Which soprano saxophone do you like? [Archive]

singlereed

03-26-2003, 08:09 AM

After play testing a load, I settled on the Yanagisawa S992. I'd be happy with any of their straight sops, or a Selmer III. I did own a Selmer II for a couple of years and it served me very well, though the Yani 991 or 992 and the Selmer III do play a lot more freely. The 992 especially has a great solid tonal core to work with.

OnyxSax

03-28-2003, 04:34 AM

I like my 165,xxx Conn Straight. I owned a Mark VI, but once I played the Conn, I loved the sound so much that I traded the Mark VI for a silver-plated 26,xxx Conn Curved. The curved is a funky little horn, with a warm tone and surprisingly accurate intonation given the horns early vintage. Still, I find myself gravitating back over to the straight.

The funny thing is there is nothing fancy about the straight. It was a bare-brass horn that acquired a coat of lacquer sometime in its lifetime. It has Selmer-style resos. When I play it, it just works for me like no other soprano.

coufplayer

06-18-2003, 10:20 PM

....and it used to be mine! :cry: :cry: :D

But I'm still very happy with my Superba I - great horn

Thomas

06-19-2003, 12:42 PM

I love my Superba,bought new in 1975, but I'm liking alot my newly acquired silverplate SC901-it will never be my primary sop, but it's pretty good-certainly better than the SA80 serie II that it replaced

Paul Coats

06-24-2003, 03:21 PM

The very early Yanagisawa (and Martin stenciled) sopranos were Mk VI copies, and also faithfully copied the many Mk VI faults. NO, the Mk VI soprano was not up to the standards of the Mk VI alto, tenor, and bari. I can say this from playing a Mk VI soprano for more than 25 years. When better sopranos began to hit the market about 10 or 12 years ago, I sold it, and have never regretted it.

The Yana 991/992 are superb, great intonation and tone, and yes, a solid core to the tone. I am currently playing an Antigua A590, VERY similar to the 991, that has the same characteristics. Yanagisawa has an outstanding curved soprano, too.

The Selmer Series III are excellent sopranos, and many players think they are better than the II, but there are some that say the opposite.

The Yamaha sopranos are all excellent, even the lowly YSS-475.

I have not played the Keilwerths enough to really compare to the others, but from my Keilwerth playing friends, I know it has a good reputation.

In the older sopranos, I had, for a short time, a King-Marigaux that was excellent, and far better than the Mk VI I once owned. Intonation was much better, tone richer. But the lack of fork F key and high F# just did not allow me to do the things I need to do.

Going back even further, the old Bueschers play marvelously in tune! But the tight keywork is terrible, and these old saxes are rather fragile. Their tone is warm and very saxy. I wish, oh I wish, someone in high places in the sax manufacturing world please listen, that they would use the bore and tone hole placement of the old Buescher sopranos, and add modern keywork. THAT would be a great soprano sax!

SuiZen

06-24-2003, 04:02 PM

Going back even further, the old Bueschers play marvelously in tune! But the tight keywork is terrible, --

Paul,

What do you mean by "tight keywork", e.g., the fingers are cramped?

Bill

Paul Coats

06-24-2003, 08:18 PM

Yes, very close in, the side and palm keys are difficult to operate, as if they were trying to make a miniature alto.

Adam-

10-22-2003, 12:49 PM

I very much like my s900. When I bought it, I didn't have the money for a s991 or other more expensive soprano, but wen I later got back at the shop with the intention to buy a new and better soprano, I saw that there are few soprano's that are better. Of course, the more expensive Yani's are a bit better, but -except the Solid Sterling Silver one - I thought the difference was too small for the extra money I would have to spend, so I left the shop with an Alto sax. Apart from the Yani's, I also like the Custom Yamaha's. (I don't really like the selmer soprano's very much, but then again, that's just me)

MB-913

10-22-2003, 04:58 PM

A Yana S-992 Silver plated is my dream soprano, completed silver plated without any gold on rod & key like YSS-865S or Series III Silver. Yana S-992 Silver is special item, need order made at Yana. I don't think anybody have seen this before. But you can order it, check it at Yana official homepage.

http://www.yanagisawasax.co.jp/ja/soprano/992/

S-992SP = Silver Plated. Which show "Special Order".

I don't see it show in English page, it's mainly for domestic market.

