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Discussion Starter · #1 ·
Play tested a few sopranos the other week, including a Yanigasawa SW01U, and was pretty damn impressed with how rich and round the sound was.

Is the belief that Japanese sops are on the bright side a bit outdated as they add warmth in their newer models to the mix of great keywork, intonation and build quality?
 

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Is the belief that Japanese sops are on the bright side a bit outdated as they add warmth in their newer models to the mix of great keywork, intonation and build quality?[/QUOTE]

I didn't know there was such a belief. I never experienced it and I've owned several over the years, including both Japanese brands. DAVE
 

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Discussion Starter · #4 ·
Old Geoff Lawson metal 6 - bright of centre with a rich core and more contemporary punch than say a 90s Morgan Jazz.

The combination was surprisingly round and deep.

The Yani would have presented as quite a bit warmer (and smoother) with my Morgan Jazz.

My points of reference: Beaugnier S39 from late 60s/ early 70s, Buffet S1 and Martin Handcraft.
 

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Old Geoff Lawson metal 6 - bright of centre with a rich core and more contemporary punch than say a 90s Morgan Jazz.

The combination was surprisingly round and deep.

The Yani would have presented as quite a bit warmer (and smoother) with my Morgan Jazz.

My points of reference: Beaugnier S39 from late 60s/ early 70s, Buffet S1 and Martin Handcraft.
Thank you.
 

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Japanese sopranos are quite flexible, in my opinion. Yes, some of the Yamahas can be rather bright. Overall, I think they’re not as bright as the altos or tenors. My main soprano is a Yamaha 62. I’ve had a Yanagisawa, Selmer III, and a few others. I haven’t found many to be inflexible. A mouthpiece can go a long way on a soprano.
 

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Discussion Starter · #7 ·
Japanese sopranos are quite flexible, in my opinion....A mouthpiece can go a long way on a soprano.
A bit like vintage sops then...that with a brighter piece that can be very lively. Thing is, I was surprised by the essential warmth of this modern horn and I’m sure it’s not the only one.

I’m not saying modern sops can’t be on the brighter side of things, but that it’s not possible to generalise, and people who think all modern sops sound so very different from vintage ones (I should perhaps exclude 20s instruments from the conversation) might not be up to date with the current reality.


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I've heard this, but I think it's been outdated for a long time.

In my experience, modern Selmers are among the brightest horns (among the big four), followed by the Yamaha 875 series.

I think that, all else being equal, the Yanagisawas and the Yamaha 62/82z are both pretty rich and dark.
 

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I think it inappropriate to lump Japanese sopranos together. Yanagisawa and Yamaha are two very different companies with very different sounds and goals, although you might be able to say that they both have excellent construction and intonation.

Yanagisawa, I think, has always targeted a “French" type of sound, not necessarily a Selmer sound though. This has got them in trouble in the past. Certain models have been criticized as too bland, too sweet, too sterile and not dirty enough. I have not heard an iota of any of these comments about the new WO series.

The Yanagisawa S6 is often called a Mark VI copy, however if ones looks carefully at the later Beaugnier-made Vitos, the S6 and Yanagisawa-made Vitos have as much or more in common with the Beaugnier as they do with the Selmer. I have often wondered how much influence seeking the Vito contract had on Yanagiswa design.
 

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Discussion Starter · #10 ·
Interesting comments on the late Beaugnier models as possible inspiration for Yani sound.

I attach a couple of photos of my Beaugnier equivalent to a 39S. The sound is very similar to a new SW01 albeit probably a shade more focused. A bit more grit (dirt?) too but shaped the sound is similar.






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