Beruflich Dokumente
Kultur Dokumente
Enlarge or reduce the picture by clicking on the plus or minis icon in the
top lower tool bar.
You can also grab the left hand side of the document and pull it over to the
left.
To print, right click on the document and select print or select the print
icon in the top tool bar.
When printing, make sure you select CURRENT PAGE in the print inset.
Otherwise, you may print all 100+ pages.
Wes Stevens
National Warranty Service Manager
Yamaha Band and Orchestral Division
(616) 940-4917
wstevens@yamaha.com
Piccolo pad part numbers
Part Number Diameter Pads per Instr.
K0141531 7.7 mm 6
K0141521 8.7 mm 5
K0141511 10.2 mm 4
K0190003 Pad Set 15
Situation: Tenon has come loose from body or tenon is loose and spinning but still connected to body or
tenon has come off body and is still inside head joint.
Picture #1 shows the two tenon configurations. Both are held on by an epoxy type glue
Note: If tenon is still inside head joint use a piccolo head joint expander and grab the inside of the tenon
and work it out of the head joint.
To remove the tenon, place the HJ expander in a vise (picture #2) and heat the end (don,t get it too
hot and ruin your expander). Place the tenon over the expander (picture #3) almost up to the plastic
or wood on the inside. Tighten the expander just enough to grab the tenon (this will transfer the heat to
the tenon and soften the glue enough to allow the tenon to be removed).
Hold the body (also picture #3) and carefully move the body slightly from side to side and away from
the expander. If the tenon won’t budge, heat the expander and repeat the process.
Do not use a screwing motion when removing the tenon. There is a nib (picture #4) on the inside of
the wood piccolo metal tenon receiver that corresponds with a notch on the body tenon (picture #5).
This could damage the notch.
After removal, clean the old glue from both surfaces and use two part epoxy glue to reinstall. Make sure
to line the nib up with the notch on the wood piccolos. On the plastic piccolos the head joint alignment
arrow should line up with the middle of YAMAHA.
#1
#2 #3
#4 #5
SERVICE NEWS
Category: Flute
Model: YFL-9xxx
Date
Effective: Jan-91
Model: YFL-3xx,4xx,5xx,6xx,8xx
The head joint, body and foot joint using sterling silver will
be identified by the number 925.
Part: Pads
Plastic Paper
pad base ring
backing
SERVICE NEWS
Category: Flute
Date Issued:
Description: Eliminate one knock pin from lower F# key and add
one to upper Bb lever. Also change the position of
center knock pin on inline upper.
Service News
GOLD SPRINGS FOR PRO FLUTES
YFL-681H YFL-881H
Spring # Size Key(s) Part # Part #
#1 0.6 X 23.5mm All stacks (including foot) L4342211 L5342211
except F#, E, D, and Eb
#2 0.8 X 21.6mm Low Eb L4342221 L5342221
#3 0.6 X 20.5mm Low D L4342231 L5342231
#5 0.6 X 21.5mm Low E L4342251 L5342251
#6 0.6 X 30.0mm F# L4342261 L5342261
#7 0.8 X 20.5mm D# trill L4342271 L5342271
#12 0.8 X 23.5mm G# L4142321 L5142321
#13 0.8 X 26.0mm D trill L4142331 L5142331
SERVICE NEWS
Category: Flute
Date Issued:
Model: YFL-4xx
Model: YFL-2xx,3xx
Part: Pads
inside diameter
inside diameter
8.9mm
9.2mm
SERVICE NEWS
Category: Flute
Model: YFL-2XX,3XX,4XX
Part: C Foot joint, key arm profile, key post profile changes
Description:
SERVICE NEWS
Category: Flute
Part: Pads
Model: YFL-221N,221,261,281
YFL-321,361,361H,381,381H
YFL-421,461,461H,481,481H
Description:
Old Style post
Openings* Tensions
Student Models Pro Models All Models**
YFL-2xx – 4xx YFL-5xx – 9xx
Low B 3.35 3.35 10
C 3.35 3.35 10
C# 3.35 3.35 10
D# 3.35 3.35 35
D 3.15 3.15 15
E 3.15 3.15 15
F 3.15 3.15 15
F# 3.15 3.15 15
G# 3.45 2.90 25
G lower pad 3.10 3.10 -
G upper pad 3.10 3.10 15
A 3.10 3.10 15
Bb 3.10 3.10 15
B 2.75 2.60 30***
C 2.55 2.50 15
D trill 2.40 2.40 50
D# trill 2.40 2.40 50
Description: Problem:
Adjustment screws keep working loose.
Solution:
Unscrew the adjustment screw until it is almost all the
way out. Squeeze the slot in the adjustment screw
shelf with a smooth, flat nose pliers.
Screw the adjustment screw back into position
.
Service News
Category: Solid Silver Body Flutes.
Description: The posts are silver soldered to the ribs and the ribs
are soft soldered to the solid silver body.
The lip plate is silver soldered to the head joint tube.
The solid head joint, body and foot joint are
silver plated.
A common mistake repair techs make is to buff
through the silver plating when repairing a scratch or
dent, exposing the different color solid silver.
1
SERVICE NEWS
Category: Flute
Model: YFL-584H,YFL-684H
3.4
2.7
0.4
0.4
D 11.2
D 11.5
Part numbers
Student: old - L1944500 new - L1944501
Pro: old - L4144501 new - L8744500
SERVICE NEWS
Category: Flute
Model: YFL-2XX-4XX
221 754559
Starting Serial 261 758884
Numbers 281 758985
461H 760173
Description:
Description:
<Current>
Pad Pad screw Current Pad washer
Pad washer function
1. Pad Stability
2. Prevent Pad & Shim Turning
Stress
Shim
New Pad washer
<New>
Less Stress
(Softer Pad)
C - 4.9 6.3
C# - 4.9 6.3
D# 2.0 4.9 6.3
D 1.9 4.7 4.3
E 1.9 4.7 4.3
F 1.9 4.7 4.3
F# 1.9 4.7 4.3
G# 1.9 4.1 4.8
G lower pad 1.9 4.4 4.3
G upper pad 1.9 4.4 4.3
A 1.9 4.7 4.3
Bb 1.9 4.7 4.3
B 1.6 (both) 3.9 4.5
C 1.8 3.6 3.9
D trill 2.0 3.3 3.1
D# trill 2.0 3.3 3.1
Tone YFG-
hole no. YFG-811 812,821
1 5.2 5.2
2 4.7 4.8
3 4.8 4.8
4 5.0 5.2
5 4.5 4.2
33 is whisper
6 4.7 4.8
key on bocal
7 4.2 4.2
8 3.0 3.0
10 3.0 3.0
11 2.0 2.0
12 4.2 4.2
14 4.2 4.2
15 4.2 4.2
19 3.2 3.2
21 3.0 3.0
22 2.5 2.5
23 3.0 3.0
28 2.5 2.5
29 2.5 2.5
30 2.5 2.5
31 2.5 2.5
32 2.5 2.5
33 4.0 4.0
Bassoon
Model Number Pad Set Part Number
YFG-812, 821 O9990001
Bassoon Pad Sizes
Model: YCL-20,34II
New keys can be used on the old style upper joints if the hinge
tube is cut
by .8mm. New Length
Service News
Category: Clarinet
Model: Ycl-20,34II
Category: Clarinet
Model: YCL-34,52
Category: Clarinet
Description:
quantity
used on Key # which uses it Outer
Part one (counting from the Diameter
Name Part Number instrument bottom of horn) (mm) Memo
Date
Effective: Aug. 1992 *(1)
Nov. 1992 *(2)
Model: YCL-20,34,52
Part: PADS
*(1) Will use thinner, harder felt pad in E/B and F/C
Description: keys
*(2) Will use thinner, harder felt pad in all keys.