Series III Brush Gold is my 2nd favorite soprano. But not sure how's the difference in sound compare with standard lacquered version.

water baby

10-22-2003, 09:35 PM

I gotta go with my Yamaha YSS-62R...

every pro or tech who has ever blown into it has just said ..."WOW"!!!

Bob Berg (god rest his soul) noodled on mine and said he liked it better than his MK lV

noelpaz

11-21-2003, 05:01 PM

my 70's B&S - very good core sound and fat. Plays even when it had leaks. Keywork is ala Mark VI (no front f) but after some adjusting to - better than a Yani (pre 900 series)

Morry

11-21-2003, 06:08 PM

I just got a JK SX90II in from WW&BW and, so far, my Taiwanese made Musica curved sop outplays it. The intonation is better, and the sound is fatter. I'm gonna get a buddy to come by and do a blind sound test to make sure before I send it back.

sessionsax

11-21-2003, 06:15 PM

The standard straight necked yss 62's are nice as well. If I had the cash, I would probably trade it for a good bronze Yani though. The 62 definately does what I need it too though. The tuning is excellent.

Morry

11-21-2003, 09:48 PM

Seriously considering a Rampone & Cazzani curved or semi-curved.

yillb

11-22-2003, 12:48 AM

God, this conversation has really been going on since March?

Tho I really haven't tried alot of sops., but I 've never met a horn I like better than my YSS-62. I remember as an alto player about 16 years ago deciding that by God I needed, I must have a soprano. Saved up, went to the "big city", tried a number of horns, not really knowing anything about sop. and never having any real experience. I had intended to get a Selmer knowing that that's the horn the "pros" use. The guy brings out the Yamaha, and I'm thinking, Yamaha, isn't that a "student" horn? Not only was it cheaper than the Selmer, it sounded fuller and was the only one that I could play in tune with practically no sop. experiece. Needless to say, I still love this horn. Glad I got it when I did cuz' I don't think I could afford it now.

Morry

11-22-2003, 03:09 AM

Timing is everything. I bought a YSS-62 in the early 80's, and paid something around $1300 for it brand new. Those were the days.

GHawk

11-22-2003, 03:22 AM

Serie III's my favorite thus far. I played a Keilwerth SX90II a while back that I really liked, too. I had L.A.Sax on trial from WWBW a few years ago and I HATED it....won't play C#2 with the right hand down. I recently saw a friend of mine playing on an L.A.Sax - killer player in the league with Everett Harp....he previously played the YSS-62. He sounded fantastic and he really likes it....just goes t'show ya...

yillb

11-22-2003, 03:27 AM

Why are you looking at new horns? Did you sell it? Is there something you like better? In other posts for sops. Bootman and Grumps dis. the Yamahas as having no real charachter. I am a fan of older saxes. In fact my fave tonewise is my old Conn C-Melody. But the YSS-62 plays soooo easy, and I find it to be very expressive, everybody who's tried it loves it, and they all sound different on it as well, have to admit I have no real experience with vintage sops. tho.

goodsax

11-23-2003, 04:14 PM

A little late getting in on this, but I'm very happy with my Antigua Winds 582LQ straight neck one-piece sop. It's a great value in that it has a good quality feel to it when you pick it up and hold it. And the sound is much more than one would expect from a sop so reasonably priced. I've had mine a few months now and this "S" in my "SBAT" collection I intend to keep.
8)

yillb

11-24-2003, 07:36 AM

Tho i'm not shopping, i've heard great things about the Antiqua, sounds like the new horn of choice if you don't want to drop a ton o' cash.

11-24-2003, 09:20 PM

Yanagisawa SC-901 (the curved model) but I got my eye on the new Yani curvy--the SC-991.

singlereed

11-24-2003, 10:44 PM

Tears June

11-25-2003, 05:10 AM

I have just moved to a nice silver Serie II which has the sweet sound of a Mk VI (well nearly) with nice fast modern keywork and I am enjoying it very much. I found the sound of my S992 a bit wild and overbearing and it went out of regulation without warning once too often (I suspect I had a bad one).

singlereed
1) For A-992 = What is your meaning of Overbearing ?

2) Does your A-992 sound more dark (but warm) than your Series II Silver Plated ?

3) I tried a Series II (Both tenor & alto) before, it sound better than Series III (Personal feel). But I don't like II's right hand side key (Bb, C & E) position. Which are too far away, I need to turn my hand to reach it. Do you have this problem ? I think A-992/991 keywork design is more comfortable.

