In any event the visual differences are so minor that it’s virtually impossible to search the web and create specific galleries of 62, 62E and 62II horns unless you specifically know which one is which - especially considering that Yamaha doesn’t have consecutive serial numbers. I believe it’s because Yamaha introduced some other finishes. The reason WHY there are three 62 models after 2002 (010001, 110001, C0001) is somewhat of a mystery: all the part numbers appear to be identical. The “62II” or “62 Mark II” horns are the ones introduced 2002 and later and are significantly different(different part numbers for the neck, etc.).The “62E” is the “second” model of 62 that has a bit tweaked keywork (the bell, body and neck part numbers are the same).The C, S, CS models are all different finish types.Yamaha lists 12 different alto models on their parts page. There were several “releases” of 62 models. The decor on the bell key guard changed too.” 62 vs. “There were a few other minor differences too – the aforementioned side trill key links, the design of the low C# connecting link, the bell brace and a couple of pillar design changes. There was a new octave key mechanism, based on the Selmer style ball pivot and the thumb rest lost its mother-of-pearl cover. “The design of the G# mechanism changed – the link bar moved to the front of the horn, although I always felt the rear mounted link on the 61 was rather effective. The front F key touchpiece changed from a traditional pearl to a plain brass curved touchpiece (thus improving the ‘hitability’) and the F# and top F# touchpieces lost their mother-of-pearl covers and became plain brass. “The size and shape of the bell key spatulas was changed – they became slightly smaller. The biggest difference was the move to straps on the 62 (whereby a set of pillars is fitted to a brass strip that’s then fitted to the horn) as opposed to the individually fitted pillars on the 61. “For the most part the differences relate to the keywork. Here, I’m going to quote from the Stephen Howard review regarding the changes from the 61 to the 62: Finish Choices: Unlacquered, gold lacquer, black lacquer, matte lacquer, silver plate and gold plate.(The unlacquered finish and gold plate finish are available on the Custom models.) I believe you can get unlacquered and gold plate, as well. Finish Choices: Gold lacquer, black lacquer, matte lacquer, and silver plate.Finish Choices: Gold lacquer, silver plate.However, the player needs to decide if those differences are worth the price disparity between the 62 and those other models. The “cosmetic differences” have nothing to do with the horn’s tone or intonation, but do have a bit to do with playability - such as the recessed mother-of-pearl keywork as opposed to glued-on nylon inserts.
The 32, 52, 475 and 575 share the same body tube as the 62, it’s just that these models may have different necks, bells, brass composition and cosmetic differences. However, the price isn’t always worth it. My opinion, regarding all of the Yamaha saxophones, is that the higher up on the scale, from “student” to “professional,” the better the horn is.
Whether Selmer succeeded in that is your opinion. In my opinion, Selmer discovered that Yamaha and Yanagisawa were going to be “the next big thing” unless they did ”something” - and hopefully the ”something” wouldn’t be too late and cost too much. The 61 was replaced in 1978 by the 62 series, which is a few years before the Selmer Super Action 80 made its way onto the scene ( appx.