Phillip Daigle
I have a friend that's an average golfer that's always chasing the latest equipment in the hope of improving his game. He's convinced that the best equipment makes a difference but his game never really gets any better no matter what he buys. I suspect if he put as much time into practicing as he does researching equipment, he'd be a much better golfer. I believe this works for musicians too. Most of us will never be good enough that the equipment is the limiting factor. All of the Yanigiswa saxophones are top quality. If you own own any one of these instruments consider yourself very lucky.
only reason the equipment is the issue is if it’s broken or some crap, otherwise you got yourself a lifetime horn with the yani
As a player who hits 80s frequently in golf, I can safely assume, even with the latest ping black irons, and the fastest drivers out there, you cannot hit further if you can’t perfect your swing.
Excellent analogy, and so true about Yanagisawa saxes. They sell on the basis of reputation worldwide and don't seem to require a lot of marketing. I still love my T991 and have no interest in another at this time.
What's the phrase - all the gear and no idea. I've recently started playing the tenor and got a YTS-280. I'd love to get the Yani or the Selmer, and I'm fortunate to be in a position to buy one without affecting my financial wellbeing. However, I am nowhere near the skill level to do one justice. Hopefully, within a few years but until I genuinely feel I can do it justice, what's the point?
I am a proud owner of a Yanagisawa TW01 and it is superb. In fact I just had it looked over by my tech after playing it for 2 years and even he commented how well it plays.
Yani is my favorite. I love Japanese craftsmanship!
As a tech, and pro player of 50 yrs., the thing Ilike about dbl. arm const. is that an aggressive technique will not torque the key cup of the mech. itself, causing it to leverage, creating a leak. My old Super20 uses that. Same for underslung 8va, if you grip the top of the neckcrook when you put on the mpc., there's a tendency to tear the 8va pad faster, and exert torque on the 8va key of the neck, which wearsand/or can create regulation problems.
Good vid. Always loved Yanis.
I chose the Elite in bronze over the Professional in bronze only because of the ribbed construction and the double tone arms. And that was only because i wanted to save on trips
to my sax tech. I honestly feel no difference playing wise. For me though, the big difference is
between the material, and my preference is the bronze. I play a variety of styles and I have
no problem with flexibility of expression. For me-a great horn.
I actually prefer the pro bronze over the elite, mainly because I found the pro WO2 was rich and more lively and the sound seemed more flexible over the elite model which had the rich, sound but it felt it had more depth but not the resonance of the WO2. I prefer the bronze over the brass for the extra richness in the sound and I found the brass a bit too bright. The pro models seem so well made that not having the extra features that the elite models have to me, it doesn't matter as much if you look after your saxophone well.
@@DynamixWarePro a lot of people choose that com
Combination. The bronze doesnt respond as quickly but adds warmth and the post to body adds back response. I had a 902 bari which was reccomended for that reason and I put a bronze neck on my 990 u brass alto to mellow it out just a tiny bit. It worked. 50 yr pro player
In December I bout an AWO2. I was torn between it, AWO2U, AWO20 and the AWO10. I liked the rich mellower sound of the bronze more than the brass AWO1/AWO10 which I found a little bright for my taste and was initially considering the AWO2U but I didn't like the idea of the saxophone tarnishing and feeling grubby after a while.
I considered the AWO20 but I found the AWO2 had a slightly brighter, lighter tone, not as dense sounding and seemed more flexible as I play a range of music styles as it doesn't have the ribbed construction that adds weight and more depth to the sound, which I think makes more of a difference with the bronze models since the bronze is already adding more weight and a bit of a darker sound than the brass in the WO1/WO10 models.
Given the amazing build quality of the AWO2 and playing it since then, I don't feel the extra ribbed construction and other features added to the elite models is necessary if you are considering an elite model on build quality only. Jay Metcalfe (Better Sax) says this as well. I find the pro model has excellent solid build quality. It plays really well too with an immediate sound. For the first time I had a saxophone where a low notes, especially low Bb came out with no effort and played well as did all the other notes, I could even sub tone a low Bb without feeling that it might not come out properly and I can't foresee it going out of adjustment in a vary long time as its so well made.
