Okay, this'll be quite some ride, so bear with me. I'm about to compare two extremely similar looking saxophones very closely - the Bauhaus Walstein Bronze Soprano, Action Improved (SSS-PD on the bell), roughly 900$ new, and the Thomann TSS-350, about 400$ new.
Both are said to be copies of the Yanagisawa S-992.
Given the fact that I just received the Bauhaus Walstein, these ramblings are by no means final. But I did give the two a good workout and have already found some stuff worth mentioning.
Background
When I decided to give the Thomann a go, one of my reasons was that it looked more or less identical to the then already famed Bauhaus Walstein bronze soprano, but was considerably less expensive (the BW isn't pricey, either). I then ordered it under yet another name through some obscure channel (online auction...), but it was the instrument I wanted from the get-go. And it turned out to be the very same TSS-350.
The Thomann turned out to be okay after some minor tweaking (I had my tech look it through), and it certainly plays well - the action is good, the tone is nicely balanced and never too bright; intonation is good throughout the whole range. And yet... it could be better. While being slick, the action isn't entirely smooth and quiet. And it can be tough to get to the highest part of the register (everything above D3). I also noticed some building quirks: If you put the instrument on a flat surface on its bell, it wobbles - the bell isn't entirely even. No big deal, but a sign of shoddy handywork, at least in parts.
I enjoyed playing the Thomann quite a bit, but it failed to satisfy me entirely, so when I read time and again about the qualities of the Bauhaus Walstein on one hand and the fact that similarity doesn't mean a thing when it comes to saxes from mainland China one the other, I took the arrival of the Action Improved model as an opportunity to get my hands on a Bauhaus Walstein.
First Impressions
Okay, I'll say it again: These two saxes certainly *look* identical, down to the engravings on the bell and the colour of the felts that are used. You can't avoid the impression that they're true twins. It's extremely difficult to find real differences, though there are indeed some: The pearls (lookalikes made out of plastic in both cases) are a little thicker and more rounded on the Bauhaus Walstein; some of the springs are not quite alike (though both use what looks like blue steel - and it most certainly is). But there's more, even less obvious: The metal of body and crook is a shade thicker on the Bauhaus Walstein as far as I'm able to make it out (it certainly is the case on the bell and the crook), and if you place it on its bell on a flat surface, it *doesn't* wobble. Though the weight seems practically the same, the Bauhaus Walstein appears a little more robust. But that may be caused by insignificant factors.
On truely important thing, though: The pads are clearly and utterly different. The Bauhaus Walstein has italian leather pads - the ones on the Thomann may look similar, but they're clearly not the same. They've got a darker colour (redder, if that means anything to you), and the resonators are smaller, especially on the bigger ones.
Some Details
Action on the Bauhaus Walstein is very smooth indeed (thanks to the people at Woodwind & Brass!) - it's tighter and considerably quieter than on the Thomann (even though I had the latter set up by a very good tech!). This isn't a big deal at first, but it makes for a noticeable difference in playing - the Thomann keeps up in terms of speed, but precision, especially when encountering quirky details, is clearly better on the Bauhaus Walstein. You'd never(!) expect this when looking at the two horns...
A quite amazing thing is that the thumb hook on both instruments looks absolutely identical, yet the one on the Bauhaus Walstein seems considerably more comfortable, though both of them force my right thumb into a less-than-ideal position - but that's because my hands are rather small, too. I'm no friend of hooks in general, but I need one on soprano, so that's something that's important for me.
Playing And Sound
I'm using a Otto Link Tone Edge 7 with a GF-System III ligature and Alexander Superial 2.0 reeds. That's a trusted combination I've used over the last couple of years with increasing confidence. This setup takes me close to the sound I want to achieve and makes playing high notes well in tune relatively easy.
The Thomann impresses with a lively, yet smooth sound throughout the whole range; but one can't help noticing that there are a few rough edges - it tends to get a bit thin in the highest register, and it's not always easy for me to go beyond Eb3 or D3 (the sax is keyed to G3). The lowest notes tend to sound a little washed out, too, but not to an extend to really worry me. I was able to compare it to a Selmer SuperAction 80 (straight, no crook - Series I, I presume) once, and the Thomann had better intonation and a fuller sound; the action of the Thomann appeared a little less robust, but didn't feel flimsy, either. I liked playing the Thomann a lot better than playing the Selmer - though partly because of the uncomfortable angle I had to hold the Selmer in. But I also found the sound more to my taste.
So, the Thomann sets the bar at a considerably high level. Given the similarity of the looks (even with the minor difference I found), I hadn't high hopes in the Bauhaus Walstein performing noticeably better. And indeed, the familiarity between them didn't end with looks. The sound's clearly similar, too. But...