:cry:

Morry

11-25-2003, 06:51 AM

Well, a few days sure can make a difference. I wasn't very sure about the JK SX90II when it first came in a few days ago. I was more comfortable with my little curvy, and perceived that as something it was not. After spending some time with the Keilwerth, I've got to say...this little thing rocks. I had a musician friend come over and listen to me playing both horns from the next room. Sort of a blind test. I used the same setup on both, and he agreed with me, the SX90II just has a more complex and interesting sound. The curved model I have does sound more like a little alto, but the Keilwerth's sound is just that of a very nice, full soprano. I'm glad I gave it a few more days of trial.

singlereed

11-25-2003, 08:25 AM

I meant the S992 sound was big and bold and I wanted something more subtle for classical playing. The II is certainly warm and sweet sounding, the 992 has a 'bigger sound', I wouldn't really say it's darker or warmer, both have a rich full tone. For most other music, the 992 has a fantastic sound and I used it with much success in classical music, but I found myself looking for a sweeter sound. I agree the RH little finger keys are less comfortable on the II than the Yani, but I am used to them - when I first tried a Yani I thought the Yani keys were too close, it is what you are used to i think. If you are soprano shopping, the 992 would have to be on your shortlist, but I would say, do give the II a go as well.

Dr G

11-25-2003, 03:55 PM

Tears - Please note that singlereed is talking about SOPRANO saxes. :wink:

Joe Jazz

11-26-2003, 12:24 AM

I'm enjoying playing around with my newly arrived Ramponi & Cazzini curved R1 soprano. Looks like a keeper! :lol:

MB-913

11-28-2003, 03:53 AM

Does anybody have compare S-991, S-992 side by side with YSS-875 & YSS-62 ?

swingerini

11-30-2003, 10:40 PM

My favorite is my Martin Handcraft .

Superb tone and volume and dynamic range .

Head and shoulders above every soprano I've played vintage and new.

Dr_sax

01-31-2004, 03:18 PM

I think I´ll never split with my trusty yanagisawa S900. Great sound and keywork.

Steve J.

01-31-2004, 03:29 PM

I have settled on a YSS-61. Has a dark soprano character folks (unlike a little alto approach) and remarkably comfortable intonation. I have no desire for another soprano.

01-31-2004, 05:16 PM

gege

02-01-2004, 08:11 PM

i wonder about the reputation yamaha saxes have. especially the sopranos. i bought a yss675r about 12 years ago, and since then i´v tried a lot of other sopranos (no vintage) never found one that sounded better. e.g. the yani 992 (bronze) had a better intonation (the best i. of all sopranos i tried), the sIII had a more subtle, "wood-wind-like" sound in the lower register, but its sound was more uniform. the yss sound (colours) changes more with loudness, the response in the lower register is easier. i play an sIII alto, so i would prefere to change to a sIII soprano, because of a similar keywork of both instruments (as an amateur, i`v not much time for practising). so i tried a lot of sIIIs also sIIs, keilwerths but i allways ended with the good old yss675r.....
gege

Dave Dolson

02-01-2004, 08:37 PM

gege: What does the "r" mean when you write YSS675r? DAVE

Joe Jazz

02-01-2004, 08:56 PM

Wasn't that the one with the fixed curved neck?

Dave Dolson

02-02-2004, 04:05 AM

Joe: I know about the YSS62R (a fixed curved neck), but from what I know about Yamahas (admittedly not that much), the YSS675 is a dual-necked soprano; hence why the "r" designation? DAVE

dolphyo

02-02-2004, 03:48 PM

my trusty selmer super acton 2 and a tiawanese double neck for a backup that gives me no joy. of course if i had a wad of cash, i'd run to buy a borgani vintage with screw on silver bell and rampone & cazzani straight sopranos. very curious now? i had a borgani curved 25 years ago. not bad but? gone. solid gone.

Dr G

02-03-2004, 09:30 PM

I recently got a new model curved Yani--SC-992 (bronze body). I love this little horn. Plays like a dream. (Dr. G--I'm going to hold onto my SC-901 for backup. At least for a while. Like until maybe when Yanagisawa comes out with a saxello. But I don't see this happening anytime soon.)

