Why does one soprano (probably Yanasisawa) play very easily in altissimo while others are really difficult?
It is to do with tiny differences in shaping of the air column in the neck and a little beyond, and also in the shaping, height, diameter and location of tone holes.
Most of this stuff is apparent only to, and understood by the very few experts in the world. (A significant step in bore diameter is quite common and more obvious.)
This is all to do with the intricacies of acoustic design.
Benade offered huge insight into the acoustic science of woodwinds and his focus was on ideals. He did acknowledge at least one error when it came to compromises. Seeing all instrument design involves many compromises (eg the octave vent protruding into the bore), I think it is entirely conceivable that some manufacturers' research and experiment may take the complicated science of compromise a little further.
Top soprano makers certainly have experimented with deliberate bore protrusions in the neck, in the form of threading the bore or corrugating it over certain areas.
Whatever. I think it would be a pretty brave person who alters the bore of the top end of their soprano, unless you have input from experts on the compromises made (copied?).
You say the brand is Orpheus.
It is hard enough for a reputable brand to get the acoustic design of a sop sax right, let alone a pretty much unknown manufacturer who may have nil detailed knowledge of acoustic design but just certain skills in copying.
It's what they don't accurately copy that matters, even a thousandth of an inch here and there. I would not expect such a brand to make sopranos, which are so fussy, that perform well over the range. As with everything else, you get what you pay for.
To blame these tone hole intrusions really is total guessing. There are plenty of poorly performing sopranos that don't have bore intrusions.
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