I took the two through their paces, with scales and sounds and intonation tests, finally with entire tunes. They both played well, but the Bauhaus Walstein did better in significant areas: The tone's more even and reliable throughout the whole range, and it's actually possible to produce the whole range without any major difficulty - the instrument sounds good and clear from low Bb to highest G. The Thomann didn't lag behind a lot, but it's simply harder to get it to do the right thing, especially when it comes to the highest notes. This was true in spite of the fact that I've played the Thomann for some time now and know its pecularities pretty well.
While the Thomann's action proved again to be pretty fast and accurate, playing the Bauhaus Walstein did require even less effort and yielded more satisfying results in troublesome situations - so, less inaccuracies, better sound, better precision.
To sum is up, the Bauhaus Walstein is more responsive, a little louder (and, if need be, a little softer, too - it has a bigger volume range), a little less bright, but by no means stuffy, with a more pleasant, warm and well-rounded tone. In some parts of the range, differences are almost impossible to perceive, but low down and high up, they are totally obvious. The Thomann tends to sound a little strained at times while the Bauhaus Walstein simply sings. They're both good saxophones - but the potential of the Bauhaus Walstein is huge!
Interestingly, intonation around register changes (C2/D2, C3/D3, also C1/C2/C3 and D1/D2/D3) is a little bit better on the Thomann - nothing to impress me in my playing, but still not to be overlooked. Then again, I played the Bauhaus Walstein for the first time... It'll soon be fitting like a glove.
It also turned out to be less tiring to play the Bauhaus Walstein physically - I don't much like the position I have to hold a straight soprano in, but the Bauhaus Walstein makes it easier for me than the Thomann (the miraculous thumb hook thing again... I still can't fathom how this comes about - I think I'll use a magnifier next...).
Final Thoughts... For Now
The Bauhaus Walstein bronze soprano in its latest incarnation costs more than twice as much as the Thomann. Considering this, the Thomann does amazingly well and is worth every cent you'll pay for it. But in terms of musical ability and potential, the Bauhaus Walstein is a clear winner overall and *well* worth the extra money. I mentioned earlier that I'm pretty sure that the Thomann would give many an up-marked soprano a run for its money - the Bauhaus Walstein will do that without any doubt.
It remains to be seen how the two saxes, especially the Bauhaus Walstein, will stand the test of time. I'll revisit this thread from time to time to share more and better observations, and as soon as I find a way to make the most important things visible, I'll post some pictures, too. But that's hard to do, I can tell you as much (I tried) - they look so similar it's almost impossible to get a telling picture. But I'll try. The same may be possible for sounds - but I won't promise anything.
That said, I'll most certainly not keep the Thomann for a very long time - it sounds decently, it's certainly price-worthy, but the Bauhaus Walstein surpasses it in every significant aspect.
M.
Both are said to be copies of the Yanagisawa S-992.
Given the fact that I just received the Bauhaus Walstein, these ramblings are by no means final. But I did give the two a good workout and have already found some stuff worth mentioning.
Background
When I decided to give the Thomann a go, one of my reasons was that it looked more or less identical to the then already famed Bauhaus Walstein bronze soprano, but was considerably less expensive (the BW isn't pricey, either). I then ordered it under yet another name through some obscure channel (online auction...), but it was the instrument I wanted from the get-go. And it turned out to be the very same TSS-350.
The Thomann turned out to be okay after some minor tweaking (I had my tech look it through), and it certainly plays well - the action is good, the tone is nicely balanced and never too bright; intonation is good throughout the whole range. And yet... it could be better. While being slick, the action isn't entirely smooth and quiet. And it can be tough to get to the highest part of the register (everything above D3). I also noticed some building quirks: If you put the instrument on a flat surface on its bell, it wobbles - the bell isn't entirely even. No big deal, but a sign of shoddy handywork, at least in parts.
I enjoyed playing the Thomann quite a bit, but it failed to satisfy me entirely, so when I read time and again about the qualities of the Bauhaus Walstein on one hand and the fact that similarity doesn't mean a thing when it comes to saxes from mainland China one the other, I took the arrival of the Action Improved model as an opportunity to get my hands on a Bauhaus Walstein.
First Impressions
Okay, I'll say it again: These two saxes certainly *look* identical, down to the engravings on the bell and the colour of the felts that are used. You can't avoid the impression that they're true twins. It's extremely difficult to find real differences, though there are indeed some: The pearls (lookalikes made out of plastic in both cases) are a little thicker and more rounded on the Bauhaus Walstein; some of the springs are not quite alike (though both use what looks like blue steel - and it most certainly is). But there's more, even less obvious: The metal of body and crook is a shade thicker on the Bauhaus Walstein as far as I'm able to make it out (it certainly is the case on the bell and the crook), and if you place it on its bell on a flat surface, it *doesn't* wobble. Though the weight seems practically the same, the Bauhaus Walstein appears a little more robust. But that may be caused by insignificant factors.
On truely important thing, though: The pads are clearly and utterly different. The Bauhaus Walstein has italian leather pads - the ones on the Thomann may look similar, but they're clearly not the same. They've got a darker colour (redder, if that means anything to you), and the resonators are smaller, especially on the bigger ones.
