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Hey! Another A-600 Sighting!

I wonder how they know it is an A600? Mine was verified by the manufacturer because of the serial number, and was stenciled VITO VSP. I don't know if it was physically distinguishable.

Chris
 
what are some of the reasons they would make such a small amount? was there something wrong/bad with them? or did they not sell as well as hoped? I'm sure there are many reasons....maybe just to make it a collector horn!
 
re: how do they know it's an A-600. Answer: I dunno. My French isn't even close to conversational, so I really can't ask. It is possible that the horn is actually stamped "A-600."

The 600 is visually indistinguishable from the 6, as far as I can tell -- not that I've seen a billion A-6 horns, mind you. The serial number range might not even be able to help, unless Yani decided to have a block of serials specifically for the 600 model(s).

re: what are some of the reasons ... Answer: again, I dunno. I know that manufacturers have made minor changes to things and called them different model names (see, for example, this thread). It's even possible that Yani was trying to correct some sort of defect, but tabled the fix because of the 800 Series introduction.
 
what are some of the reasons they would make such a small amount? was there something wrong/bad with them? or did they not sell as well as hoped? I'm sure there are many reasons....maybe just to make it a collector horn!

i did see written today about this very thing....some speculation that as they were so close copy of selmer paris,that selmer paris was gong to sue?
thats what i read anyways....
cheers,philip
 
I did see written today about this very thing, some speculation that as they were so close copy of selmer paris, Selmer was gong to sue? That's what i have read anyways. Cheers, Philip
Just curious Philip, do you have a source for that quote? It rings possibly true to me, but it would be cool to see who might be saying that.
 
Just curious Philip, do you have a source for that quote? It rings possibly true to me, but it would be cool to see who might be saying that.

i am sure i posted an answer to this an hour or 2 ago....

anyways,i found it here..... http://woodwindforum.com/?page_id=57

and this is the passage i was reading and remembered...


There appears to be a fair bit of overlap between the 4 series, 5 series and 6 series horns. I’m still collecting data on all of these horns to further refine the years of production. Some people have questioned why the short run for the 6 series horns. I haven’t been able to verify this to be a fact but some people contend that Selmer sued Yanagisawa over the 6 series horns because they were too much like the Mark VI.


 
I've heard that statement, as well, but I've not found any evidence of that. It's not mentioned in the dozen or so Yani histories I've read, either. Mind you, I've only been doing Yani research for about two years.

I've made the statement on my websites -- and possibly this forum -- that the 880 is probably the best Mark VI clone that Yani made. The 990 and newer are more Super 80 clones. YMMV.
 
i do have a source for that quote....am i allowed to put it in here gandalfe? as you have deleted 2 of my quote posts already.....
cheers,philip
 
i do have a source for that quote....am i allowed to put it in here gandalfe? as you have deleted 2 of my quote posts already.....
cheers,philip
Um. That's more my fault. Well, I can also partially blame you for not reading the FAQ: http://www.woodwindforum.com/forum/index.php?threads/oh-noes-my-post-thread-says-its-being-sent-to-the-moderation-queue.23871/

(i.e. I didn't make the association of "new user" + URL = moderation queue. Sorry 'bout that.)

Anyhow, I'll say, "Look at my last post." I can't verify any threatened lawsuit. I also have heard the oft-repeated rumor that Yanagisawa bought the old Mark VI tooling to build new horns. Again, I can't confirm that. However, my feeling is that if you take both of those comments together, they cancel each other out.
 
no worries mate...these things happen to us all....

about the yanagisawa's though,i don't know enough about the inside truths.....i wonder if yanagisawa would know or want to tell?....

i love all yani's and try to have as many as i can added to my website,but now they are getting very expensive,like most quality saxophones.....

cheers,and have a great day/evening?...philip
 
hmmm very interesting.... thank you for all that info

I've often wondered how different horns can really be, obviously brand by brand there there will be differences in key height and other things, but there can't be THAT much difference sax to sax


this however is NOT what I tell customers when they want to know why a Yamaha is better for their kid. the subtle differences would only confuse a beginner anyway :)
 
I've often wondered how different horns can really be, obviously brand by brand there there will be differences in key height and other things, but there can't be THAT much difference sax to sax
That's an argument with no bottom. As far as the sax, itself, you can only modify the cone so much before it's no longer a saxophone. Then you can try to debate whether the Eppelsheim Tubax is really a saxophone. Or if a Taragato is a wooden saxophone ... or the sax is a metal Taragato.

We could even get into more philosophical questions, like why a PC is better than a Mac, or vice-versa. Or why Pepsi's better than Coke, unless you don't live on the east coast of the US.

I can tell you the differences between horn X and Y. I can also tell you why is a Yamaha 62 better than a 32: because Yamaha says it is (and because it's got more features). Is it worth the difference in price? I think that's a better question. I think there are extremely few folks in the world that can say, "Money is absolutely no object."
 
Dunno, dude. It's not in the moderation queue.

If you have further posting problems, just e-mail or PM me or one of the other admins. No need to clog up a thread.
 
hmmm very interesting.... thank you for all that info

I've often wondered how different horns can really be, obviously brand by brand there there will be differences in key height and other things, but there can't be THAT much difference sax to sax


this however is NOT what I tell customers when they want to know why a Yamaha is better for their kid. the subtle differences would only confuse a beginner anyway :)
You'd be surprised.
The size and taper of the bore, the size and location of toneholes. Plus keywork, materials, thicknesses, quality of design, etc

I was surprised a long time ago when I saw at Ferrees Tools when I saw a Selmer mk VI and a mk VII bow - I have a picture somewhere. The toneholes were totally different. At some point I started measuring some sax toneholes. Each manufacturer has their specific design in relation to how projection is affected, internal bore pressure, etc. They're just different.

I haven't measured saxes in a long time though but if you pay more attention to the specific details they're there. Just pick a horn and watch the evolution and (if you have them in hand) compare them and figure out the evolution. For Yamaha, what's the difference between a model 61 and 62, 62II, 875. Z ? From back in the day Yamaha stated that they improved intonation from 61 to 62 (by tonehole placement) but if you've had them in hand there were other differences too just from as simple as the neck screw.

I was just checking over a Keilwerth ST-90. They took shortcuts in keywork design to keep costs down. Due to that, some keys would twist the rod and the rod would bend, just from normal use, this was the high E key but the shortcus were every where. On higher end JK the key has a stop of it, which prevents over torqueing, and the higher quality is every where.

I did compile a long list of clarinet toneholes, their diameter, shape and location. The nuances of each clarinet started to make more sense.
 
hmmm very interesting.... thank you for all that info

I've often wondered how different horns can really be, obviously brand by brand there there will be differences in key height and other things, but there can't be THAT much difference sax to sax. This however is NOT what I tell customers when they want to know why a Yamaha is better for their kid. the subtle differences would only confuse a beginner anyway :)
I like to point out the differences between a Selmer Ref 54 and Ref 36 (numbers indicating the year model that was copied and improved.) My wife has a 54 and I have a 36 tenor. Every teacher and friend who have played the two prefers the 36, bigger sound. The ergos are the same on each. YMMV, but saxes can be *very* different from maker to maker and even model to model.
 
I was just checking over a Keilwerth ST-90.
The ST90 was made in Taiwan, IIRC. The EX, except for the original ones 20+ years ago is/was made by Amati. Trivia!

One thing that some folks also fail to note is that one company's top professional model may be of more or less quality than another company's top professional model.
 
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