“It is true that the Yamaha guitar is really powerful.”
That’s what Suzuki wanted to say. “But that’s exactly why our music is beautiful and it’s a problem we have.”
The music industry, he claims, has allowed its values to become “very narrow”, and that has helped to create a “troubled relationship” with the customer.
I ask if Yamaha has taken any steps to reverse the changes in Yamaha that have come about over the years, and if there has been any progress, not just towards improving on the models that were designed over 30 years ago but also beyond them.
“Everything has been done to make things better, but I hope I’m wrong,” he says. At the moment he says things are looking good for a change back to the earlier design.
I ask if his own design philosophy is different from what many other violins make today and from what other violin makers make at the moment, and whether that has been discussed with Yamaha.
It was suggested by Suzuki that his “original design style” was to do things one step at a time, to develop things gradually in a very systematic way, and that has led to its current shape.
Suzuki has been the subject of much discussion in regards to its history of using the designs of famous violins, from a number of famous violins to what is essentially considered to be a Yamaha, but it has always been fairly open to debate and to allow Yamaha to bring their new lines in for comparisons. And then to try to push the Japanese company further towards their own direction.
Suzuki also has other products, and it still is in a very early stage of designing brand new products. So much so that Suzuki still hasn’t even started to work on the new products.
The last big move that will have an impact on Yamaha over the next few years will be the launch of what Suzuki refers to as the brand ‘New Yamaha’, which will be about three years away. And it seems Suzuki has had a fairly open and honest dialogue with the company over the past few years, but this isn’t about changing who they are now.
Suzuki says: “What we tried to do was to take inspiration from other violins at the time but also do things differently. Of course we’re very sensitive to the history of our instruments, but we wanted to make something that could be considered contemporary with the brand as well.
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