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There were a few more but I have forgotten what they were. Just for info, I do know that mother of pearl was dropped from the key touches and the neck example I mention was also an actual change. If it had remained the Top offering It would be more expensive than it is. change the bore dimension in the neck in the belief it would help intonation.īottom line is, the MKII was never treated as the top of the range instrument where as the MKI was top of the range. To me that means they made cut backs in areas and may also have decided for example to. I make no claims this is a worse performer, equal performer or better performer than the MKI in general.īut I do have it straight from a Yamaha Tech accompanying George Shelby at a workshop, that the changes were made to keep the 62 both affordable and saw improvement opportunity as well. Surely no one thinks that its presence has an effect :shocked: I don't believe the silk screen it self was ever a very popular cosmetic with sax players so it is used just to identify that period. I also believe there was a short period at the end of that period where 'a face lift' was applied before moving onto the MKII version. The silk screen 'purple' label denotes the period when yamaha saxes were made in a particular way to a particular spec. The essence of all this was summed up in post 3 by Griff. also compare purp and non-purp 32s and student models. There`s enough silliness about selmers without Yamahas getting out of control too, it`d be great if Steve Howard or someone else not donning rose tinted specs could compare all the 62s - Purple, Mk1,2,III once and for all.
#Yamaha yts 62 iii review pro
If Yamaha can`t make Pro saxes as good as the Purple era horns then they may as well give up, Yam aren`t known for doing things down to a price at the high end, in fact the Mk3 developments in particular have cost them money (the MK2 and MK1 seem to be much the same from the tenon down) and it got to a state of insanity when someone said that the older student horns were better than any of the current Pro models (Yamaha must be really dumb if they can`t make a Pro horn better than an 80s student one !), I`ve played 23s and they`re really good but the 61/62 regardless of vintage or logo colour is in a different league for handling and open-ness - maybe these people just don`t like the modern sound (they`d hate a Yani). this is why I started this thread, the purple logo fever is getting out of hand. Īgreed, it looks cheap and IS cheap as it`s just paint under the laquer instead of a stamp in the brass or engraving. It`d be good to de-mythify the purple logo once and for all as either truth or bunkum, Pro horns only or the 32s and students as well. I know the subject has come up loads of times but usually along with the grips of Purple fever or Purple Hatred from the posters involved. ġ:- If any of the better action business is true does it onlu relate to the 61 and 62 modelsĢ:- there are 21, 23 and 32 Purple logos horns too, does "Purpleness" apply to those ? if so Howģ:- if you got SH to setup a 62 Purp and a 62 Mk1 would they handle the same, sound the same ?Ĥ:- is all this down to Specific horns ? (comparing a cherrypicked MK3 to a Purple with same neck, would the Mk3 win)Įtc etc.
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Steve Howard mentions the purple logo as a means of cheaper labelling. there`s talk about them being setup alongside Pro players instead of in the workshop (but a trip to SH would equalize that) and even about having better quality action. I was thinking it was time to de-mythify the Yamaha Purple Logo in one thread.