Thanks for the reply, RS. No hurry here either - I'm getting along very well with the III. Funny how these cycles come and go. I guess I lucked out by finding out that I still like the III _before_ I sold it rather than after. :lol:

02-03-2004, 09:33 PM

Yes, sometimes it can take a while to fully appreciate a horn. Have to live with it for a while.

gege

02-04-2004, 08:23 PM

Dave: i should have written YSS 675R. The R is the version with a curved detachable neck. The Custom Soprano had both necks, the 675 only a straight or curved one.
gege

Dave Dolson

02-04-2004, 08:31 PM

gege: Thanks. I didn't know that. I thought the 675 model came with both necks. DAVE

water baby

02-04-2004, 11:55 PM

GeGe..

are you sure about that "R" designation on the 675?

I was under the impression that it stands for "Rousseau" and was only applied to the 62 series which was a professional fixed neck horn.

the 675 along with it's custom cousin the 875 are removable neck horns...

why make a detachable neck on a straight Sop if you arent going to offer two necks?

Did that horn of yours have an "R" stamped into the brass right after the yss-675?

if not...i would contend that your 675 was missing its straight neck attachment...

but I could be wrong of course...

gege

02-06-2004, 04:33 PM

water baby
you are right, the R is not stamped on the instrument. but the YSS 675 was and is still sold with only one neck at least in Austria and Germany (on the german webside of yamaha: www.yamaha-europe.com you can find a YSS 675 and a YSS 675R). My lokal dealer told me that you can save money if you want to use only one kind of neck, but you have the chance to change later if you want. yamaha also offers three different types of curved and straight necks.
gege

water baby

02-07-2004, 01:12 AM

wow GeGe...

if you look on ebay right now...there are like three 675s for sale and they all have two necks included...

funny that Yamaha should market them differently in your part of Europe but I believe you

OnyxSax

02-08-2004, 04:43 AM

I have to agree with RS. No matter what horn you have, you really need to live with it for a while before you can determine if it is right for you. This especially seems true with sopranos. I liked playing my 165,xxx Conn Soprano from the get go. However, after two years of playing it, the horn has really come to me, making the horn that much more enjoyable to play.

mrzonules

02-09-2004, 06:45 PM

I was wondering what you guys know of the yanagisawa elmona sax?? I am borrowing one right now from Jay Thomas (SN just over 510000). I am in love with it already, and I just got it yesterday. I googled for it and i got nada. The one I have is supposedly a prototype model, too (he got it at the factory in 1986). Where does this horn fall in line with the other yanas?

-Z

saxmanglen

02-09-2004, 07:11 PM

mrzonules,

Do a search for the "Elimona" line Yani's and you'll find plenty of information. Elimona was Yanagisawa's designation of their top line horn years ago.

Glen

Fred

02-09-2004, 07:56 PM

I can't make sense out the the Elimona's serial number. 510XXX doesn't figure according to the lists I have. 1986 should have started with about 134XXX, and as late as year 2000 the numbers were 235XXX. But, the one thing you can count on about serial numbers is . . . that you can't count on serial numbers.

Dave Dolson

02-09-2004, 09:13 PM

mrzonules: In the late '80's, I bought a new Yanagisawa Elimona soprano. It came with two necks. I did not care for it. The right-side keys were poorly aligned for me and I constantly opened the F# key when I went for the side Bb, thus cutting out the whole horn. No amount of practice helped me overcome that design. Then one day, I was trying to tighten the neck socket and twisted off the screw. Yeah, that was probably my fault, but I was not pleased, being far from home or a repairman when it happened.

I traded it for a straight JK alto. DAVE

Dr G

02-13-2004, 04:41 AM

And what is the rest of the story? Could you recite the chronology of horns since then?

Truly curious,

George

P.S. I am about to become <gulp> sop-less for the first time in a long time.

Jack W.

02-13-2004, 03:36 PM

Which soprano do I like? In a way, none of them so far. I have owned at this point at least half a dozen soprano saxes, both curved and straight, both vintage and modern, and none of them has lasted over a year. All have had their strengths, whether sound, price, intonation, or whatever, but eventually each has had some issue or set of issues that has soured me on the horn and I've looked elsewhere.

Maybe a more positive way of putting it is that I'm still looking for "The One" amongst the soprano saxes. If there is such a thing. I feel like I've definitely found "the" alto for me (1951 Buescher, so much so that I now have two!), and quite possibly "the" tenor as well (Martin Dick Stabile).