Category: Clarinet
Date
Effective: Nov. 91
Category: Clarinet
Model: YCL-20
Pivot
Screw/Part
Part: #M0141430
New part
number stays
the same
New Specification:
Diameter 2.3mm
Service News
Category: Clarinet
Date Issued:
Valentino Pads
For
YCL-250A
Yamaha Part # Description Diameter Thickness Number Fit
(mm) (mm) used method
VPY-1010 Clarinet Pad#1 16.0 3.3 3 Glue
VPY-1020 Clarinet Pad #2 14.5 3.3 1 Glue
VPY-1030 Clarinet Pad #3 11.5 3.2 2 Press fit
VPY-1040 Clarinet Pad #4 9.0 3.1 9 Press fit
VPY-1050 Clarinet Pad #5 8.5 3.1 1 Press fit
VPY-1060 Clarinet Pad #6 8.7 2.9 1 Glue
VPY-CL250SET Clarinet Pad Set 1 complete set 17
Harmony Clarinet Pad Openings
YCL-
Key YCL-631 YCL-621,622 Key YCL-220 YCL-230 280
Lower Joint Lower Joint
Low C / 6 low Eb 5.1 - 6.5 4.3 - 5.1
Low Db / 8.7 -11 low E 5.1 - 6.5 4.3 - 5.1
Low D / 7 - 8.2 low F# depends on F/C depends on F/C
Eb 5.5 - 6.5 6 - 7.5 F/C 4.8 - 6.2 4.0 - 4.7 same
E/B 5.0 - 5.5 4.8 - 5.5 G#/D# 4 3.8 as
F#/C# / 4.8 G/D 5.0 - 8.0 4.8 - 5.8
Lower Pad F-C 4.0 - 4.5 3.7 - 4.3 A/E 4.3 - 5.3 3.7 pro
Upper Pad F-C / 3.7 - 4.3 Bb/F 4.3 - 5.3 3.5
Ab-Eb 2.2 - 2.8 4 B/F# 4.3 - 5.3 3 model
G/D 4.5 - 5.0 10.0-11.0 aux. B/F# 3.1 - 4.1 2.4 - 3.2
A/E 4 5.0-6.0
Bb/F 3.8 depends on A/E Upper Joint
Upper Pad Bb/F 3 depends on A/E C#/G# 3.5 3
Aux. B/F# / 3.7 - 5.2 C/G 4.5 4
Alt. F/C Lever / / D/A depends on C/G 3.3 - 3.7
Upper Joint 1+1 Eb/Bb depends on C/G depends on C/G same
C#/G# 3 4.3 aux. Eb/Bb 3.2 2.9
C/G 3.8 6.2 E/B 3.4 2.9
as
D/A 3.5 - 3.7 depends on C/G F# depends on E/B depends on E/B
depends on
1+1 Eb/Bb C/G depends on C/G Thumb F 3.5 - 4.5 3.4 - 3.8 pro
Aux. Eb/Bb 2.9 3.2 Throat G# 5 3.5 - 4.0
E/B 3.4 depends on C/G A 4.3 3
F# 2.8 - 3.0 depends on C/G side Eb/Bb 2.7- 3.6 2.3 model
Thumb F 3.4 - 3.8 4.2 side F# 2.7- 3.6 1.8 - 2.5
Throat G# 2.8 - 3.5 6.0-7.0 trill Bb 2.7- 3.6 2.2 - 3.0
A 2.5 5 trill C 2.3 -3.8 2.2 - 3.0
Side Eb/Bb 2.6 3.6 main Bb 3 2.2
Side F# 2.4 - 3.0 3.6 register 2.5 2.5
Bb Trill 2.2 - 3.0 3.4
C Trill 2.2 - 3.0 4
Lower Register 2.2 3
Neck Register - 4
*in mm; seat to tone hole edge (+/- 0.3, unless range given)
Old Clarinet Identification
Measurements of lower joint
Tenon O.S. Tenon
Model Overall Length Tenon Dia Tip
YCL-23N 256mm 22mm 26.5mm 6mm
YCL-24 253mm 20mm 31.4mm 4.5mm
YCL-24II 251mm 20mm 26.5mm 5mm
YCL-26 256mm 20mm 26.5mm 5.5mm
YCL-32 254.4mm 22mm 27.1mm 6mm
Lower Joint
Tenon outside
diameter
Tenon
Overall
length
Converting Saxophone Table Keys to the Tilting Mechanism
PART NUMBER
All
Description Qty Models YAS-62 YTS-62 YBS-62 YAS-52 YTS-52 YBS-52
Bb hinge
rod 1 N2441650
C# ball
roller 1 N2448610
C#, B
regular
rollers 2 N2448530
C#, B roller
rods 2 N2441670
Bb lever
assembly 1 N1430470
(OR)
Bb lever 1 N2430310
Rod 1 N2441650
Roller 1 N3343660
B/Bb (10 felts
adjustment N1341881 per card)
felt 1
(100X100
N2441071 X1.5 mm
C# lever felt 1 cloth sheet)
Bb Key 1 N1630361 N3430360 N5130362 N2230360 N4230360 N6530360
B key 1 N1630371 N3430370 N5130372 N2230370 N4230370 N6530370
C# lever 1 N1630391 N3430390 N5130392 N2230390 N4230390 N6530390
Intermediate/Professional Alto and Tenor Octave mechanism Repair
Problem: the octave contact lever that activates the neck key has been hit or bent out, causing
the lower octave mechanism to be out of adjustment.
Incorrect alignment (picture #1) octave shift bar or rocker arm is not parallel to body and thumb lever fork
is out of the connection bar. The thumb spatula is too high (picture #2).
Repair
Place a wedge (pic #3 & #4 can be half a clothespin) between the G key foot and the lower octave key.
Position a flat nose smoothjaw plier over the lower octave key pivot ball (pic #4 & #5). Using your left
thumb to hold the G foot down and the wedge in place, carefully and slowly, pull the pliers up with your
right hand while the tip of the pliers goes down toward the sax body (pic #4). This action moves the octave
mechanism back into the proper position. (Keep plier tips away from sax body!)
Move the mechanism a very small amount, checking the action for binding and positioning of the rocker
arm until everything is positioned correctly. If the bending causes a bind, use the same procedure, but
move the pliers the opposite way a small amount. The correct octave key opening has a 2-3 mm pad
opening. We suggest practicing this adjustment on a “non-customer” instrument first. Picture #6 shows
correct alignment.
Custom Sax Pad Identification
SIZE (MM) PART YSS-675 YSS-875 YAS-875 YTS-875
7.8 N9043380 3
7.8 N9243380 3
9 N9043390 1
9 N2452590 1 2 2
10 N9043400 5
10 N9243400 5
16.2 N9043460 3
16.2 N2452660 3
18.2 N9043480 3
18.2 N9443481 3
18.2 N2452680 5 5
20.2 N4652380 1
22.2 N9043520 3
22.2 NS243520 3
24.3 N2452740 1
26.3 N9044160 3
26.3 N2452760 3 4
28.3 N4652370 2
30.3 N9044200 1
30.3 N2452800 1 3 1
32.3 N2452820 1
32.3 N4652360 1
34.4 N9044240 2
34.4 N2452840 2 1 2
36.4 N2452860 2
38.4 N9044280 2
38.4 N2452880 2 1 2
40.4 N2452900 1
40.4 N2452900 1(40A)
40.4 N4652340 2(40B)
42.4 N4652330 1
44.5 N2452940 1 2
48.5 N2452980 2 1
52.5 N4652300 2
PAD SET N9090000 N9290000 N2490000 N4890000
PISONI PAD IDENTIFICATION
Yamaha saxes made in USA
SIZE PART PAD # resonator YAS-23A YAS-52A, 475 YTS-23A YTS-52A, 475
PPY-1240 24 LOW/UP OCT KEY LOW/UP OCT KEY LOW/UP OCT KEY LOW/UP OCT KEY
14.3 PPY-1220 22 C (before Mar '00)
16.2 PPY-1210 21 C C (after Mar '00)
18.2 PPY 1200 20 HIGH D,Eb,E,F HIGH D,Eb,E,F,F# HIGH C,Eb,E,F HIGHC,Eb,E,F,F#
20.24 PPY- 1190 19
24.4 PPY-1170A 17A 11.0mm A, B, side Bb, C A,BbBis,B,sideBb,C
24.4 PPY-1170B 17B 7.0 mm Bb Bis
27.6 PPY-1150 15 Bb Bis,Side Bb, C Bb BIS, SIDE Bb, C
30.3 PPY-1140 14 SIDE F#, F#, G, G# SIDE F#, F#. G. G# A A
33.5 PPY-1120 12B F F B B
34.4 PPY-1110 11 G# G#
36.4 PPY-1100 10B E E
38.3 PPY-1090 9 C C F#, G, side F# F#, G, side F#
40.4 PPY-1080A 8A 23.0 MM Eb, C# E E
40.4 PPY-1080B 8B 27.5 MM Eb, C# Eb, C# Eb, C#
42.4 PPY-1070 7B D D
48.1 PPY-1050 5 Bb Bb D D
52.1 PPY-1040B 4B Bb, B Bb,B
46.1 PPY-1560 56 Low B
PPY-AS23SET Pad Set Pad Set
PPY-TS23SET Pad Set Pad Set
Saxophone Pad Resonator Sizes
Alto Custom
mm. Quantity
8 5
11 3
12 1
14 2
18.5 3
21 1
24 4
30 3
Tenor Custom
mm. Quantity
8 5
11 1
14 3
18 1
21 2
24 3
27 3
30 3
34 2
Saxophone Pad Identification
Yamaha assembles the following saxophones in Grand Rapids, Michigan.
YAS-23A, YAS-52A, YTS-23A, YTS-52A
Pisoni pads, made specifically for Yamaha, are installed in these saxes.
The serial number for these saxes and all other instruments made in Grand
Rapids end with the letter "A" (America).
Example=123456A
These same model saxophones, plus all other model saxes, are assembled in our
factory in Japan.
The serial numbers on these instruments do not have a letter at the end.
Example=123456
YAMAHA pads are installed on these saxophones.
In order to account for the differences in the Pisoni and YAMAHA saxophone
pads we suggest using the following identification chart when ordering
replacement pads. Both types are available through our parts department.
* The Pisoni pad list shows specific keys for each model for each pad size.
* The Yamaha pad lists show' total pads per size per model.
* All part numbers are sold as single pads unless specified as a set.
