For a long time, and even after buying it, it sat for awhile, I really did not understand what it brings to the table…till I played it into pro recording equipment.

I had several issues moving into the world of Suzuki.

First, all the online video recordings of the Sirius 64 and SCX 64 seemed a bit darker in tone than the Hohner, and I didn’t hear many players getting the sound I wanted. I was paranoid the phosphor bronze reeds didn’t have “it.”

I took the leap and bought both the SCX and the Sirius at the same time. Please don’t ask me to explain that move, it was the only way I could be sure of either. Even I admit it was a peculiar choice.

I’ll speak to what counts first then get to the secondary points.

It’s tone on professional recording equipment in or outside a studio is very good indeed…full rich tonal saturation, and a resistance to going off pitch which is always a consideration with draw notes on the chromatic, if you want to apply a symphonic musician’s ear.

Velvety smooth, lovely, rich are words people say when they hear it on a recording.

The Sirius build quality is good…the mouthpiece is solid brass with silver, the covers are brass with black non shiny chrome, wonderful rounded 2-piece mouthpiece, slide like butter.

Sirius had its beginnings with a famous harmonica, THE SUZUKI MAGIC GARDEN designed with help of the International Conservatory of Music in Paris harmonica wonderkind Claude Garden-Jardin, who died soon after the instrument’s debut…he was a master of phrasing and technique, although not equal to Tommy Reilly…who played on a solid silver Hohner.

The next step on the road to Siriusville was Suzuki’s work with Gregoire Maret.

There are other design niceties to this instrument…weighted brass inserts which apparently make a noticeable difference in the low notes.

The instrument ruled the roost some years ago, but the new Suzuki Symphony models are very strong competitors, and you get full parts availability with Suzuki.