Thus far from what I can tell, either make are good buys.It is so easy to tell a Yamaha-made horn from a KHS one, my question is “who cares?” On alto the J-curve keyguard is a dead giveaway, and on tenors the low C-Eb pinky table is too. To say nothing of bell brace differences, neck octave keys, and many other things.
Vito Pascucci, LeBlanc USA President, made sure that stencils sold under the LeBlanc name were quality instruments to uphold the LeBlanc name and heritage. Even though billed as student models, they are IMO of intermediate quality.
If one thinks about it, a parent steps into a music store with their child. The salesperson shows these then available student models. Shown are Selmer Bundy's, a LeBlanc Yamaha Vito or Jupiter Vito, Yamaha YAS-21, etc. maybe an Amati. All look beautiful in their cases. The LeBlanc's are priced a touch cheaper. Guess what the parents opt to pay for?
Student is struggling with their sax playing. Band teacher borrows their Jupiter Vito sax, finds it plays without problems. Then concentrates on helping this student overcome a learning hurdle.
In another Café thread I mention my purchase of a used 1952 Model 37 Beaugnier Vito alto with high serial number placing it probably in the early 1960's. (They kept making them that long.) For around $550 after professional servicing by Tarpley and a new case is one of my new keepers. It has such a beautiful tone being a large bore sax if one doesn't mind using a 1940's left pinky table. Someone mentioned in Café that a pro is using this as his backup sax in venues where he doesn't want to risk harm to his expensive pro sax.Also easy to tell a Beaugnier-made Vito, which in my opinion are preferable (with the possible exception of the Yanigisawa-made sopranos).
I think that in time we will find the missing pieces to help further clarify these Vito manufacturing histories. But, you do make a good point that the more important matter is that one be happy with their ownership and that those interested in finding used saxes that make good players to not overlook the Vitos.I do understand the interest in clarifying the historic timetable, and I commend those who are doing the research. It’s unfortunate that these excellent instruments are less well known, and often looked down upon. And many records which would clear these questions have been discarded or otherwise lost. Vito is a small sub-niche in what we must admit is a niche subject; namely, the history of saxophone manufacturing.
