Forced to use a wheelchair in his final years, Schilke still continued to visit Japan and offer his guidance until 1981, one year before he passed away. He likely felt conflicted internally about Yamaha’s new direction, which departed from his own ideal, as evidenced by occasional friction with a young Okabe, whose devotion to the other instrument was clear. However, despite Schilke’s dominating presence at Yamaha, Okabe held strong to own his convictions and was never afraid to express his ideas. Hiroaki Imaoka, who witnessed the interactions of these two men firsthand, insists that "even if the direction of their courses differed, they both shared the same goal of forging ahead toward new heights." Imaoka remains confident that the evolution of Yamaha trumpets was supported by the passion of both men.
In 1982, the new post-Schilke type Custom trumpets were released. In addition to the adoption of a "one piece bell*1", all of the new models featured design changes to key components which addressed long-standing issues and vastly improved overall quality.
After graduating from a music college, Imaoka began working at Yamaha and joined the design section in 1980, which means that he shared responsibility with Okabe for the company’s first major trumpet model redesign. "The most characteristic feature of the post-Schilke type models was the addition of a single brace," he explained. This brace gave the instruments the mellow and clear sound demanded by many. "Up until that point, even if players chose a Yamaha for their first instrument, they often decided to purchase another brand once they had improved, but I think that slowly began to change with the introduction of the new models," Imaoka continued.