Sax Pad Opening Chart
Tone Hole Key Name YSS-675,875 YSS-62 YAS-875 YAS-52,62 YAS-23 YTS-875 YTS-52,62 YTS-23 YBS-52,62
0 Low A 12.8
1 Low Bb 7.5 6.9 10 8.5 8.5 9.3 9.8 9.8 11.5
2 Low B 8 7.5 10.8 9 9 10.2 10 10 13.2
3 Low C# 7.2 8.4 8.5 10 10 9.7 9 9 10
4 Low C 7.2 7.2 10 10 10 10.6 10.6 10.6 12
5 Eb 5.5 5 8 8 8 7.8 7.8 7.8 9.5
6 D 6.8 7.7 9.3 9.7 9.7 9 9 9 10.2
7 E 6.3 7 8.5 8.8 8.8 8 7.9 7.9 9.5
8 F 6.3 7 8.1 8.4 8.4 8.4 8.4 8.4 9.7
9 F# 5.7 6.2 7.6 8 8 7.5 7.1 7.1 8
10 G# 5.8 7.1 7.5 8 8 7.5 7.1 7.1 8
11 G 6.3 6.1 7 7.5 7.5 8 7 7 8.7
12 A 4.9 4.6 5.9 6.1 6.1 6.3 5.5 5.5 8.2
13 Bb 4.6 4.3 5.4 5.5 5.5 5.9 5 5 7.1
14 B 4.9 4.6 5.6 5.8 5.8 6.3 5.5 5.5 7.7
15 c 4.1 Mid 3.7Hi 3.8 4.8 5 5 4.9 4.3 4.3 6.9
16 High E 3 3 4.5 4.5 4.5 4.5 4.5 4.5 6
17 Side F# 5.6 5.6 6 6 6 5.5 5.5 5.5 6.5
18 Siide Bb 3.1 3.1 4.5 4.6 4.6 5.5 5.5 5.5 6.5
19 Side C 3.1 3.1 4.6 4.7 4.7 5.5 5.5 5.5 6.5
20 High D 3 3 4 4 4 4.5 4.5 4.5 6.2
21 High Eb 3 3 4 4 4 4.5 4.5 4.5 6.2
22 High F 3 3 4 (Front F-2) 4 4 4.5 4.5 4.5 6.2(Front F-5.5)
23 Body Pip 2.5 2.5 3 2.5 2.5 2.5 2.5 2.5 a-4.1, b-7.3
24 High F# 3 3 4 4 4 4 4 4 5.5
25 Neck Pip 3 3 3 3 3 3 3 3 3
Pad openings
measured at the
front in mm.
CUSTOM SHOP
Saxophone Spring Tensions
--each tension for a single key operation, +/- 10grams—
measured at pearl or lever (front of cup if none), with key
aprox. halfway depressed. (Pro models: some keys may be set
or preferred 10-20% lighter tension).
ALTO TENOR
low Bb 65 gr. 70 gr.
low B 125 130
low C# key 110 --23 models-- 110
low C# Lever 135 --52/62/875 135
low C# pad key 35 models 35
low C 75 70
Eb 185 205
D 55 55
E 55 55
F 55 55
F# 40 40
G# lever 115 135
G# pad key 30* 35*
G lever 90 70
A 40* 40*
Bb 35* 30*
B 45* 40*
C pad key 30 30
side Bb 160 140
side C 160 160
high E 205 205
high F# 170 170
palm D 195 195
palm Eb 190 190
palm F 170 170
octave lever 110 110
neck key 45 45
Category: Saxophone
Model: YAS-23
#43
Low C# Key
Eb Key
#42
#41
Low C Key
Service News
Category: Saxophone
YAS,YTS-
Model: 23,52
Part: Bell
Improve
Purpose: strength
Old
Description: Specification: Partially rolled rim
64.7 N6041500 2 2
Pad set N0190001 N1190001 N1390001 N3190001 N3390001 N6090000 N5190001
The palm key posts on the back side of the YBS-52 parts page schematic, are very difficult to identify.
The picture and chart should simplify the identification process.
#100
The F# adjusting arm that operates the G# pad key, and B flat arm can be adapted from the
YTS-62 adjusting rod (N1543561) as indicated below:
With about 15-20 minutes of work it is possible to make a functional copy of the original
part, as follows: Get the YTS/YAS-62 adj. Rod (N1543561), cut through between the Bis
threaded adj. screw socket, and the flat, recessed end piece. Then cut a 14mm extension
from 4.5mm brass rod—a scrap key will work nicely, and using a 3-arm soldering jig, solder-
in the extension. This will yield a workable, if not perfectly straight arm, which will fit the
original slot on the F# arm, and will be reversible for best fit/action. The complete parts list
includes:
There is also a tiny poly Nyloc, which firms up the adj. screw, but Locktite 222 will work just
fine.
Pulling the New Yamaha YTR-2335 Main Tuning Slide
An old manufacturing technique, Hydro forming, has been applied to a new part. This is where an
annealed tube is put in a die and then expanded with high-pressure water to form to the die. Yamaha
has used this process for many years to form tapered bows for low brass instruments. Currently this is
being used to form the main tuning slide and the second valve slide on the YTR-2335, YTR-4335,
YCR-2310II, and YCR-2330II. The slide now has fewer parts as the two inner slide tubes and the
crook is one piece. The ferrules are put in the die and the tube expanded inside to essentially create a
press fit with no solder. We have also added a brace to the main slide. The second slide is made in
the same fashion with a soldered pull knob as before.
The purpose for using this method is to make a much more durable slide crook. With the steel ball
forming method, the outside of the crook is stretched thin and the inside of the crook is compressed,
thus making a crook that is vulnerable to damage. In addition the water key saddle and nipple was
silver soldered that annealed the crook also making it soft. Hydro forming stretches the metal more
evenly, creating a consistent wall thickness throughout the crook. This in addition to a one-piece water
key saddle/nipple plate that is soft soldered makes a much more durable crook overall on these
student and intermediate level instruments.
Having said that, now what do we do about stuck slides? This is where us old dogs have to learn a
new trick.
We have come up with three methods, so far, that can be used.
Of course before trying any of these methods, using penetrating oil and heat, letting it set for 12 to 24
hours, would be my first recommendation.
The first one is from John Huth, brass instructor at Red Wing, and is an adaptation of the same tool
made of wood. Using Epoxy Putty, make a form that fits into the crook. Apply grease to the crook to
keep the epoxy from sticking. Form the tool such that you can remove it once the epoxy sets up. I
have seen many tools of this type made of wood, but the putty will give a precise fit in the crook and is
very durable. You can also make a slotted dowel that will allow clearance for the brace and give you
more striking surface.
Another method technicians have shared with me is to move the ferrule up the crook with the slide-
removing pliers and cut off the crook. When finished pulling the tubes, solder it back together like a
traditional slide.
The third method, which I have not tried but in theory should work, uses a knife-edge file to remove the
lacquer on the crook end of the ferrule. Soft solder the ferrule; then use the slide pulling pliers with
care.
If you have another technique that works for you, I would like to hear about it.
Bill Mathews
SERVICE NEWS
Category: Flugelhorn
Model: YFH-631GA
YFH-631GSA
Description:
Current New
17.05 mm
15 mm
30.7 mm 31.76 mm
16.882 mm 16.870 mm
* From KU-7 KD parts shipment, all pistons are switched to small size.
Category: Trumpet
Part: Piston
Category: Trumpet
Discription:
1. Diameter: The outside diameter of inside slide will be smaller. As a
result, the clearance between I/S slide and O/S slide will be a little
looser, from 0.03mm to 0.04mm in diameter.
Category: Trumpet
Model: YTR-2335,4335G,6335S
Description:
length to
brace
old: 5.5mm
new: 8.0mm
Service News
Category: Trumpet
Model: YTR-2335
Model: YTR-2335
Category: Trumpet
Date Issued:
Category: Trumpet
Old New
Undercut
undercut 38mm
51mm
Piston
Piston Contact
Contact Area
Area
Service News
Category: Trumpet
Part: Mouthpiece
Category: Trumpet
Model: YTR-4335GS
Part: Piston
Category: Trumpet
Old New
undercut
38mm undercut
51mm
Piston
Contact Piston
Area Contact
area
Service News
Category: Trumpet
Valve Cap
Part: Felts
Category: Trumpet
Part: Pistons
Date Issued:
Student model
Model: YTR, YCR
Mouthpiece
Part: Receiver
D1 D2
Description: Old diameter 13.8 11.8
New diameter 14.8 12.8
Mouthpiece
Receiver
D1 D2
Valve Stem Specification Change
Effective: 2005
Description: In the old design, the piston ports do not line up with the casing ports.
This was to allow for compression of the felts so that in time the ports would line up.
The new design permits port alignment when felts are new.
23 1 ㎜
28 4 ㎜
15㎜
1.3 ㎜
FRENCH HORN BELL RING SETS
Start by tuning the open notes of the Bb horn to a well-tuned piano, tuning bar or
fork, or a strobe tuner. The ideal note is an F just above middle C on the piano. (This
note is written as 3rd space C for the French horn with the thumb valve depressed.)
Adjust the main tuning slide, located immediately after the mouthpipe, to match the
tuning pitch by pulling out to flatten the horn or pushing in to sharpen the horn. Tuning
must be done with the right hand in the bell of the horn exactly as it will be held while
playing.
Next, tune the F horn to the now-in-tune Bb horn by matching the open notes. Start
by playing the 3rd space C on the Bb horn and slurring to the same note on the F horn by
disengaging the thumb valve and adjusting the F tuning slide located beside the main
tuning slide. The Bb and the F horn should now be in tune with each other as well as to
the tuning source on the open notes.
The valve slides on both horns can be tuned generally by pulling all valve slides out
3/8". For a more critical tuning (which should be the most desired) the following
procedures should be followed.
1. Using the same tuning device used to tune the open horns, match all notes on
each valve on both Bb and F horn, pulling or pushing the respective slide to
achieve the desired intonation.
2. If a tuning device is not available for tuning individual notes, use the following
procedures.
