[JoAnnPeeler]

Recently, I purchased a Yany S880 soprano from eBay (see this thread) as I was looking for a dual neck soprano to potentially replace the Yany S901 I'm currently playing. After getting both of these horns back from the horn tech for routine adjustments I've been alternating between them to make sure I should keep the S880. However, it seems that at least with the mouthpieces I generally use on soprano that the S901 is a better playing horn. It is more resonant and its response is more even and for me at least the intonation is comparable. As much as I want a curved neck to optimize the use of a neck strap and relieve the tendonitis in my thumb and shoulder, I'm thinking I need to to sell the S880 and try to find a reasonably priced S991, SWO10, Yamaha 82zr or Custom. (Yes, I'm partial to Japanese horns and engineering.) Before I do sell it I was wanting to solicit suggestions about possibly sending the horn to a more reputable horn tech for an overhaul. The problem with doing that is that I don't think I would be able to get a return on that investment if the overhaul doesn't really improve the horn's performance.

What do you guys think?

 

[LostConn]

Full overhauls are expensive, and you'll never recover the cost when you sell the horn. If it's playable, just sell it as playable. The buyer can invest more on tech work as desired.

There's no shame in trying out a sax and deciding that it's not quite what you want.

 

[Dr G]

+1 to reselling if it really doesn’t work for you. An overhaul is a good idea only if you want to keep it. I went through a similar thing a few years ago. I accumulated a bunch o’ tenors, determined which I liked best, then had it overhauled and sold the rest. That’s perhaps the best situation one could imagine - assuming you have enough money that briefing owning an inventory of horns doesn’t compromise you.

On the other hand, for many people, the only time you are going notice the nuances between horns is when you play them side by side. If you owned only either one of those sops, you should be in a happy place. Recognize also that the mouthpieces that you favor on the 901 might not be the best match for the 880 - but we’re looking a niggling lil’ details there.

Heck, you might not really NEED any sops. :shock: :twisted:

Be well.

 

[Tranechaser]

Let me know when you sell the S901

 

[JoAnnPeeler]

Let me know when you sell the S901

As of right now I'm thinking about selling the 880 and keeping the 901 which is the better player. But you are right, if I can find a curved neck soprano that I like I'll be selling the 901.

 

[1saxman]

Sell the S880 as it is and continue to enjoy your other one or get something new with the curved neck option. The strap really makes a difference and the curved neck makes it practical - plus it usually plays with a smoother tone than the straight neck. plus, the removable neck allows easier cleaning and the case is shorter.

 

[skeller047]

Before you sell the 880, check the neck fit on the curved neck and make sure it's sealing. Put some teflon tape (plumber's tape) around the tenon and see if that fixes the response. I personally think removable necks are a bad idea on soprano because they are so small and it's easy for them to get the tiniest bit leaky.

If the tape fixes it, go to someone who can fit that neck properly. If it DOESN'T fix it, then sell it, and maybe look for a single piece horn with a curved neck (you listed the 82zr as an option).

 

[Reet McVouty]

Unless there's a money issue why not keep both until you've had a chance to experiment with some different mouthpieces on the 880? The reason I say this is because it's hard to replace the incumbent. You're already used to the sound and ergos of the 901, and you've already worked through the mouthpiece selection process for it. The 880 is a different beast and would require some time and effort. Unless you are totally turned off to it, then I guess it would need to go.

I have two sopranos, a YSS-82ZR one piece curved silver plate and a Selmer La Voix with both curved and straight detachable necks. I use my Morgan 7J with both of them with different results. The Yamaha being more mellow and focused while the Selmer is brighter and has more punch. It's nice to have a larger palette to chose from.

 

[Dr G]

Unless there's a money issue why not keep both until you've had a chance to experiment with some different mouthpieces on the 880? The reason I say this is because it's hard to replace the incumbent. You're already used to the sound and ergos of the 901, and you've already worked through the mouthpiece selection process for it. The 880 is a different beast and would require some time and effort. Unless you are totally turned off to it, then I guess it would need to go.

I have two sopranos, a YSS-82ZR one piece curved silver plate and a Selmer La Voix with both curved and straight detachable necks. I use my Morgan 7J with both of them with different results. The Yamaha being more mellow and focused while the Selmer is brighter and has more punch. It's nice to have a larger palette to chose from.

Could you not do a similar thing with two mouthpieces and either horn?

 

[Reet McVouty]

Could you not do a similar thing with two mouthpieces and either horn?

Yes, I suppose you could. More experimentation. However, the OP was looking for a horn with a curved neck which the 901 does not have. I guess for me having a second (cheaper) horn is also a plus in the fact that I can throw it it the trunk when I go on trips and not worry that much about it.

 

[JoAnnPeeler]

Yes, I suppose you could. More experimentation. However, the OP was looking for a horn with a curved neck which the 901 does not have. I guess for me having a second (cheaper) horn is also a plus in the fact that I can throw it it the trunk when I go on trips and not worry that much about it.

