Yamaha Artist models 9335IICHS and 9335IINY

[agroovin48]

I have enjoyed reading many of the discussions about the merits and characteristics of many popular trumpets by people who have played them and are familiar with them. Many of the opinions about the same instruments vary widely which really proves that one size does not fit all.

I have been looking, but can not find, a recent in depth discussion of playing impressions and just what makes the two top Yamaha trumpets special and unique to themselves. The most recent in depth look that I could find is an article by Chase Sanborn from 2010. Both the Chicago and New York horns have been updated since then, but the only thing I can find are the advertising videos from Yamaha and some general talk about the quality of the instrument.

Can anyone who has played the two instruments, 9335IICHS and 9335IINY, chime in on their impressions about sound, core, slotting, resistance, and all the other things that make a trumpet either a joy to play or a chore. IN short, what is the skinny on these two animals?
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agroovin48

Alan Cahill

1933 Conn Victor 80A Cornet
King Legend 2070
Adams A1V2

[Dayton]

I played the NY II and the Chicago II at ITG a few years ago. I thought that the NY II was a terrific horn. It was the only Yamaha trumpet I have played that I thought was every bit as good as a "good" Bach Strad 18037. The sound is compact with a nice ring to it; warm in the low and middle registers, gaining brilliance in the upper register. The sound holds together well at the dynamic extremes. Valves and slides were fast and smooth. Crazy expensive: $4,600!

I didn't spend much time with the Chicago II as I didn't like the blow or the brace placement (my finger kept hitting it when I extended the third valve slide).

[onlyson]

At separate times I owned both the New York and Chicago models. They were both Generation I models. I agree with Dayton that the New York is like a very good Bach 37. I eventually moved on from both horns and found an early Elkhart Bach 25 that I love.

However, I did have the opportunity to spend some time on the Generation II Chicago Bb and a New York C. The New York C had a fantastic sound, full of great overtones. If the bell on the NY Bb is the same it would be wonderful. The Chicago Bb also was like no horn I had ever played, and that includes it's Gen. I predecessor. The sound was glorious and the slotting was other wordly. Like playing on rails. The experience haunts me and if it wasn't for the fact that these don't turn up used very often and they're so damn expensive, I'd probably have one today. It's on my bucket list of horns to explore again though.
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Del Quadro Grizzly
Yamaha 9335CH
1951 Martin Committee Deluxe #3 Bore
ACB Coppernicus
Couesnon Flugel
Carol Pocket Trumpet

[agroovin48]

i would like to thank the people who have responded to this inquiry. I am also disappointed that it is of so little interest that there has only been two responses so far. I guess these trumpets are not very well received, in general, as nobody has any real information on them, or they are used in such a small circle that the vast majority of trumpet players have no knowledge of them. I thought it might be a worthy topic of discussion because Yamaha is selling them as a premier trumpet, but nobody seems to have much of an opinion.

For those who have tried them and these others in Yamaha's lineup, how do they compare to the Xeno 8335II, the 8335LA, the 8310Z, and the 8340EM?
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agroovin48

Alan Cahill

1933 Conn Victor 80A Cornet
King Legend 2070
Adams A1V2

[Dayton]

Of the other four Yamaha horns you mentioned the only one I've played recently enough to be able to compare to the 9335IIs is the 8335II.

The 9335NYII was, for me, superior in every way compared to the 8335II. The 9335NYII offered a fuller sound in the lower and middle registers and more brilliance in th upper register. It also felt more responsive to me, and even the valves seemed faster/smoother.

I don't say this to trash the 8335II, which is one of the most popular all-around horns on the market for a reason. But if you are willing to pay another $2,000 or so (!) over the price of the 8335II you will get a better horn.

[agroovin48]

Thank you, Dayton, your input is greatly appreciated.

I neglected to state that I do have a 8310Z and a 8335II RGS so I am aware of how these two trumpets relate to each other. The 8335II RGS, with a sweet, solid sound, with great slotting and intonation, and the 8310Z with a solid more brilliant, surprisingly big sound with a lot of core, super nimble, and easy to play.
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agroovin48

Alan Cahill

1933 Conn Victor 80A Cornet
King Legend 2070
Adams A1V2

[jazzvuu]

I would not say that these horns are not popular but of a fact that they are on the high end of pricing for new trumpets and most stores will not keep them in stock to do side by side comparisons. Easiest place to do side by side playing of these horns are at conventions. I play mostly Yamaha horns (Flugelhorn, cornet, Bb, C, Eb/D, and rotary picc). As saw before in a post, the horns share many similar built parts between the Chicago and the New York. I think someone quote Malone or Tanabe as saying he can make a Chicago play like a New York and vice versa with a few tweaks of the horn.

When first got on to the Yamaha Artist wagon, I played and love the Gen 1 C Chicago (it just play so much easier than the Bach 229 25H i had at the time). Now of the gen 2, I actually like the New York more than the gen 2 Chicago and my mine but I don't make enough money in playing trumpet to warrant the switch as the gen 1 Chicago is still more horn than player to me.

I used to play Schilke Bb (B5L to a S32L) and now play a Yamaha Vizzutti gen 2. It is built and tweak from the NY model. I tried it at ITG last year next to the Chicago gen 2 Bb. I would of liked to try the New York but they were all sold by the time I got there on the last two days of ITG. They both play great but I favor the Vizzutti as the sound was rounder and had more brillance. The Chicago was broader and darker for me and i was trying to get away from that as I feel I lack sizzle in my sound at times. My understand is the Chicago slots tighter than the New York and the Vizzutti sits in between the two.

As for the 8335 versus the artist series, there are some things that trickle down from the R and D but there are stiff big differences. The Malone pipes are amazing to me. The bells are gradually thin out as it gets to the bell flare which makes the thing so resonant. The flat french bead helps with projection. There are so many little things that goes into the Artist series to make them the easy things they are to play (and in tune). Some people complain about the Yamaha stereotype sound but I always gotten compliments on my sound (Except from my bach brand loyal band director coworker who teases me about getting a real horn).

My Schilkes had great feeling valves but my Yamaha has never less me down in that regard even thought they are not as buttery in feel as the Schilkes.

I also know there are other great horns out there for the or less than the price of the artist. Blackburn, Getzen, Adams, Bach, Thein, Schilke, Shires, Edwards, Eclipse, Schagerl, Carol Brass, etc. And I tried some great horns but I am happy with my Yamahas.