Using intervals of the 4ths, 5ths, or octaves, tune each valve on both horns by
playing an open note as close to the 3rd space C as possible and then the interval.
(4ths and 5ths are the easiest intervals to hear for tuning purposes.)
Example: To tune the 1st valve on the Bb horn, you would play middle C below the
staff (open horn) and then a 2nd line G using the 1st valve. Both notes, of course, are
played with the thumb valve depressed.
ALWAYS TUNE THE 2nd NOTE TO THE 1st ONE
To tune the 1st valve on the F horn, play middle C and the 1st space F using the 1st
valve. This is all done without using the thumb valve.
Continue through all the valves using this procedure.
3. With the stop arm(B)to the left of rod (A), bring the string around the stop arm in a counter-
clockwise direction, then loop the string entirely around the small screw (C) in a clockwise
direction. When the rotor stem is to the right of the rod, all previous stringing steps are
reversed.
4. Continue around the bottom of the rotor stem (B) and up to the hole near the top of the rod
(D). Thread the string through this hole and loop it under the head of the small screw (E) on the
rod in a clockwise direction. Follow the same instructions when the rotor stem is to the right of
the rod.
5. Now pull the string fairly taut so no lost motion occurs when depressing the lever. Tighten
screw (E) enough to hold the lever in place.
6. Position the lever so the string rod is parallel to the rotor casing top and the finger spatulas
are level with each other.
7. Tighten the string screw (C).
Reassembling the Horn Rotor Mechanism
These pictures are to help identify the rotor parts when reassembling.
STOP ARM
MODEL #1 #2 #3 #4
3XX E0141071 E0141081 E0141081 E0141081
561 E0141081 E0141071 E0141071 E0141081
567 E0141081 E0141071 E0141071 E1833201
664,667,668,668V E0141071 E0141081 E0141081 E1841100
667V E7133260 E7133250 E7133250 E1841100
Reassembling the Horn Rotor Mechanism
These pictures are to help identify the rotor parts when reassembling.
This arrangement is true of all 300 series horns. 313, 314, 321, & 322.
321 & 322 have #4 rotor A+ stop valve.
Reassembling the Horn Rotor Mechanism
These pictures are to help identify the rotor parts when reassembling.
1. 2. 3. 4.
YHR-567
Reassembling the Horn Rotor Mechanism
These pictures are to help identify the rotor parts when reassembling.
Trombone Slide Identification
Stamp Bore Inside diameter of Outer Slide
on
barrel Model Inches Millimeters Inches Millimeters
M1 YSL-354,695 .500 12.7 .541 13.75 +- .03
M2 YSL-691 .508 12.9 .549 13.94 +- .03
.500 12.7 .541 Upper: 13.75 +- .03
MD YSL-356 (dual bore)
.525 13.3 .567 Lower: 14.40 +- .03
ML YSL-446,645,683,684 .525 13.3 .567 14.40 +- .03
L YSL-448,681,682,648 .547 13.9 .588 14.95 +- .03
B-L YSL-681B,682B .547 13.9 .588 14.95 +- .03
EL YBL-All .563 14.3 .605 15.38 +- .03
.484- 12.29-
MD1 YSL-697Z (dual bore) .525 13.33
.490 12.45
Model: YSL-354
The balancer is
wider but thinner,
keeping the weight
the same. Now
chrome plated New style
These two braces Old style
rather than nickel
are now thicker 3/8" center slot 7/16" center slot
plated.
improving the
dynamic
response of the
instrument.
1&11/16"
1&13/16"
D0441010 D0441012
D0441000 D0441002
SERVICE NEWS
Category: Trombone
Model: YSL-354
Description:
Socket Socket
on one on both
side sides
Service News
Category: Trombone
Part: Balancer
Old New
Style Style
Description:
Service News
Category: Trombone
Part: Bell
Category: Trombone
Model: YSL-354
The insert can be moved to take up excess play in the rotor. This reduces the tolerance between the
insert and the lower stem (long) on the rotor.
Only three simple tools are needed:
1. Wooden dowel to support the casing or any other appropriate flat surface while knocking the
insert into the proper place.
2. Plastic or wooden dowel tooled:
¾ to fit the inside of the insert (guide pin)
¾ to fit the surface of the insert
3. Appropriate size hammer to strike the dowel.
A piston “kit” is available to accommodate the replacement of these “old style” pistons.
The kit includes the following items:
Stem, Felts, Pads, Washer, Plastic valve guide, Piston
The newest parts CD will automatically give you the kit numbers when ordering for the older models.
The new pistons are 6 MM (1/8 “) shorter in length, but with the felts supplied with the kit, the ports
will still line up.
(The length won’t make any difference as long as the piston ports line up inside the casing.)
Make sure you order lacquer or silver to match the stems.
Yamaha Japan has recently notified us concerning a paint match for the YSH-301
sousaphone.
The International paint code is #038 and an auto industry match of "Smash White" used
on Toyota cars. I do not know the model or years.
I spoke to the local Toyota dealer and they could only furnish it in small brush top
containers for scratch touch up.
They suggested FinishMaster Automotive Paint Store. FinishMaster was able to convert
the number to Dupont H8262 and suggested an epoxy base primer and an Acrylic Enamel
top coat. You may want to discuss this with your local paint supplier so they can mix to
your specific needs.
Due to the storage and shipping regulations as well as local availability, Yamaha will not
carry this item.
Service News
Service News
Category: Tuba
Description:
*New valve guide is two piece style. Stainless steel
piece is molded in resin for resisting abrasion.
February 7, 2001
Woodwind Thread Sizes
Shaft (b)G & C key, ftjnt rollers All YFL M2 P0.4 per set as follows
A=YSL-3XX E=YHR-3XX
B=YSL-354V F=5XX, 6XX, 7XX, 8XX
C=YSL-6XX G=6XX, 7XX, 8XX
D=YBL-613X H=8XX
Brass Thread Sizes
Low Brass
DESCRIPTION MODEL THREAD SIZE
LYRE SCREW A, B, D, E M3.5 P0.6
LYRE SCREW C M3 P0.6
WATER KEY SCREW A, B, D M2.5 P0.45
WATER KEY SCREW C M3 P0.6
WATER KEY SCREW F, G M3 P0.5
VALVE BUTTON A M4 P0.7
VALVE BUTTON B, C M4 P0.75
VALVE STEM (TOP) (BOTTOM) A M4 P0.7
VALVE STEM (TOP) (BOTTOM) B, C, E M4 P0.75
VALVE GUIDE SCREW B M2 P0.6
VALVE GUIDE SCREW C M2.6 P0.45
VALVE CAP (TOP) (BOTTOM) A U815-36
VALVE CAP (TOP) (BOTTOM) B M24 P0.6 (Before #10001)
VALVE CAP (TOP) (BOTTOM) B M24.5 P1.0 (After#10001)
VALVE CAP (TOP) (BOTTOM) C M26.5 P0.6 (Before #1001)
VALVE CAP (TOP) (BOTTOM) C M26.5 P1.0 (After #1001)
VALVE CAP (TOP) (BOTTOM) E M29.5 P0.6 (Before
#10001)
VALVE CAP (TOP) (BOTTOM) E M30 P1.0 (After #10001)
VALVE CAP F M42 P0.75
LEVER SCREW (4TH VALVE) C M3 P0.5
BRACE SCREW #1 E M3 P0.5X5
BRACE SCREW #2 E M3 P0.5X8
BRACE SCREW #3 E M2.6 P0.45X10
THUMB RING E M5 P0.8
STRIKE IRON SCREW F, G M3 P0.5
STOP ARM SCREW F M3 P0.5
STOP. SCREW-CON. LEVER BUSH F M2.5 P0.45
STOP. SCREW-LEVER BALL JOINT F M5P0.8
LEVER HOLDER SCREW F, G M4 P0.7
TEVER HINGE ROD F, G M3 P0.5
ROD END BEARING SCREW G M2 P0.4
ROD END BEARING ADJ. SCREW G U3 P0.5
LEVER CONNECTION SCREW G M2.5 P0.45
STRING STOPPER SCREW E M3 P0.5
A=YHR-3XXM F=YBB-2XXM
B=YMP-2XXM G=YSH-3XX
C=YBH-3XXM H=YSH-4XX
D=YEP-2XXM
E=YBB-1XXM
Low Brass Valve Thread Change
The valve threads of YAMAHA low brass piston instruments were changed in August 1988.
New style instruments begin with serial #100,001. The old "fine" thread was Pitch = 0.6.
The new "course" thread is Pitch = 1.0
* The first part number listed under "old" is the original version. The second number indicated a style change in
appearance only. Revised 3/29/2006 Page 1
Low Brass Valve Thread Change
The valve threads of YAMAHA low brass piston instruments were changed in August 1988.
New style instruments begin with serial #100,001. The old "fine" thread was Pitch = 0.6.
The new "course" thread is Pitch = 1.0
* The first part number listed under "old" is the original version. The second number indicated a style change in
appearance only. Revised 3/29/2006 Page 2
Low Brass Valve Thread Change
The valve threads of YAMAHA low brass piston instruments were changed in August 1988.
New style instruments begin with serial #100,001. The old "fine" thread was Pitch = 0.6.
The new "course" thread is Pitch = 1.0
* The first part number listed under "old" is the original version. The second number indicated a style change in
appearance only. Revised 3/29/2006 Page 3
Low Brass Valve Thread Change
The valve threads of YAMAHA low brass piston instruments were changed in August 1988.
