[Cjames]

With the right reed, mouthpiece, embouchure and technique, you can get whatever sound you like. With the Yamaha 62, you'll get a well built horn with few vices, as with a Yanagisawa horn. Vintage horns are a variable mix, some with challenging ergos and quirks. Some of those American vintage horns have a wonderful bottom end. My favourite horn is a vintage Super 20, but if I'm playing a more complex tune, I'll reach for the modern Yanagisawa. Horses for courses.

 

[Cjames]

I don’t know the era of your King, nor your playing genre, but when I was playing a 320xxx full pearls Super 20, I would use it for anything other than my classical quartet. The only “limitations” that I perceived was the left pinkie table, and that was on me if I didn’t commit to practicing. Most of my music was in the context of contemporary big band, and it served well in every demand of response, intonation, and dynamics. It could blend well, and delivered when I pushed it for soloing (we didn’t use microphones). I sometimes kick myself for selling it, but it was down to either it or my freshly overhauled Borgani Jubilee.

Mine is a 298*** full pearls. To my ear, there is nothing like it. Free blowing, light action, EXCEPT for that left hand pinky table, specifically the C# key. The rod is very long, as you know, and that particular key needs quite a press with the little finger. I play mainly jazz ballads with it, and it's fine 99% of the time.