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Discussion Starter · #1 ·
Used horn but new to me...and new to Yani. Just got my sax back from tech.

Not new to curved sopranos (owned Kessler prior as well as current vintage Conn NW). Plays well! Still finding the right set up with mouthpiece position and right intonation (never perfect, even on a pro horn). Low C is a little flat, but workable. I really like the hand position/ergonomics over Kessler (in some ways, it feels like my 1919 Conn NW).

Suggestions welcomed! I noticed so far that I still have to push the MPC down for getting bottom notes and overall playability. Using a Soprano Planet S440 or Yamaha CM 6 and Marca 2.5 filed reeds.

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Congrats, lovely instrument!

The two mouthpieces I like the best on my SC992 are a) Riffault (the steelite ebonite ones are the darkest) and b) a 'little' luxury in the form of a Freddie Gregory Mark 1 hard rubber with brass shank (cost was the original selling price from Freddie). The FG tunes particularly well on all my sopranos of various vintages going back to 1926. Medium sized plus chamber which is very long, whilst the undercut sidewalls and moderately deep ramp add internal volume. I think some of the same design philosophies exist in the S440 - bet it plays just as warm and controlled too!

Once you've settled in in with your SC991, I'd experiment with bell key heights to bring your bottom C into tune. It will!
 

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Used horn but new to me...and new to Yani. Just got my sax back from tech.

Not new to curved sopranos (owned Kessler prior as well as current vintage Conn NW). Plays well! Still finding the right set up with mouthpiece position and right intonation (never perfect, even on a pro horn). Low C is a little flat, but workable. I really like the hand position/ergonomics over Kessler (in some ways, it feels like my 1919 Conn NW).

Suggestions welcomed! I noticed so far that I still have to push the MPC down for getting bottom notes and overall playability. Using a Soprano Planet S440 or Yamaha CM 6 and Marca 2.5 filed reeds.

View attachment 108334

View attachment 108335
I don’t know if curved sopranos have different intonation issues over straight sopranos, but I have not noticed the bell key notes being flat on either my S880 or my S901. I have to be a little careful on palm keys above high D/Eb but I think that’s most any soprano. I would love to try a curved yany, but I’ll probably never be able to justify buying one. BTW my setup is a Selmer S80 C** with a Legere European Cut 3.25 clarinet reed.

Beautiful horn BTW. Count me as suitably jealous.
 
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Discussion Starter · #4 · (Edited)
I don’t know if curved sopranos have different intonation issues over straight sopranos, but I have not noticed the bell key notes being flat on either my S880 or my S901. I have to be a little careful on palm keys above high D/Eb but I think that’s most any soprano. I would love to try a curved yany, but I’ll probably never be able to justify buying one. BTW my setup is a Selmer S80 C** with a Legere European Cut 3.25 clarinet reed.

Beautiful horn BTW. Count me as suitably jealous.
Ditto! I have always wanted a pro curved soprano sax, and this opportunity came up!

After spending some time with this horn, I now understand why folks talk about pro horns and the "Big Four" (Selmer Paris, Yanagisawa, Yamaha, Keilwerth) having the most correct ergonomics, keywork, key action, playability and sound (whether perfectly in tune or not). This Yani SC-991 meets all of those standards and surpasses them. I am impressed! I still LOVE my 1919 curved Conn New Wonder, and one could argue it is also a pro horn (just 102 years old). And I will still play it!. But this Yani is in its own category for a modern instrument.
 

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Chip: Congrats on the SC991. My SC902 is spot on top to bottom. Over the years, I’ve used a variety of mouthpieces, from Super Session J to the Selmer Concept on it.

Right now, I‘m playing a stock Selmer S-80 G with a Legere 2 on a straight solid-silver neck. The S-80 G is the best playing S-80 I have, but they are all good players - the G being especially good. The Concept is wonderful, too. I shove them on quite a way. DAVE
 

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Congrats on your horn, you’re going to love it! My SC991 is more in tune than any other soprano I’ve owned, and it has a lovely tone. I currently have one other soprano that is a pro level horn, a Viking one piece with a curved neck (like the Yamaha 62R or 82ZR).