New style instruments begin with serial #100,001. The old "fine" thread was Pitch = 0.6.
The new "course" thread is Pitch = 1.0
* The first part number listed under "old" is the original version. The second number indicated a style change in
appearance only. Revised 3/29/2006 Page 4
Miscellaneous
By Bob Malone
Product Development Manager – Brass Instruments
Yamaha Corporation of America
Bells are made from a variety of materials, mostly consisting of brass alloys, nickel
silver, silver and other non-ferrous metals. The most common bell materials used in the
manufacture of trumpet bells include what is described as yellow brass and gold or red
brass. In general brass is an alloy made from a combination of copper and zinc. Some
brasses include a small percentage of lead and other components. Yellow brass is
generally comprised of 60% to 70% Copper and 40% to 30% Zinc. It is yellow in color,
hence the name yellow brass. Gold brass normally has 80% to 85% Copper and 20%-
15% Zinc. Because of the higher copper content, it is generally more red or gold in color.
There are many different ways to join metal. In the course of manufacturing a brass
musical instrument, soft soldering, hard soldering (most often referred to as silver
soldering) and brazing techniques are utilized to join the various metal components.
Brazing is the method used to join the edges of the bell and this is the area of the bell
commonly referred to as the seam of the bell. The material that is used to join these two
edges is called brazing material. Brazing alloys include those with phosphorus/copper
content, silver/phosphorus/copper content as well as silicon based alloys and others. In
order to join the two edges of the bell together, the brass is heated to a high temperature,
which is high enough to liquefy the brazing material, but low enough to prevent the brass
itself from melting.
The type of brazing alloy used to join both yellow brass and gold or red brass is generally
the same. It has a yellow appearance, which generally blends in with yellow brass and is
usually hidden because of its yellow color. The bell seam can more easily be seen on a
gold or red brass bell because of the color contrast that exists between the reddish color
of the brass and the yellow color of the brazing material as in the example below.
This is a normal and unavoidable consequence due to these contrasting colors. During the
final cosmetic process of either plating or lacquering, this seam will normally be covered
by the applied plating or left visible through the clear lacquer that is normally used by
musical instrument manufacturers.
One other common difference between the bell seam on a yellow brass bell and a gold or
red brass bell happens during the polishing process. Because of the difference in hardness
between the brazing material and the bell material used in a gold brass or red brass bell, it
is also common to see the seam due to these materials being removed in different
amounts during the polishing process. As a result, it is sometimes possible to see the
seam even after plating has been applied.
All of these gold brass/red brass bell seam scenarios are common with every musical
instrument manufacturer. Yamaha, because of its tightly controlled manufacturing
processes, does a highly successful job in reducing the material lost during the polishing
process. Though it can happen on occasion, seeing the evidence of a bell seam through
plating is a rare occurrence. The visibility of the bell seam due to the color difference
between the bell material and brazing material through a clear lacquer coating is
unavoidable and is not an indication of a flaw in the manufacturing process. It is normal
and has no consequence to either the life of the instrument or it’s playability. In addition,
the acoustical / musical affect on the performance of an instrument is always a factor in
Yamaha’s choice of a particular type of brazing material to use in the manufacture of its
bells. The result of this attention to detail is evidenced by the growing success of
Yamaha’s latest line of Xeno™ instruments.
BRASS GLOSSARY
A/plus stop valve -eliminates the need to transpose during stopped passages.
Annealing -a precise heat-treating process that, in non-ferrous metals such
as brass, alters the size of the brass molecules. The effect
improves response and changes the tone quality.
Baked epoxy -a baked-on spray coating applied to instruments to protect
lacquer finish the metal from fingerprints and discoloration.
Bore size -the inside diameter of tubing. On trumpets, the bore size is
determined by the size of tubing between the valves.
Compensating -extra tubing is added to the 1st, 2nd, and 3rd slides to
system allow for improved intonation and response in the low register
when played with the 4th valve.
Convertible -comes with two leadpipes which can be used in either concert
or marching.
Cyclical bore -is a perfectly cylindrical tubing assembly in combination with a
conical leadpipe and bell stem.
Dependent rotors -rotor valves that will activate only when used in conjunction
with one another. (see In-line independent rotors)
Dual bore design -the inner hand slide tubes are two different diameters.
"Dual Plane Valve" -a patented Yamaha design on the 4th rotor that permits a
unique tubing configuration allowing a smooth, efficient
transition between Bb and F horns.
FRP -Fiber Reinforced Plastic, a durable maintenance-free material
which is ideal for sturdy, light-weight sousaphones.
Geyer wrap -Geyer was a horn maker in Chicago who designed a horn with
the 4th valve on the far end of the other valves with a long
thumb lever. It is a very open wrap with very few sharp bends
in the tubing. (see Kruspe)
Gold brass -contains 85% copper, 15% zinc. It produces a rich, full tone.
(see red and yellow brass)
Hammered -hardens metal to create the desired temper of brass for sound
and response.
Heavy wall -the heaviest metal thickness Yamaha offers to help create
Construction a more focused sound with strong projection and carrying
capacity.
Hollow rotors -hollow tubing with the ports brazed into them, lightweight, fast
action.
In-line independent -rotor valves that operate independently of one another
rotors to offer the player more fluent technique and playing ease. (see
Dependent rotors)
Kruspe wrap -German horn maker whose design is the basis for modern large
bell horns. (see Geyer)
Leadpipe -the leadpipe (or mouthpipe) of the brass instrument is the
tapering tubing which interfaces between the mouthpiece and
the instrument’s normal bore tubing. A crucial factor in
determining the intonation and other characteristics of the
instrument.
Monel pistons -Monel is a nickel/steel alloy. Monel pistons are not plated. It is
very long wearing and corrosion resistant.
Nickel alloy pistons -Nickel alloy and monel are both solid metals but monel contains
more nickel. Yamaha nickel-plates the pistons to reduce
corrosion.
One-piece bell -made from a single sheet of brass that is hammered and
shaped into bell form then laser-fused at the seam for even bell
vibration, accurate intonation, response and exceptional tone.
Open wrap -tubing is bent in a way that prevents sharp curves, which allow
for a smooth airflow and a smooth transition from Bb to F.
Phosphor bronze -used in French horn rotors because it is very resistant to
corrosion.
Pressure-formed -a special Yamaha procedure to bend tubing which maintains
even wall thickness. This produces stronger tubing and allows
for smooth airflow and less turbulence.
Pluzuma welded -a high energy laser weld that fused the brass together
bell for a virtually seamless bell.
Red brass -contains 90% copper, 10% zinc. It has a dense and compact
sound. (see gold and yellow brass)
Silver soldered -Silver (or hard) soldering or brazing, is used in areas which may
be exposed to stress and is much stronger than ordinary (soft
or lead) soldering.
Shepherd's crook -a traditional British cornet design with the end bell tail shaped
to resemble a shepherd's crook.
Step bore design -a medium bore instrument fitted with a large bore tuning slide.
Tapered valves -allow rotor to fit properly as it wears.
Two-piece bell -the bell is formed from two sections of metal with lateral seams
as opposed the axial seam of the one piece bell.
Yellow brass -contains 70% copper, 30% zinc. It is the metal most commonly
used in brass instruments. (see gold and red brass)
The type of brazing alloy used to join both yellow brass and gold or red brass is generally
the same. It has a yellow appearance, which generally blends in with yellow brass and is
usually hidden because of its yellow color. The bell seam can more easily be seen on a
gold or red brass bell because of the color contrast that exists between the reddish color
of the brass and the yellow color of the brazing material as in the example below.
This is a normal and unavoidable consequence due to these contrasting colors. During the
final cosmetic process of either plating or lacquering, this seam will normally be covered
by the applied plating or left visible through the clear lacquer that is normally used by
musical instrument manufacturers.
One other common difference between the bell seam on a yellow brass bell and a gold or
red brass bell happens during the polishing process. Because of the difference in hardness
between the brazing material and the bell material used in a gold brass or red brass bell, it
is also common to see the seam due to these materials being removed in different
amounts during the polishing process. As a result, it is sometimes possible to see the
seam even after plating has been applied.
All of these gold brass/red brass bell seam scenarios are common with every musical
instrument manufacturer. Yamaha, because of its tightly controlled manufacturing
processes, does a highly successful job in reducing the material lost during the polishing
process. Though it can happen on occasion, seeing the evidence of a bell seam through
plating is a rare occurrence. The visibility of the bell seam due to the color difference
between the bell material and brazing material through a clear lacquer coating is
unavoidable and is not an indication of a flaw in the manufacturing process. It is normal
and has no consequence to either the life of the instrument or it’s playability. In addition,
the acoustical / musical affect on the performance of an instrument is always a factor in
Yamaha’s choice of a particular type of brazing material to use in the manufacture of its
bells. The result of this attention to detail is evidenced by the growing success of
Yamaha’s latest line of Xeno™ instruments.
Wood care for your Yamaha clarinet or oboe
Yamaha clarinets and oboes are made from African Grenadilla, carefully aged and treated, then crafted
into fine musical instruments. Grenadilla is one of the hardest, most dense and stable woods available and is
the wood of choice for manufacturing the best clarinets and oboes. Yamaha employs a combination of some
of the most innovative, modern machinery and traditional hand craftsmanship to make woodwinds that are
highly regarded for their consistent quality, tone and intonation. Beyond maintenance procedures used for
plastic oboes and clarinets, these are some steps we recommend to properly “break-in” and maintain your
carefully crafted wood instrument.