Because I find the AWO2 has a lighter, less dense sound to the AWO20, I can have some more flexibility and if I want more projection and or to darken the tone more than just changing the mouthpiece setup or getting a different neck, I have a Cory Bros tone tablet and a Yany BooStar neck screw. For me, when I put the tone table in the lyre holder, it smooths the sound and it increases projection when playing the same way as I did before adding the tablet so I wasn't trying to play any louder with the tablet than I was without it.
While I know heavy mass neck screws opinion differs between players, I do find using it over the standard neck screw changes what I feel when I play but also the sound in a small way. I feel that with the heaviest screw setup, I get a more resistant feel which I like when playing classical music and the sound is a little darker and a bit more dense over using the standard neck screw.
Omg that opener (Not the intro) is absolutely beautiful. Tone is amazing and intonation is perfect (To me). I already love yani for their curved sopranos but this tenor is amazing.
I like the consistency of these videos with Jim playing, but this is an instance it would have been interesting to hear George play also. Just to see how the instruments react to different players. Personally I hear more of a core to the rib construction. Which is why I chose the rib construction.
Couldn't agree more!
I chose a two2 because it is lighter. Yani build quality is so good that I don't worry about it being sturdy. If I played on the road for a living like I used to then I might consider an elite, but now only playing at home and occasionally out, I like a lighter weight. Same tubes, just keywork and under slung neck differences that I see. Bigger difference would be between bronze and brass. I tried a bronze and like the way it plays and sounds. That's what is important to what ever you choose. Oh, the pro models are cheaper too. A consideration, don't you think? Response is so nice on this horn along with the sound and intonation.
"If I played on the road for a living like I used to then I might consider an elite, but now only playing at home and occasionally out, I like a lighter weight"...Actually some pros think the opposite....anyway is just a matter of preference!
I agree a lighter weight on the road might be a consideration for comfort, but I had a Selmer SA80 and even trying my best to baby it and care for it, 14 years of road work took its toll. I was sometimes in the middle of nowhere and needed some work done. I learned to keep extra pads and tools with me to keep it playable until I had time at home for my repairman to work on it. My comment was more along that line thinking maybe the Elite could take more abuse and keep playing well. Never had the luxury of a backup horn like some of my friends. Would have been nice...
Excellent video. I have the AWO20 (alto) and love it.
I just pulled the trigger and bought a TWO20. When I tried it out initially I had it right next to a TWO2 and tried them both. The salesperson at the store was telling me he didn’t believe the difference between the two was worth the extra almost $2k more for the 20. As I played them both I couldn’t disagree more. The TWO20 just had a rounder, beefier tone to my ears. It was a touch heavier but not much. There was definitely more resistance to the 20, but I rather liked that. I like when a horn pushes back a little. Makes me feel like I have more control over the tone. That being said the TWO2 was an exceptional horn as well. I would’ve been very pleased with the 2 had I never tried the 20. The key to both was that they were both so easy to play and just oozed “quality” with their feel, look, and consistency.
You have to remember that it may have been variances in the particular saxophones you tried, rather than differences between models. I've tried 3 AWO10 altos at the same time and all were different in terms of resistance, tone etc. I recently tried 2 TWO20s and the first was super free-blowing but the one I bought has more resistance. There will always be differences across identical models of saxophone! The takeaway from this is - try as many as you can 'of the same model' before you buy. Not always easy, I know.
How much did you end up paying for it at the end of the day? I'm trying to price for myselc
@@Patrick_OBrien In the UK the TWO20 is about £4090 and the TWO2 is £3175, so a difference of £915. These are figures based on reputable music stores that will setup the instrument for you. I would always buy from an authorised Yamagisawa dealer.
@@alexwillats thanks for the info! It really helps alot :)
I love my TW02 UL, these horns are the best in the market- can’t go wrong with any, just preference really.