Both these horns play really well, but I find the Yani to be a little more resistant, and the tone is a little “refined” compared to the Viking. I don’t prefer one over the other, but I get a different feeling from each, so that’s probably a good thing.

Regarding mouthpieces, the Yani is very friendly, and so is the Viking. Selmer Super Session, old Selmer “Soloist style”, Bari, Link and a good old 4C all play beautifully on both horns. I just received a 10MFan Virtuoso yesterday, haven’t tried it yet, will have a report next week sometime. I do expect both horns to work well with it.
 

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Used horn but new to me...and new to Yani. Just got my sax back from tech.

Not new to curved sopranos (owned Kessler prior as well as current vintage Conn NW). Plays well! Still finding the right set up with mouthpiece position and right intonation (never perfect, even on a pro horn). Low C is a little flat, but workable. I really like the hand position/ergonomics over Kessler (in some ways, it feels like my 1919 Conn NW).

Suggestions welcomed! I noticed so far that I still have to push the MPC down for getting bottom notes and overall playability. Using a Soprano Planet S440 or Yamaha CM 6 and Marca 2.5 filed reeds.
These are great lil' horns. As Dave Dolson commented, they are very mouthpiece friendly. You don't comment about what kind of music you enjoy, but if you're just looking for an excuse to buy another mouthpiece, I'll share my fav' as well. I owned two SC-992 sops over the years, and my favorite piece on that horn was Fred Lamberson's Fmaj7 0.070.
 

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Discussion Starter · #8 ·
Chip: Congrats on the SC991. My SC902 is spot on top to bottom. Over the years, I’ve used a variety of mouthpieces, from Super Session J to the Selmer Concept on it.

Right now, I‘m playing a stock Selmer S-80 G with a Legere 2 on a straight solid-silver neck. The S-80 G is the best playing S-80 I have, but they are all good players - the G being especially good. The Concept is wonderful, too. I shove them on quite a way. DAVE
Dave, thanks! Selmer S-80 G is a little more open than the Yamaha 6CM (0.53) and little more closed than the Soprano Planet S440 (I think 0.72) I use. Maybe a sweet spot? I will check it out! Also the Concept, I assume the version Selmer came out with a few years ago?
 

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Discussion Starter · #9 ·
These are great lil' horns. As Dave Dolson commented, they are very mouthpiece friendly. You don't comment about what kind of music you enjoy, but if you're just looking for an excuse to buy another mouthpiece, I'll share my fav' as well. I owned two SC-992 sops over the years, and my favorite piece on that horn was Fred Lamberson's Fmaj7 0.070.
I play in two community bands:
  • One is a Moravian band (protestant Christians found in Pennsylvania and North Carolina that came from Germany and the Czech Republic in the 1700's, not to be confused with the Amish...we like electricity and the Internet). Pretty simple religious brass-wind music (but neat music, some of it written 250+ years ago, originally for trombone choirs).
  • The second band is a large community band, and I play soprano sax in the trumpet section. I know, it sounds like witchcraft, but I enjoy playing cornet/trumpet music (usually second part, but occasionally an actual soprano piece, usually from Holst). Music focused on pop tunes, marches, concert band stuff, etc.
 

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Chip: Yes, the Concept - Selmer introduced it a few years ago. I was introduced to it by Dave Kessler when he sold me that curved sop.

About five notes in, I knew the Concept was a keeper. I‘d played open pieces for years, then cut back to more closed pieces when the bands I was playing with gave up the ghost.

The Concept is more closed than the C*, 4c, or SL3 but it plays a lot better than the normal closed pieces - at least for me. It has the control of close tips but a much bigger sound.

My S-80 G came out of the box as a much smoother playing S-80 than any of the others I have and I have most of them from C* through J. For some reason, Selmer got everything right with mine. It plays as if it had been expertly re-faced. I had another G that wasn’t as good.

Yes, the G-tip is much more open than the common soprano piece but for some reason, MY G plays so good that I still use it even as I downsized my tip-openings. DAVE
 
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