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Discussion Starter #1
I was wondering what difference people notice between these two models, the 32 being ABS with metal head, and the 62 being all wood.

I haven't tried the Yamahas side by side, but recently tried a few piccolos at a flute fair including a plastic Sonare and various wooden models. I noticed the Sonare did not have quite the same quality of sound compared to the best wooden models I tried like the Berkhart-Phelan Wave.

So what are the differences you notice between the ypc-32 and 62? Which one do you prefer?
Thanks.
 

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If the Burkhart-Phelan is in your budget, get it and don't look back. The YPC-62 is a nice piccolo - responds easily with good intonation (for a piccolo!) and nice sweet tone. The only two reasons to get a YPC-32 over a 62 that I can think of are (a) it's cheaper and (b) it's more robust - plastic instead of wood - you can play it outside and it won't crack.

The YPC-62 has a very nice sound. But then I don't like metal heads (with a lip plate) on piccolos so I wouldn't get a 32. Metal heads are easier to play but they don't sound as good. They are less sweet with a more shrill penetrating sound. I suspect this is due to the design (shape, cut, geometry) of a head having a lip plate and riser, than the materials but regardless of the reason, that is what I observe. IMO, penetration is one thing that most piccolos already have in spades and the last thing any piccolo needs is a head that exacerbates this natural tendency. That is, unless you enjoy vibrating the skulls of your audience at frequencies that turn their brains turn into jello :dazed:

That said, I think the YPC-32 would be great if you can find a plastic or wood head for it. You can buy plastic piccolo heads for around $100. They are all cylindrical because the bodies are conical, so you don't have to worry about matching head taper for intonation because there isn't any. Maybe you can find one that fits the bore of a YPC-32. Maybe Yamaha makes one - worth checking out.
 

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My experience with the 32 is it has a sweet sound and is not shrill by any means. I found it easy to play with a good level of control....including soft dynamic levels.

Common sense tells me that a more expensive wood piccolo will have a better quality of sound than a student-level instrument like the 32. Never the less, I've been impressed with the quality of the Yamaha "student" instruments I've played. Depending upon the kind of ensembles you perform in and the gigs you do, it might make sense to have some Yamaha student instruments in your doubles along with higher quality ones. For example, the Yamaha 221 II bass clarinet is perfectly fine for any big band gig I do. It has a beautiful warm rich sound and is rugged. Whereas, I think a Buffet 1193 would be over-kill for big band playing. So, for me, it's a matter of seeing how high-end I need to go and have it make sense.

Roger
 

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Conventional wisdom is that material makes no difference, that an open chamber headjoint is the template God used when he first invented flutes, and that what matters most is your concept of tone.

Maybe I'm thinking of mouthpiece CW?

Anyway, my daughter has both a 32 and a 62 and is an exceptional player. We are on vacation and she is meeting us later today and I'll see if I can get her to respond.
 

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saxjd said:
Conventional wisdom is that material makes no difference, that an open chamber headjoint is the template God used when he first invented flutes, and that what matters most is your concept of tone.
Agreed. But there is a big difference between the "open chamber head" - by which I assume you mean a hole cut into a tube, versus a head having a riser/chimney and lip plate. Shape and cut is well known to make a big difference in tone and response. IME, the open chamber head on a piccolo sounds sweeter but takes a bit more skill to play, compared to the more flute-like riser/chimney/lip plate head. I figure the latter is made more for beginners due to its ease of response, and for outdoor marching bands due to its incredibly penetrating sound.
 

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I'm not serious about the "open chamber" & material issue. I couldn't help myself with all the similar discussions about mouthpieces recently.
 

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Discussion Starter #7
The main use for the piccolo is occasional use in a concert band and the odd solo in a jazz combo setting. It may also be used for any future pit band gigs.

The ypc-32 may be just fine for my purposes. I know there are pro pit band players that use them. But with the more expensive wooden models I may never need to think about upgrading.

Saxjd, I'd be interested in what your daughter would have to say about the 62 and 32.

Thanks
 

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MRC01 said:
you can play it outside and it won't crack.
Please comment on that. What is it about "outside" that makes an instrument crack? I have played many outdoor concerts and have never experienced wooden instruments (including clarinets and bassoons) cracking as a consequence.
 

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I wasn't suggesting that wooden piccolos crack the moment sunlight hits them - that brings to mind images of vampires :) But wooden piccolos are susceptible to cracking when exposed to sudden changes in temperature and humidity. For example piccolo makers often recommend warming up the piccolo before playing to ensure that the sudden warmth and humidity from human breath doesn't cause it to crack. No such warning or caution is needed for a plastic piccolo.
 

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I have a 62 Picc, it plays nicely and speaks well in all registers. It is easier to get the top end out with the 62 over the 32. The 32 is an acceptable Picc for most work. The nicest Picc I ever played was an old Haynes model with a silver headjoint. My favourite Picc is my old Rudall Carte Open G# high Pitch Picc, the sound and power of this Piccolo is incredible. It has a silver lined wooden headjoint, open holes on the Low E and D. The only drama is that you cant use it anywhere because it is high pitch so it is an at home only use model. Putting this to one side, tonally the RC is resonant, fat and rich in all registers and more like a small flute than a shrieking stick.
 
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