My old T880 seems to share the same properties as the Elite model (underslung octave key arm, ribbed post-to-body solution, double key arms on B and C. Do they compare in the way they feel and sound also?
Isn't there also a minor difference in the LH table with the little plastic piece that makes it easier to go from low C# to B? I thought I remembered that only the 10 has that feature, not the 1.
I think the key pearls and the lower cage inserts are different too.
Hi, will you be doing a comparison of the new Legere American cut reed vs the previous Légère Signature ?
Wow Does Sax want to make a beautiful sound both of your amazing musicians
Great sounding saxophones.
When are we going to get another vid of the Benedict eppelsheim tubax?
What Yanagisawa calls bronse is an alloy of copper and zinc (not tin), so brass with a higher percentage of copper than usual. Bronze would be an alloy of copper and tin, which it is not.
Nice! And now, please: TWO1 vs. TWO2 lacquered and - if possible - TWO2 UL. Would be great! :)
My new saxophone setup is neck of TW10 and the body is TW01
The Elite model sounded brighter and with better tone apparently.
Really interesting thank you
Why Tenor tho? Can you do alto??
I own a TW01 for almost two years now and I get it the elite is a better horn but keys flapping in the wind because of a single arm? Come on guys that must be a line for people that have no clue.
@5:34 "older vintage horns (mk vi) had the post soldered onto the body" WTF...actually its the opposite. MKVI has full ribbed construction where is needed , of course. @9:00 Just add spring tension ;) By the way , excepting this wrong ideas/concepts, this is a useful and nice review..
You are right. Repaired thousands of those, only thing that bugged me was key bounce on f#key when depressing right stack keys. I used ultra suede under the keyfeet, which helped a little.
Nice comparison
My AWO20 has a weird overtone on high A, when warmed up. I've taken it to two different repair guys, but they can't find the issue. It's not me, I don't experience this when I play my very inexpensive Jean Paul ' travel' sax. Do your mechanics have any idea? Must be something just slightly out of adjustment?
High A can be an issue is some saxophones, it does not sound consistent as other surrounding notes. It is possible to remedy it with a different mouthpiece, different embouchure, slightly different angle of playing / mouth position, or maybe using a bit harder reed. Depending in which direction that inconsistency colours the tone, either it appears too bright or too subdued, it's worthwhile to consider repadding it, and changing a resonator type on its pad.
G# and side F# keys are pearls on the 10 and 20, brass on the 1 and 2! Absolutely no difference to playability but a nice added touch to the Elite models 😊
it aint gonna be the breath pressure that makes a valve flutter, more likely the vibration of the thing although i doubt that is even possible.
Exactly. Wives tales. I own a TW01 and tried to blow as hard as I could much harder than any player would try to play and nothing. Having said that I’m a Yanagisawa devotee and would love to own the tw010
If spring tension is insufficient then a key that is sprung closed will flutter under breath pressure. I learned that while messing with the spring for my RH Eb key...
@@lukasalihein maybe but that is more likely not going to be the case with new and decent to great quality saxophones and you definitely don’t need double arms on the cups etc.
@@vladimirlopez7840 True
Are all the differences listed here the same on the Yanigasawa altos? I know that it is pretty much physically the same but do they play that differently?
Yes. Same model numbers and perceived difference in sound and feel.
Please send me a baritone sax. Here in Brazil things are so expensive and it is my dream to play a baritone sax please !!
Isn't ribbed construction about resistance to damage? I.e. harder to distort the body if a post takes a wack.
Conclusion: the more expensive one, is in fact better.
It's not better, it's different. That's the whole point that the salespersons in the video should be saying, but they insist that one is "pro", the other is "elite". It's nonsense. They are both professional level saxophones, with two different design specs to produce a different outcome.