I actually have a third soprano (my first soprano) which is an Antigua Winds 580LQ (a supposed Yany copy with dual necks) but its intonation is really bad in the palm key area. Otherwise it plays really well. Honestly, its response is better than the 880 which confounds me. But I'm using this in sax quartet so intonation is everything when it comes to harmonies. The 901 is perfect for me, but it really limits my practice time before my body starts complaining, even when using a neck strap (which I try to always do.) I've tried manually adjusting the palm key opening by gradually inserting small pieces of electrical tape underneath the corks until the pitch was correct, but it really changes the how these notes speak. Like everything on saxophone, its a compromise, but not one I was willing to live with.

 

[Reet McVouty]

Well, It seems that you've done your due diligence then. I would suggest trying a Yamaha but it's a totally different animal than a Yanagisawa. I just wish I could play my soprano (either one) for more than an hour without my hands hurting. But, it's just part of growing old. I wish you luck with your quest.

 

[LostConn]

The 901 is perfect for me, but it really limits my practice time before my body starts complaining, even when using a neck strap (which I try to always do.)

I just wish I could play my soprano (either one) for more than an hour without my hands hurting. But, it's just part of growing old.

If you guys haven't already tried a curved soprano, you really should. On a 1-5 scale of strain on thumb, wrists, and forearms:

Straight sop, no strap -- 5
Straight sop, straight neck, strap -- 4
Straight sop, curved neck, strap -- 3
Curved sop, strap -- 1

 

[JoAnnPeeler]

If you guys haven't already tried a curved soprano, you really should. On a 1-5 scale of strain on thumb, wrists, and forearms:

Straight sop, no strap -- 5
Straight sop, straight neck, strap -- 4
Straight sop, curved neck, strap -- 3
Curved sop, strap -- 1

I have a question: when I look at a curved soprano, the left hand and right hand stacks seem closer together and more cramped. Is that just an optical illusion? Logic would seem that they would be comparable to a straight soprano. Also, when you hold these horns closer to your body doesn't it cause your hand to be out of alignment with your arm possible leading to RSI risk? Or is there a trick to hold these so that your RH wrist remains relatively straight?

 

[Reet McVouty]

If you guys haven't already tried a curved soprano, you really should. On a 1-5 scale of strain on thumb, wrists, and forearms:

Straight sop, no strap -- 5
Straight sop, straight neck, strap -- 4
Straight sop, curved neck, strap -- 3
Curved sop, strap -- 1

I can see the curved soprano or even curved neck straight soprano alleviating neck pain because they put the neck in a different position. However, I don't think a curved soprano would make any difference to alleviate my hand pain, since I even experience this pain from playing alto, although not as bad. Also, I don't believe there is any difference in hand placement on a curved soprano than on a straight one.

 

[LostConn]

I have a question: when I look at a curved soprano, the left hand and right hand stacks seem closer together and more cramped. Is that just an optical illusion?

Essentially, yes. The tube length has to be the same or the sax won't be in the same key. Maybe what looks "cramped" to you is the upturned bell, which is next to the right-hand stack.

Also, when you hold these horns closer to your body doesn't it cause your hand to be out of alignment with your arm possible leading to RSI risk?

No. No more than on clarinet, or alto sax for that matter.

 

[LostConn]

However, I don't think a curved soprano would make any difference to alleviate my hand pain, since I even experience this pain from playing alto, although not as bad.

"Not as bad" is precisely the point! If an alto, which weighs much MORE than a soprano, actually hurts LESS than a straight sop, just think how a curved sop will feel.

 

[Sigmund451]

I just playnsop for mpc testing at this point. When i first got a strsight sop I sold it. I could not tolerate the feel. I bought a curved sop and found it felt so normal and comfortable. Yes, its little but it doesnt feel especially cramped.

 

[milandro]

I have a question: when I look at a curved soprano, the left hand and right hand stacks seem closer together and more cramped. Is that just an optical illusion? Logic would seem that they would be comparable to a straight soprano. Also, when you hold these horns closer to your body doesn't it cause your hand to be out of alignment with your arm possible leading to RSI risk? Or is there a trick to hold these so that your RH wrist remains relatively straight?

It has to be an optical illusion because the distance between the keys is more or less the same and it is dictated by the same intonation building rules.

What really changes is the impact of the position of your neck and shoulders but, importantly , the wrist position or angle.

Not all curved sopranos have an equally curved neck which in return makes holding them not the same. I suggest you try different curved sopranos. My personal preference and choice for a few years, was a Bauhaus Walstein copy of the Yanagisawa S992 (in bronze too).

This horn , like the Yanagisawa doesn't have two necks because a straight neck would be pointless forcing you to point a curved bell towards you.

Also the curve of the neck is a lot shallower.

I don't find that holding the sax close to your body produced any more stress on the wrists, in fact a lot less, and surely less impact on my shoulders and neck.

 

[Reet McVouty]

"Not as bad" is precisely the point! If an alto, which weighs much MORE than a soprano, actually hurts LESS than a straight sop, just think how a curved sop will feel.

Weight? Weight may factor into a neck problem but I don't see it as a factor for the hands. The tube for the soprano sax is smaller than the alto or tenor causing the hand position to be more closed around the tube. Also, the keys are closer which brings the hands closer together and with both thumbs being more compressed up against the small tube, all this equals hand pain. I don't see that the curved soprano has any different parameters than the straight soprano, or if there is it's very minute.