Some Details
Action on the Bauhaus Walstein is very smooth indeed (thanks to the people at Woodwind & Brass!) - it's tighter and considerably quieter than on the Thomann (even though I had the latter set up by a very good tech!). This isn't a big deal at first, but it makes for a noticeable difference in playing - the Thomann keeps up in terms of speed, but precision, especially when encountering quirky details, is clearly better on the Bauhaus Walstein. You'd never(!) expect this when looking at the two horns...
A quite amazing thing is that the thumb hook on both instruments looks absolutely identical, yet the one on the Bauhaus Walstein seems considerably more comfortable, though both of them force my right thumb into a less-than-ideal position - but that's because my hands are rather small, too. I'm no friend of hooks in general, but I need one on soprano, so that's something that's important for me.
Playing And Sound
I'm using a Otto Link Tone Edge 7 with a GF-System III ligature and Alexander Superial 2.0 reeds. That's a trusted combination I've used over the last couple of years with increasing confidence. This setup takes me close to the sound I want to achieve and makes playing high notes well in tune relatively easy.
The Thomann impresses with a lively, yet smooth sound throughout the whole range; but one can't help noticing that there are a few rough edges - it tends to get a bit thin in the highest register, and it's not always easy for me to go beyond Eb3 or D3 (the sax is keyed to G3). The lowest notes tend to sound a little washed out, too, but not to an extend to really worry me. I was able to compare it to a Selmer SuperAction 80 (straight, no crook - Series I, I presume) once, and the Thomann had better intonation and a fuller sound; the action of the Thomann appeared a little less robust, but didn't feel flimsy, either. I liked playing the Thomann a lot better than playing the Selmer - though partly because of the uncomfortable angle I had to hold the Selmer in. But I also found the sound more to my taste.
So, the Thomann sets the bar at a considerably high level. Given the similarity of the looks (even with the minor difference I found), I hadn't high hopes in the Bauhaus Walstein performing noticeably better. And indeed, the familiarity between them didn't end with looks. The sound's clearly similar, too. But...
I took the two through their paces, with scales and sounds and intonation tests, finally with entire tunes. They both played well, but the Bauhaus Walstein did better in significant areas: The tone's more even and reliable throughout the whole range, and it's actually possible to produce the whole range without any major difficulty - the instrument sounds good and clear from low Bb to highest G. The Thomann didn't lag behind a lot, but it's simply harder to get it to do the right thing, especially when it comes to the highest notes. This was true in spite of the fact that I've played the Thomann for some time now and know its pecularities pretty well.
While the Thomann's action proved again to be pretty fast and accurate, playing the Bauhaus Walstein did require even less effort and yielded more satisfying results in troublesome situations - so, less inaccuracies, better sound, better precision.
To sum is up, the Bauhaus Walstein is more responsive, a little louder (and, if need be, a little softer, too - it has a bigger volume range), a little less bright, but by no means stuffy, with a more pleasant, warm and well-rounded tone. In some parts of the range, differences are almost impossible to perceive, but low down and high up, they are totally obvious. The Thomann tends to sound a little strained at times while the Bauhaus Walstein simply sings. They're both good saxophones - but the potential of the Bauhaus Walstein is huge!
Interestingly, intonation around register changes (C2/D2, C3/D3, also C1/C2/C3 and D1/D2/D3) is a little bit better on the Thomann - nothing to impress me in my playing, but still not to be overlooked. Then again, I played the Bauhaus Walstein for the first time... It'll soon be fitting like a glove.
It also turned out to be less tiring to play the Bauhaus Walstein physically - I don't much like the position I have to hold a straight soprano in, but the Bauhaus Walstein makes it easier for me than the Thomann (the miraculous thumb hook thing again... I still can't fathom how this comes about - I think I'll use a magnifier next...).
Final Thoughts... For Now
The Bauhaus Walstein bronze soprano in its latest incarnation costs more than twice as much as the Thomann. Considering this, the Thomann does amazingly well and is worth every cent you'll pay for it. But in terms of musical ability and potential, the Bauhaus Walstein is a clear winner overall and *well* worth the extra money. I mentioned earlier that I'm pretty sure that the Thomann would give many an up-marked soprano a run for its money - the Bauhaus Walstein will do that without any doubt.
It remains to be seen how the two saxes, especially the Bauhaus Walstein, will stand the test of time. I'll revisit this thread from time to time to share more and better observations, and as soon as I find a way to make the most important things visible, I'll post some pictures, too. But that's hard to do, I can tell you as much (I tried) - they look so similar it's almost impossible to get a telling picture. But I'll try. The same may be possible for sounds - but I won't promise anything.
That said, I'll most certainly not keep the Thomann for a very long time - it sounds decently, it's certainly price-worthy, but the Bauhaus Walstein surpasses it in every significant aspect.
M.