You should do a video comparing rampone and cazzani horns
Yes, cause I believe that Rampone is more dark and soft than Cazzani 😍
Maybe in the future I would like to try yanis😂
I wonder if the rib construction patented by Selmer simply made the manufacturing process easier compared to American pro horns like King; Conn; Martin et al with post construction. Also the skill required to solder posts to a rib versus the tube. I have a King S-20; Martin Comm III and Conn 30M and all are free blowing and resonant. I also have a MVI 86xxx from the same period and it seemed pretty free until I owned these great American classic pro horns. Is rib construction anything more than an improved less costly manufacturing process hyped to be some kind of "improvement" in tone?
If rib construction was actually much cheap you’d imagine it would be used on price sensitive student models.
The only sonic consideration for me is the ribbed vs. post construction. The Elite horn is very heavy and as you said it takes a lot more energy to get the Elite to resonate like the "Pro" model. I don't think the squeeze is worth the juice in this situation. My opinion is that heavy is not a good thing. I've owned both, the "Pro" and "Elite" models and the underslung neck just looks so much better then the over the top octave key. The engraving on the "Pro" model is absolutely atrocious, the engraving on the "Pro" horn is so bad it is "almost" a reason not purchase the horn, I know that sounds crazy but it is really bad it's disturbing. Yani should just not install that engraving. I own many vintage saxophones and even an entry level intermediate stencil saxophones from the 60's and 70's have beautiful engraving. For example the Selmer S brace series was an upscale student horn that has beautiful engraving. But in the end, the sound and response is the primary reason to purchase a specific horn not esthetics. And for me both the "Pro" and "Elite" horns sound sterile, I've played them both extensively while comparing them to vintage horns. To use an analogy if you drink milk from a farm that is straight from the cow without processing or buy it from the store that has been homogenized and pasteurized they are both milk but the unprocessed product is a completely different experience. The sound of the Yani horns are sterile without resonance. Don't get me wrong the intonation is second to none and the response is great and the build quality of the Yanagisawa "Elite" horns are works of art but for me the sound doesn't have that depth or resonance in the sound that even a good vintage intermediate horn can provide. Naturally both new vs vintage horns need to be in perfect working condition to provide a fair comparison. If you want a modern horn the Yani is like the best option but in my opinion you're getting everything one could ask for but the "Sound."
I don't think any drummer would agree that adding a piece of gaffa tape to a snare makes it resonate more. A strip of brass with a sandwich filling of soft lead-like solder inside will dampen a sax, I would have thought. I reckon the truth is the strip is a batten and there to reduce manufacturing cost as it doesn't need as much care in positioning. The rest is marketing spin. Simple as!
You should contact the store or Yanagisawa and let them know!
I had a Super 20 for 34 years. It had single arms, post construction, and the cool looking underslung neck. I just purchased an AW02 because I prefer the sound of post construction. The double arms are a complete waste. In 34 years I never had an issue with my Super 20’s single arms. I do miss the underslung neck because that is what I’m used to. I will probably purchase a silver underslung neck. And when I need new pads I will get metal resonators.
The AWO10 has more MASS™
So it’s looking kinda THICC?
A good horn shouldn't make you work harder. That's what cheap horns do.
Then why are Selmers so expensive?
Selmers don’t make u work harder - at least the Series II tenors
As someone who seems to have unlimited access to just about every brand saxophone, could you please let me know the instrument that has the darkest full bodied sound not contingent upon the player’s skill or gimmickry. I intend to purchase the best possible instrument, price no consideration, suitable for church choir, small ensemble, chamber group or ballad work. Edge, projection, centered sound, response do not figure in my wish list. I hope to receive a totally unbiased comment and thank you sincerely.
George always looks pissed, like finding out moments before filming that for the past week Jim was the one who's been eating his chocolate pudding snack from the company fridge.
That will teach him to put his name on it. 😁
All these Great Players
Not Out Playing
B991 moment
Hii
Hi
Mango_theCat Aka манго_кот hiii
Crash productions hiiii
You Know, You are not Helping Us Blind People with This and that. We cannot See this and that. Please Explain what you are showing. Put on a Blindfold and Listen to Your Pardner explain something Then you will Begin to understand. Thanks Phillip Daigle
unintentional comedy !
The more expensive one has a crisper fart smell.