1. When first playing a new instrument, replacement joint, or one that has been allowed to dry out for a long
time, (weeks/months/years) a gradual playing-in is the best approach. For example, play the instrument 5-10
minutes the first session, then swab it out-—including the tenons and sockets where end grain can absorb water
more easily—then after it sits at least 4-6 hours (or the next day), play a few minutes longer, etc… adding 5 or
so minutes to each session. After this gradual playing-in period of a week to 10 days, playing for long periods of
time will not cause a radical change in the wood’s moisture level—and therefore is less likely to cause any
problems. If this schedule is not entirely possible, the main idea is; don’t play for 2 hours the first day, with just
a quick swab at the end of that time! In dry conditions, a small humidifier placed in the accessories area of the
case (available at music stores) can be beneficial.
2. Avoid playing the instrument when it is very cold to the touch! It needs to warm up to the air temperature of
the room or outdoor environment, gradually if possible, before warm air is blown through it! Holding the
instrument under a jacket, or just opening the case 20-30 minutes in the room before playing can be helpful.
3. When playing for longer periods of time, swab out more frequently—a “hankerchief-type” swab (YAC 1051P)
can often do a better job than other types. It is important that the swab is not overly tight when pulled through.
Any attempt to force a tight swab through should be avoided before the bottom end of the swab disappears
into the joint, so that it can be carefully backed out.
4. Generally, the treated wood of a new Yamaha instrument or joint doesn’t need further treating, but if the
bore (interior surface) gets a very dull, dry look, careful application of bore oil can help seal the wood to
prevent excessive moisture absorption—another potential cause of cracking. An overly dry bore, with many
open-grain surfaces can actually play like the bore was a bit oversized, changing tone and intonation
characteristics. A conservative approach to oiling is recommended—both in the amount of oil applied, and the
frequency. Excessive oil can gum-up pads and affect tone. Apply a few drops of a good quality oil, like Yamaha
Bore Oil (YAC 1004P) on a soft stick-type swab, or a handkerchief swab (just for that purpose) and draw it
through the joint, repeating the process until the bore has a uniform sheen and is not overly wet. If a stick
swab is used, open any closed keys and blow a focused airstream into all tone holes to blow out any excess lint.
A dry bore can be treated a couple of times in a six month period, and then once or twice a year if needed.
Some instruments have a more highly polished bore that needs little or no oiling. Some players have the bore
polished with beeswax or furniture wax—although this can affect tone, as can excessive oiling.
These steps will provide proper maintenance for your wood Yamaha oboe or clarinet, and help prevent
surface cracking. In the unlikely event that a crack develops, it is not as serious a problem as you first might
think. Many artist/performers and teachers play on instruments that have properly repaired cracks—some even
feel that it “frees-up” the sound, and causes the instrument to play better! Yamaha woodwinds provide for
replacement (if desired) of the affected joint within the first 6 months of ownership, and traditional pinning
repair in the 6-12 month period of ownership. If this kind of work is needed after the warranty period, a skilled
repairperson can do an effective, inconspicuous job repairing the instrument at a reasonable cost.
Fine wood instruments should be treated with respect, but also played and enjoyed for the warm tonal
characteristics they yield. It is very important that good care and maintenance is provided. In addition to owner
care, this involves regular visits to a reputable woodwind technician—much like what is involved in maintaining a
car. This can be several times a year for some students and frequent players, or as little as once every few
years. Worn pads should be replaced with quality pads as needed, to ensure good tone hole covering. Key
openings and adjustments (key regulation) need to be checked/adjusted periodically. With these things in mind,
your Yamaha Woodwind instrument will both provide years of musical use and enjoyment, and also maintain
its’ value.
Cork sheets available from
Part numbers
3/29/2006
Single-Reed Instrument Tone and Intonation
There are many factors to consider in creating a particular type of tone and playing style on any single-reed
woodwind. The following represent an overview of many things to consider in the player’s use of instrument
and “equipment” to make music.
Mouthpiece/Reed/ Ligature - There are many tonal variations that can be created on one instrument with the
various types of equipment that is available. What works well for one person, or on a different type of
instrument, might likely produce a very different result on yours. For Yamaha saxes, whatever mouthpiece you
are trying, must fit the cork well (or wrap the cork with paper to fill any gap), and needs to be located close to
the original design spec—between 2/3- 4/5 way down the cork, in most cases—for good response and tuning.
(Our tenors tend to be more like ½ way down). Ligature and reed must work well enough that an airtight seal
can be created when the end is plugged and the air drawn out—producing an audible pop one or two seconds
later. If this doesn’t happen, the instrument will not play well. Some of the “soft” ligatures are less effective at
holding the reed flat to the table of the mouthpiece—with certain reeds—but might work well with more perfect
reeds that you have.
Neck/barrel - As the flute headjoint greatly affects the type of tone a flute produces, the neck or barrel
thickness, material, taper, and finish (coating) can have a very noticeable effect on the how the instrument
sounds and plays. For example the design differences between a YAS-62 neck and YAS-23 or YAS-52 neck yield
a different response and tone when the 62 neck is used on the 23 or 52 model. The annealed (heat-treated) brass
and different taper/thickness create a livlier sound and response with a different harmonic spectrum. A
lacquered neck will sound different than a silver or gold plated one of the same design. The Custom necks have
a different design from all our others, and can produce a darker and warmer, richer sound approaching that of
the 875 series saxes, when used on the other models—though it creates some minor intonation trade-offs in that
usage—since the 875 series instruments have a different bore and taper, one that emphasizes a rich, warm tone.
In the same way, various barrels can be used to create a desired pitch and tonal effect on clarinet.
Instrument Set-up and state of adjustment- how close the instrument is set-up to the factory specifications for
key/pad openings greatly affects the instrument’s response and intonation. These specs are available to owners
and technicians for reference. Instruments that have leaks in the pad/tone hole matchup will definitely play
differently than the same instrument in excellent adjustment. Certain keys need clearance (slight pick-up travel)
in their operation, or the horn won’t play well. Some examples are: the sax body octave key w/G key arm
(when playing G5), the sax neck key with the octave shifting arm, the left low C# and B keys with the G# lever
tabs on sax, the throat G# and A keys on clarinet, etc…
The Player and his/her equipment preferences- The individual’s resonant cavity, airspeed, focus, support,
breathing style, posture, and embouchure (mouthpiece grip) all contribute to the fact that two people can
produce quite different sounds on the same equipment. The player who recognizes their characteristics, can
choose the best reeds, type of mouthpiece, ligature, different neck or barrel (if desired), to suit their tonal
concept and the model of instrument. This can be done by reading, researching what various players use,
teacher recommendations, and most importantly—actual trial. Recording one’s self in these trials and listening
back can be particularly helpful. Being familiar with the inherent characteristics of the equipment, is a major
part of getting the desired result. Having a clear idea of how you want to sound is another big part of the
equation. This develops over time through experience, increased technique, lots of listening to other players,
recording your playing and making adjustments based on all of these factors. This is an ongoing process for
great players of any instrument! Producing the best music on a particular instrument is similar to using any
tool to best effect: familiarization, understanding, practice, feedback/listening, trial with different accessories,
and adapting it to your goals –all lead to the most satisfying results. Yamaha single reed instruments are some
of the best researched, designed, and consistently made to a high standard—thereby providing some of the best
“equipment” available to help us make great music.
Specifications of Various Items
PISTON DIAMETERS
Model Millimeters Inches
YTR,YCR-All Piston- 16.870 .664
YFH - 2310, 635T, 6310Z Casing- 16.900 .665
YFH - 631,731, YAH 17.3 .680
YBH 20.5 .806
YEP; YBB-103,4,5 23.5 .925
YBB- All (except 103,4,5) 26.416 1.040
Tarnish occurs as a natural process on metals that are not coated by protective lacquer or
paint. It can appear as a grayish, cloudy and dull area on plated surfaces, sometimes heaviest at
the places where the fingers make contact. It also can appear as a golden or brownish
discoloration of the silver plating on woodwind keys, as a result of normal use, and exposure to
air over time. Generally, instruments that are kept in the case between playing sessions, and
have fingerprints wiped off with a soft cotton cloth, will show far less tarnish than those that are
left out frequently, and aren’t wiped off after use.
Another factor that affects the rate of tarnish is an individual’s body chemistry. Some people
have more tarnish-producing acids in their skin’s oil than others. This is an immutable fact and
can be seen in many school band situations, e.g. one student’s flute looks almost as shiny and
bright silver as new, when another student’s same instrument has large amounts of grey/brown
or even some black tarnish, after receiving the same type of care, over the same period of time.
It is not unusual for some player’s instruments to show tarnish within several weeks
of daily use. The important thing to realize is that these two players need different approaches
to maintaining the silver or nickel-plated surfaces. The player with the “tendency to tarnish”,
needs to be more diligent about wiping off fingerprints, and having keys polished more
frequently, or accept that this tarnish is going to occur, and is: 1. Not due to any manufacturer’s
defect—i.e., bad plating. 2. Merely cosmetic, i.e., not going to affect the tone of the
instrument.