My current soprano is a Pan American Conn stencil, made in the early 1920s. As far as I can tell, it's identical to a New Wonder from the same period, except for having straight tone holes and different engraving on the bell. The sound is out of this world of course, and the high notes pop out the easiest of any soprano I've ever played, but already I find myself wondering if the grass is greener elsewhere, due to certain keywork and intonation quirks. The threads about the latest model of Antigua Winds soprano has me thinking very seriously about their A586LQ model.

Someday I'll find it, perhaps, the soprano that's "The One"! :)

Dave Dolson

02-13-2004, 04:36 PM

Dr G and Jack W.: I'll assume that question was directed to me (the rest of the story?) . . . my obsession with horns (altos and sops) is too lengthy to recount here. And, it continues. I'm picking up one of those gold-plated Unison altos this afternoon from Rheuben Allen. It never stops for me.

I kept the straight alto for awhile, then sold it to a fellow SOTW person. It was just too difficult to handle in crowded situations (tight venues and all that). After I gave up the Elimona sop, I went back to my tried-'n'-true TrueTone. Then came a succession of new and vintage sops up to now.

Just yesterday, I got out three of the sops (the Antigua 590LQ, the better-of-the-two Buescher TTs, and a 1923 straight Conn I acquired from Gayle Fredenburgh in a trade for my King Saxello - I think she got the better of the deal, money-wise, but I ended up with a better horn). I played them all with a variety of mouthpieces and reeds.

They are all nice sopranos - the key action on the two vintage horns is especially nice (very light and precise). But in the final analysis, the Antigua is the best of my bunch. It has better intonation, a bigger sound, and the key layout is more friendly to me.

Jack W., you won't be sorry with that Antigua. You may not want two necks, but in my testing on-site, I found the two-neck models to be better (fully described elsewhere on SOTW). And, while I never use the high G, it may be a diserable feature should you want to sell/trade later on. For the little extra money, I'd recommend going for the more expensive Antigua. True, the black-nickel was a beaut, but the LQ sounded better to my ears (and to two others who were listening). DAVE

Jack W.

02-13-2004, 05:36 PM

Jack W., you won't be sorry with that Antigua. You may not want two necks, but in my testing on-site, I found the two-neck models to be better (fully described elsewhere on SOTW). And, while I never use the high G, it may be a desirable feature should you want to sell/trade later on. For the little extra money, I'd recommend going for the more expensive Antigua. True, the black-nickel was a beaut, but the LQ sounded better to my ears (and to two others who were listening).

I appreciate your comments as always, Dave. In the end it was posts such as yours elsewhere about the on-site trials, that talked me into the 586LQ. I may order it as soon as today after I crunch some numbers and stare at my bank balance for a while. Kessler Music is just opening now as I type, so there is time.

I know I will never use the high G key either, so I think I will still pass on it, but in the end I think I'll be happier overall with the 586 than with the 582 for the reasons I mentioned in the other thread in this area. And the best part is the return policy, in case for some reason it doesn't agree with me.

In the end, I only have about $800 in the Pan Am soprano, including the Protec case and a fresh set of pads, so to have $1600 in two sopranos isn't the end of the world. A lot of people have twice that in one soprano! I predict that I'll order the AW soprano, keep both for a while, and let them duke it out. It may well be that I keep both too, but we'll see. If not, then it will be just another step on the journey to finding "The One". :)

Thanks again to everyone for their help, and for the comments on the AW sopranos, and I will keep you all updated of course!

Kritavi

02-14-2004, 06:32 PM

Well my new soprano just arrived.
I had a Tru-tone for 25 years that I gave as a gift to my dear and respected mentor, an extraordinary musician, Tisziji Munoz, a guitarist whos bands included horn players like Dave Liebman, Pharoah Sanders and Ravi Coltrane.
So I have replaced it and decided to go modern with an Armstrong Heritage which is a Couf Supreba II.
It is a great horn, huge sound, great feel to the keywork and a very even scale. I have just played it for the first time and I am very pleased with it.
I am curious to hear from any other Couf or JK users on soprano. I loved my tru-tone and had it for a long time but I don't think I will miss it with the horn I now have. It also is a match for my Couf tenor which I have grown to really love (especially now that I have an RPC mpc on it.)

betelsax

03-20-2004, 03:06 AM

I have played a nail-file Conn for years and love it. Focused, direct and clean.

But recently I have been playing a Buescher TT 217xxx and oh, baby, what a hot horn! It's a beat-up old silver beast, but it just wants to sing.

It's tempermental, sure. But the battle's half the fun, because when you finally make up...