I actually like it when the sound of my instrument is not built in. It can be difficult to differentiate between the pure quality of an instrument's metal and the sonic tampering heard with over-lacquering. I find this especially true with silver lacquered horns.
The latter is a little bit like having sonic training wheels. But training wheels are only useful when you don't know what you're doing. However, when you learn how to really ride your bike, metaphorically speaking, then the training wheels become more of an obstacle than an aid.
Now, having said that, I do find that the sound of this unlacquered horn to be non-specific: meaning that the instrument doesn't do the work for you. It's comparable to eating plain yogurt versus eating the kind that comes sweetened with bananas and strawberries. Which is fine by me. I'd like to think that I can provide my own charisma, my own sweetness if you will. I don't need a pre-fixed sonic template.
And I can certainly understand why saxophonists who don't play the soprano on a regular basis would choose not to play one that is unlacquered. I've found that you have to work much harder to get a sound that's unique or special in some way. This is something that many don't have the patience for--sometimes I don't have it myself.
During my second concert, my solo show at DMG, I got a chance to hear how well it responds to extended techniques, which can be kind of tricky--particularly the multi-phonics. It took me a few tunes to find my sound, but when I did, I was able to get into a comfortable creative zone.