RECOMMENDED POLISHES:
WENOL all metal polish. Address: SCI, Cuisine Internationale, P.O. Box 659, Camarillo, CA
Zip code 93011. Also available from: J.L. Smith & Co., 1-800-659-6073, Fax 704-347-4789
MAAS polishing cream for all metals. Address: MAAS Polishing Systems, Inc., P.O. Box 128,
La Grange, Illinois 60525. Phone: 630-654-4743, or try Jewelry or Auto Supply shops. Note:
This polish is slightly more aggressive, but both work well with gradually lighter
pressure.
TARNI-SHIELD silver polish by 3M. Available in department and grocery stores. **Use
mixed 50/50 with water---apply in stripes or sparingly, dry to haze, wipe off. It works well for
light tarnish and as a coating to help prevent further tarnish.
YEP/YBB WATER KEYS (since 1990)
MODEL POSITION TYPE
YEP 201M Tuning Slide A
YEP 201MS Tuning Slide D
YEP 211 Tuning Slide B
YEP 211S Tuning Slide E
YEP 321 Tuning Slide B
YEP 321S Tuning Slide E
YEP 621 Tuning Slide B
YEP 621S Tuning Slide E
YEP 641 Tuning Slide B
1st Valve Slide C
YEP 641S Tuning Slide E
1st Valve Slide F ( Lacquered Model)
YBB 103 Tuning Slide A TYPE A B C
YBB 103S Tuning Slide D Stnd Model YEP201-II YEP321-II YEP641(1stValveSlide)
YBB 104 Tuning Slide C WaterKeySet G0190001 G1190001 H0690000
YBB 104S Tuning Slide F Water Key G0130231 G1142731 G2530200
YBB 201 Tuning Slide B Spring A0141160 G1141161 A0141160
YBB 201S Tuning Slide E Screw A0141191 G1143411 A0141191
YBB 201M Mouthpipe A Cork A0141180 A0141180 A0141180
YBB 201MS Mouthpipe D Holder A0144321 G1143380 A3143181
YBB 321 Tuning Slide B Nipple A0144331 A0144331 A3143171
YBB 321S Tuning Slide E
YBB 621 Tuning Slide B
YBB 621S Tuning Slide E
YBB 631 Tuning Slide B (Silver Plated Model)
1st Valve Slide A TYPE D E F
4th Valve Slide B Stnd Model YEP201S-II YEP321S-II YEP641S(1stValveSlide
YBB 631S Tuning Slide E WaterKeySet G0390001 G1390001 H0790000
1st Valve Slide D Water Key G0330231 G1342731 G2630200
4th Valve Slide E Spring A0141160 G1141160 A0141160
YCB 621 Tuning Slide B Screw A0141191 G1143411 A0141191
YCB 621S Tuning Slide E Cork A0141180 A0141180 A0141180
YEB 201(M) Tuning Slide B Holder A1244321 G1343381 A7143171
YEB 201(M)S Tuning Slide E Nipple A1244331 G1343371 A7143181
YEB 321 Tuning Slide B
YEB 321S Tuning Slide E
YEB 381 Tuning Slide B
YEB 381S Tuning Slide E
YEB 631 Tuning Slide B
1st Valve Slide A
4th Valve Slide B
YEB 631S Tuning Slide E
1st Valve Slide D
4th Valve Slide E
YFB 621 Tuning Slide B
YFB 621S Tuning Slide E
YSH 301 TunSld&3rd VlvSld A
YSH 301S Tuning Slide D
YSH 411 TunSld&3rd VlvSld A
YSH 411S TunSld&3rd VlvSld D
WOODWIND GLOSSARY
ABS resin -hard, durable plastic unaffected by weather.
Annealing -a precise heat-treating process that, in non-ferrous metals such as
brass, alters the grain shapes of the molecules. The desired effect is
a quicker more lively response.
Black lacquer - on Yamaha saxes a thicker coating than our clear or gold lacquers
which produces a darker sound. (see clear and gold lacquer)
Clear lacquer -an electrostaticly applied epoxy (resin) coating to protect the finish
of brass instruments. (see black and gold lacquer)
Conical bore -the tubing is tapered, oboes and bassoons have conical bores,
piccolos have a reverse conical bore. (See cylindrical bore)
Conservatory system -Simplified: a refined key mechanism for student use and the basic
key configuration for all Yamaha oboes.
-Modified: simplified configuration with an added left-hand F lever,
lower Bb key, G#/A# trill key, and F resonance key.
-Full: modified configuration with an added G#/A trill key, articulated
low C#, auxiliary C lever and a D#/E trill key.
Cylindrical bore -the tubing is straight, not tapered, flutes and clarinets have
cylindrical bores.
Drawn tone holes -the tone holes are drawn out of the same tubing as the body. (see
soldered tone holes)
Double bladder pads -Yamaha flutes and clarinets have a double layer of skin across the
felt for a better seal and improved durability.
Embouchure hole -the opening a player must blow across to produce a note.
French model -traditional style of flute key design with open-hole key configuration.
French-style -a traditional design in which the key arm extends to the middle
cup & arm of the key, improving strength.
Gentleman system -The compact or “gentleman” system bassoon has an extra joint,
which allows the use of a smaller case.
Gold -Yamaha flutes offer a choice of 9k and 14k gold.
Gold-lacquer -on some models, Yamaha uses a special tinted lacquer, which gives
an appearance similar to gold plating. (see clear and black lacquer)
Gold plate -Yamaha first plates with copper and then silver before applying a
final gold plate finish.
Grenadilla -a very dense, heavy wood which can be accurately machined to a
fine degree. Used for clarinet, piccolo, and oboe bodies.
Hand-tapered -offer flexibility of intonation and response. Hand tapering
tone holes allows for more precise individual attention to these areas.
Improved scale -Most flutes designed in America were based on a Louis Lot design
and were pitched A=437/438. These flutes were useable at A=440
because the 2hz difference can be controlled by the player. To play
above A=440, tone holes have to be moved but simply moving the
tone holes makes the tone quality suffer. A completely new design
(bore, tone hole size, placement) was necessary to retain a beautiful
1
tone while allowing a tuning latitude of 2hz. Albert Cooper pioneered
this scale change and other manufacturers have followed suit. The
Yamaha scale allows the player to play the flute without having to
compensate for certain notes on the instrument.
In-line keys -the configuration in which the keys on flutes are aligned in a straight
line. (See offset G)
Integral tone holes -on wood clarinets the finger holes are part of the actual body of the
instrument rather that separate inserts.
Low B gizmo key -a gizmo is the addition of a small spatula to an existing low B key.
The gizmo allows the player to close only the low B key. This is
helpful and acoustically necessary for the execution of certain notes
and trills.
MMA Resin -hard plastic unaffected by weather.
Needle springs -are called just that because they were originally needles. Blued
needle springs are resistant to moisture and rust. They are desirable
because the tapered design of a needle provides very quick response
with a minimum of depression resistance. (see stainless and white
gold springs)
Nickel Silver -an alloy comprised of approximately 70% copper, 20% zinc, and
(coin silver) 10% nickel. Used on student flutes and most woodwind instrument
keys. (see sterling silver)
Offset G -the G and G# left-hand keys are offset creating a key mechanism
that allows for a more comfortable hand position than an in-line key
system. (See in-line)
Rib and post -posts are silver-soldered to plates called ‘ribs’ which are then
construction soft-soldered to the body for strength and tonal characteristics.
Soldered tone holes -the tone holes are not part of the body tubing; they are separate
parts soldered on. The thickness of the tone hole chimney wall can
be precisely controlled. (see drawn tone holes)
Split E mechanism -a flute/piccolo key mechanism that closes the lower of the two G pad
cups when fingering high E. This mechanism gives the correct
venting for high E and dramatically improves response on this note.
Stainless steel -unaffected by moisture (rustproof); stainless steel offers quick
springs responsive key action. All our student model woodwinds use
stainless springs. (see needle and white gold springs)
Sterling silver -silver which is 92.5% pure. Signified on our flutes by “925”. (see
nickel silver)
Undercut -on our flute headjoints, the bottom of the embouchure hole is flared
to smooth the transition into the bore improving tone and response
by reducing turbulence. It also enhances the high register.
Undercut tone holes -undercutting refers to a reverse taper in each tone hole (larger at
the bore than at the outside). Altering the shape of the tone hole
affects responsive, tone color, intonation and flexibility. It is part of
an overall design that includes bore shape and size, tone hole size,
and tone hole placement.
White gold springs -provide a quicker key response with reduced spring tension. (see
needle and stainless springs)
2
Clarinet (Oboe) Joint Replacement/Key Transfer
• Inspect joint for any big grains across or under tone hole edges--fill and resurface as
needed with thin cyanoacrylate (superglue).
• Wax bore if necessary for a repeat problem (remove thumb tube and register tube first!)
• Bend springs to match angles on original joint
• Tighten any post flange screws (like clarinet upper bridge key—bottom post) or clarinet
trill key guide screw—check alignment first!
• Take first few keys to install; remove first rod from key or storage block, trial fit rod – if
too tight, broach non-threaded post slightly, to improve alignment, or tap threaded post
(see specs for sizes), then fit key and check centering, spring tension and key height.
• Complete key assembly in sequence. Before installing throat-tone G# and A on clarinet
upper joint, use a hinge tube cutter to trim a bit off the backside of the A key threaded
post. This will ensure clearance with the G# key tubing. Check that side Eb key spring
is not hung up on front post—push on side of spring with springhook or rebend spring
for correct clearance. Note- top two trill keys and side F# should go on/off horn
simultaneously.
• Clarinet lower joint—set low E key opening then other adjustments can follow.
