The current WO range of saxophones represents the pinnacle of saxophone design – this range, launched around 2014, sought to improve key ergonomics even further, and create more focus, core and depth within the sound.

To achieve this goal new brass material was sourced and the bore geometry was altered slightly. Having personally played on an A901 model for many years I was incredibly impressed by this further optimising of the sound and the ergonomics.  For me, the over-riding quality of tone that comes from all Yanagisawa saxophones is one of richness and smoothness.

They are also incredibly free-blowing, for me more so than any other professional brand.  I believe that it is the combination of these two things that gives Yanagisawa that instant-appeal to most people who try them out!

When a saxophone responds to the breath with an immediate richness of tone and when you instantly feel a precision in key action it’s very natural to gravitate towards this brand over and above others that have more of a ‘resistance’ element to the breath response (e.g. Selmer Paris). 

One final point I’d like to make regarding the perception of the brand – it’s very natural to assume that these are production-line instruments due to their consistency of appearance, which is smooth and blemish-free.  However, the opposite is true – there is a strong element of hand crafting with each saxophone, and this very much ties in with a cultural element of Japanese society, the pride and dedication in craftsmanship that is passed through the generations.  They don’t settle for second-best!

The saxes that comprise the bread and butter of the Yanagisawa range are evenly split between brass, as a base material, and bronze. There is a general belief that bronze offers a warmer sound. I do generally agree with this, but I would go one step further and say that bronze offers a wider spectrum of tonal colour; when playing quietly this warmth is obvious, but as you put more and more air through the sax, the sound can open up and offer more projection and ‘zing’.  With brass, the sound is more even and homogenous throughout the dynamic range. 

The models are as follows:
Brass = WO1 and WO10
Bronze = WO2 and WO20

The solid silver (925) Yanagisawas are amongst some of the most beautiful saxophones on the planet. The material itself is dense and heavy, while being slightly softer than brass or bronze.  Visually it is stunning as it is rich and gleaming in appearance. 

However, the aesthetics move to another level when we start to take in the unique hand engravings which are carried out by a single Master Engraver – a very specialised skill that takes years to develop. The detail of the engravings increases in complexity as you move towards the top models – the WO37.  And here you’re left in awe at the beauty that is on display.

However, we need to remember that these are saxophones that have a practical purpose – so what of the sound?  Well in my view, solid silver offers an incredible spectrum of tonal colour. In a similar way to the wider tonal palette on offer with Bronze, I feel that solid silver goes even further; the quieter dynamics have soft lustre and feathery depth, then as you push more air through the saxophone the sound opens up and eventually there is a brilliance and sheen right at the top of the dynamic range.  At the core of the sound overall there is an extra richness that goes beyond the possibilities of the brass and bronze models.  Now of course, for alto and tenor there 4 models, so how do we differentiate these? 

WO30 = solid silver neck and body, brass bow and bell

WO32 = solid silver neck and bell, bronze body

WO33 = solid silver neck and bell, brass body

WO37 = fully solid silver

There are subtle differences in the way they all perform, but essentially the inclusion of sections of bronze or brass have the effect of ‘taming’ the richness of the solid silver to a degree.  Of course, we max out when it comes to tonal colour and richness on the WO37 models!

And a final word on these ‘alternative’ finishes.  All the standard models – PRO and ELITE – are available in unlacquered and silver-plated finishes.  The reason for going for an unlacquered finish would be to have a more ‘open’ sound with a greater release of high frequencies; this is due to the main material being able to fully vibrate without the restriction of a protective lacquer somewhat smothering the vibrations.  That said, the differences are extremely subtle, and some players may be hard-pressed to feel any change as they A/B both versions.

 A silver-plated model will have a layer of extra zing and projection in the sound, but again the difference is relatively subtle. I believe that the more advanced the player is, the more adept he or she will be at picking out the nuances that separate these finishes. 

Jim Cheek