• Clarinet lower joint—for student models, left side levers will have to be trial fit, possibly
removed and re-aligned to fit with proper clearances. Be sure these are at the correct
angle to each other as well.
• Clarinet--“Steer”(tap or bend) top 2 trill keys through guide for even gaps, increase arc
over F# arm if insufficient clearance, create slight dogleg-bend of that arm if necessary
for clearance of trills (essentially unseen).
• Check pad coverings, suction, compression. Replace any leaking pad or relevel
existing pad. Cork register pad on clarinet can often be sanded with 240-320 paper
(after key centering) to remove old seat and seal nicely. (and still look stock if not
overdone!)
• Smooth any sharp screw edge or post edge.
• Check Clar.L.thumb action firmly to confirm it’s not “hanging-up”. Angle of two
contacting arms should be 5-10°. Add slight cork grease at fulcrum if needed.
• Clarinet C#/G# key should have 2mm clearance with left F/C lever and spatula hitting
body - level or 10-15° upward tilt if desired(quieter)
• Assemble joint with the rest of the instrument, adjusting joint corks, only if necessary.
Set bridge adjustments.
• Recheck overall action and openings (refer to specs) –play test.
Wood care for your Yamaha clarinet or oboe
Yamaha clarinets and oboes are made from African Grenadilla, carefully aged and treated, then crafted
into fine musical instruments. Grenadilla is one of the hardest, most dense and stable woods available and is
the wood of choice for manufacturing the best clarinets and oboes. Yamaha employs a combination of some
of the most innovative, modern machinery and traditional hand craftsmanship to make woodwinds that are
highly regarded for their consistent quality, tone and intonation. Beyond maintenance procedures used for
plastic oboes and clarinets, these are some steps we recommend to properly “break-in” and maintain your
carefully crafted wood instrument.
1. When first playing a new instrument, replacement joint, or one that has been allowed to dry out for a long
time, (weeks/months/years) a gradual playing-in is the best approach. For example, play the instrument 5-10
minutes the first session, then swab it out-—including the tenons and sockets where end grain can absorb water
more easily—then after it sits at least 4-6 hours (or the next day), play a few minutes longer, etc… adding 5 or
so minutes to each session. After this gradual playing-in period of a week to 10 days, playing for long periods of
time will not cause a radical change in the wood’s moisture level—and therefore is less likely to cause any
problems. If this schedule is not entirely possible, the main idea is; don’t play for 2 hours the first day, with just
a quick swab at the end of that time! In dry conditions, a small humidifier placed in the accessories area of the
case (available at music stores) can be beneficial.
2. Avoid playing the instrument when it is very cold to the touch! It needs to warm up to the air temperature of
the room or outdoor environment, gradually if possible, before warm air is blown through it! Holding the
instrument under a jacket, or just opening the case 20-30 minutes in the room before playing can be helpful.
3. When playing for longer periods of time, swab out more frequently—a “hankerchief-type” swab (YAC 1051P)
can often do a better job than other types. It is important that the swab is not overly tight when pulled through.
Any attempt to force a tight swab through should be avoided before the bottom end of the swab disappears
into the joint, so that it can be carefully backed out.
4. Generally, the treated wood of a new Yamaha instrument or joint doesn’t need further treating, but if the
bore (interior surface) gets a very dull, dry look, careful application of bore oil can help seal the wood to
prevent excessive moisture absorption—another potential cause of cracking. An overly dry bore, with many
open-grain surfaces can actually play like the bore was a bit oversized, changing tone and intonation
characteristics. A conservative approach to oiling is recommended—both in the amount of oil applied, and the
frequency. Excessive oil can gum-up pads and affect tone. Apply a few drops of a good quality oil, like Yamaha
Bore Oil (YAC 1004P) on a soft stick-type swab, or a handkerchief swab (just for that purpose) and draw it
through the joint, repeating the process until the bore has a uniform sheen and is not overly wet. If a stick
swab is used, open any closed keys and blow a focused airstream into all tone holes to blow out any excess lint.
A dry bore can be treated a couple of times in a six month period, and then once or twice a year if needed.
Some instruments have a more highly polished bore that needs little or no oiling. Some players have the bore
polished with beeswax or furniture wax—although this can affect tone, as can excessive oiling.
These steps will provide proper maintenance for your wood Yamaha oboe or clarinet, and help prevent
surface cracking. In the unlikely event that a crack develops, it is not as serious a problem as you first might
think. Many artist/performers and teachers play on instruments that have properly repaired cracks—some even
feel that it “frees-up” the sound, and causes the instrument to play better! Yamaha woodwinds provide for
replacement (if desired) of the affected joint within the first 6 months of ownership, and traditional pinning
repair in the 6-12 month period of ownership. If this kind of work is needed after the warranty period, a skilled
repairperson can do an effective, inconspicuous job repairing the instrument at a reasonable cost.
Fine wood instruments should be treated with respect, but also played and enjoyed for the warm tonal
characteristics they yield. It is very important that good care and maintenance is provided. In addition to owner
care, this involves regular visits to a reputable woodwind technician—much like what is involved in maintaining a
car. This can be several times a year for some students and frequent players, or as little as once every few
years. Worn pads should be replaced with quality pads as needed, to ensure good tone hole covering. Key
openings and adjustments (key regulation) need to be checked/adjusted periodically. With these things in mind,
your Yamaha Woodwind instrument will both provide years of musical use and enjoyment, and also maintain
its’ value.
Items available in Bulk Quantities
Bulk Item # Description Individual Item #
A0141069 BULK 100/PKG *** VALVE FELT CR/TR/FH A0141060
A0141079 BULK 100/PKG *** VALVE SPRING CR/TR/FH A0141070
A0141089 BULK 100/PKG *** VALVE STEM CR,TR,FH A0141080
A0141099 BULK 100/PKG *** VALVE GUIDE TR/CR/FH A0141090
A0141189 BULK 100/PKG *** WATER KEY CORK CR,TR,FH A0141180
A0141229 BULK 100/PKG *** LYRE HOLDER SCREW(BS) CR/TR/FH A0141220
A1641059 BULK 100/PKG *** VALVE CAP FELT CR,TR,PRO. A1641050
A3141099 BULK 100/PKG *** VALVE GUIDE TR A3141090
A3141219 BULK 100/PKG *** 3RD VALVE STOPPER SCREW (BS) TR A3141211
D0141329 BULK 100/PKG *** WATER KEY CORK SL D0141320
D0141349 BULK 100/PKG *** RUBBER BUMPER SL2510 D0141340
E0141029 BULK 100/PKG *** BUMPER RUBBER HR E0141020
E0141059 BULK 100/PKG *** STOP ARM RETAINING SCREW(BS) HR E0141051
F0141099 BULK 100/PKG *** VALVE GUIDE AH202 F0141092
F0141139 BULK 100/PKG *** VALVE GUIDE WASHER F0141130
G0141068 BULK 100/PKG *** VALVE FELT EP/BB G0141061
G0141069 BULK 100/PKG *** VALVE FELT EP/BB G0141060
G0141079 BULK 100/PKG *** VALVE SPRING G0141070
G0141099 BULK 100/PKG *** VALVE GUIDE G0141092
G0141109 BULK 100/PKG *** VALVE BUTTON FELT G0141101
G0141139 *** SUB TO F0141139 ***** G0141130
G0141149 BULK 100/PKG *** VALVE BUTTON PAD EP201 G0141140
G0141159 BULK 100/PKG *** VALVE PAD EP-201-2 G0141150
H0141109 BULK 100/PKG *** VALVE BUTTON & VALVE FELT BB H0141100
H1141079 BULK 100/PKG *** VALVE SPRING BB,EB,SH H1141070
H1141109 BULK 100/PKG *** VALVE BUTTON FELT BB H1141101
H1141139 BULK 100/PKG *** VALVE BUTTON PAD BB H1141130
L0141029 BULK 100/PKG *** KEY CORK(2) FL L0141020
L0141429 BULK 100/PKG *** KNOCK PIN FL L0141420
L0141469 BULK 100/PKG *** PAD SCREW(BS) FL L0141460
L0141829 BULK 100/PKG *** PAD(B)FL2.3.4XX FL L0141822
L1141439 BULK 100/PKG *** PIVOT SCREW(BS) FL L0141430
L1944519 BULK 100/PKG *** PAD CUP PROTECTOR FL L1944510
M0P41430 BULK 100/PKG *** PIVOT SCREW (BS)CL26,27 M0141430
M0P41512 BULK 100/PKG *** PAD (1) YCL3.4.8.9XX M0141512
M0P41542 BULK 100/PKG *** PAD (4) NEW TYPE CL M0141542
N1141729 BULK 100/PKG *** PIVOT SCREW (BS) AS/TS N1141721
N1143099 BULK 100/PKG *** END CAP AS N1143090
N1343389 BULK 100/PKG *** PAD 8B AS62 N1343381
N1343449 BULK 100/PKG *** PAD 14 AS/TS N1343441
N1343509 BULK 100/PKG *** PAD 20 AS/TS N1343501
N1343549 BULK 100/PKG *** PAD (23)(24) AS32 N1343541
N1348559 BULK 100/PKG *** KEY PEARL(5) AS/TS N1348551
N1543329 BULK 100/PKG *** KEY GUARD FELT 2 AS N1543321
N1641719 BULK 100/PKG *** KEY GUARD SCREW (BS) AS62 N1641711
N2041719 BULK 100/PKG *** KEY GUARD SCREW (BS) AS N2041711