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So, I honestly searched SOTW for this thread and I couldn't find one. Seems like a common question though.
Just curious-- what changes did Yamaha make in the EX? Just neck design? People talk about the EX being more classical...so what's different?
Also, I'm looking at buying a soprano. Anybody have any words of wisdom with the original customs vs. the new EXs?
Thanks for your responses.
 

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Depends on what horn you're talking about. From what I hear the EX soprano is about the best around right now. I believe they changed the neck and some other stuff on the body. I know the EX Alto could be considered geared towards classical but I don't know if I'd say that about the soprano.
 

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The EX alto is the original 875 with a minor facelift: Some ribbing has been removed to free up the sound, and a two point bell brace is added instead of the 3 point brack. Also, the pearls are smaller, and the LH pinky spatula is smaller. Lastly the octave linkage was revamped for smoother action.

Regarding the EX soprano, this horn is an -entirely- new one. First, the G2 neck was designed, and the rest of the horn was designed around it. The EX is about as close to perfection as it comes. Intonation is spot on, ergos are amazing, and the sound is incredible.

Steve P
 

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Steve, thanks for the clarification on the EX alto. You should be paid by Yamaha because you have me THIS CLOSE to going and getting one. ;) Just haven't been 100% happy with my Yanagisawa.
 

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Pat,
Glad I can help. I actually recently played the Yani 992 and EX sops side by side... For me, the EX was the winner, hands down. The ease of playing just cant be matched. It requires no effort to play, physically. No keys feel out of place, slow, or clunky at all. And the sound is just what I am looking for. The Yani was definitely a fantastic horn, just not what I was looking for.

Steve P
 

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Oops, I should have mentioned soprano, not alto.
 

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Know a good dealer where I can buy a YSS-875EX? ProWinds is out of stock and my local shop doesn't seem interested in getting me one.
 

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patseguin said:
Know a good dealer where I can buy a YSS-875EX? ProWinds is out of stock and my local shop doesn't seem interested in getting me one.
If you're willing, drive to WWBW and play test it before you buy it. Believe me, it's worth it. That's how I got my Alto EX.
 

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Steve P said:
...Some ribbing has been removed to free up the sound, and a two point bell brace is added instead of the 3 point brack...
I'm always curious about this description of one of the side effects of 'ribbing'. It is my general understanding that it is done to:
1) improve the ease of getting precise assembly and 2) to make the horn more rugged over it's life by supporting the posts more solidly against damage (but also limiting the ability to repair and fine adjust for wear).
The most free, resonant horn that I have ever owned or played is my Yamaha Z tenor, and aside from the Yanagisawa 880 series, is the most rib-heavy horn I have seen. Probably 30-40% of the main body tube is double thickness. I've also found that my Keilwerth horns, while having a room-filling, big sound, are neither resonant, nor free-blowing; they have no ribs and the smallest possible foot on all the posts.
Ribbing does make a horn noticeably heavier...from some weighing, I would guess that the ribs add close to a pound to a tenor (at least in the Yani 90x-99x)
 

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vivace1 said:
People talk about the EX being more classical...so what's different?
Sigh...

There is NO SUCH THING as a classical- or jazz-oriented instrument. The only 'thing' that is oriented in that respect is the player. Case and point: Alex Han plays a Yamaha 875. It--he--sounds pretty jazzy to me.

vivace1 said:
Just curious-- what changes did Yamaha make in the EX? Just neck design?
The last of the 875 horns came with G1 necks standard (at least the altos did; can't speak for tenors since I bought an earlier 875 which came with an M1). So technically the neck was not changed from the 875 to the 875EX.

vivace1 said:
Also, I'm looking at buying a soprano. Anybody have any words of wisdom with the original customs vs. the new EXs?
Steve P says the soprano is redesigned but I haven't verified that myself, nor do I think I ever will since it seems I'll never go back to straight sopranos.
 

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shmuelyosef said:
I'm always curious about this description of one of the side effects of 'ribbing'. It is my general understanding that it is done to:
1) improve the ease of getting precise assembly and 2) to make the horn more rugged over it's life by supporting the posts more solidly against damage (but also limiting the ability to repair and fine adjust for wear).
The most free, resonant horn that I have ever owned or played is my Yamaha Z tenor, and aside from the Yanagisawa 880 series, is the most rib-heavy horn I have seen. Probably 30-40% of the main body tube is double thickness. I've also found that my Keilwerth horns, while having a room-filling, big sound, are neither resonant, nor free-blowing; they have no ribs and the smallest possible foot on all the posts.
Ribbing does make a horn noticeably heavier...from some weighing, I would guess that the ribs add close to a pound to a tenor (at least in the Yani 90x-99x)

The Keilwerth has a bigger bore than the Yamaha, which is what gives it the "room-filling, big sound" and keeps it from beeing as free-blowing.
 

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The EX Soprano -is- a complete redesign. No need to verify it; I speak the truth! :) The design was a collaboration between Jean-Yves Fourmeau, Otis Murphy, and Nobuya Sugawa. The G2 neck was designed first, and the rest of the instrument was designed around that. Hence, if you were to put an m1 soprano neck, or f1 on the EX, it would not play in tune or respind correctly.

Steve P
 

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Steve P said:
The design was a collaboration between Jean-Yves Fourmeau, Otis Murphy, and Nobuya Sugawa.
Ah, so the EX soprano must be a classical-oriented horn! Jazz players beware! ;)

Steve P said:
The G2 neck was designed first, and the rest of the instrument was designed around that. Hence, if you were to put an m1 soprano neck, or f1 on the EX, it would not play in tune or respind correctly.
That's interesting. I guess auditioning the both of them together is now on my list of things to do. It's somewhere near the bottom of the list but it's on there now!
 

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Yea, I have a gold plated F1 soprano neck, and it put it on my EX one day in a rehearsal, and couldn't figure out why we couldn't lock in our tuning. Then, I turned on the tuner. It was very interesting how big of a difference it was!

Steve P
 

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875 EX versus 82Z

I am a bit ashamed to be posting this, because until now, I have been a faifthful selmer guy. However, desperate times call for desperate measures, and I have - reluctantly been looking at just a few yamahas.

Basically, I'm wondering what the real difference is between a yamaha 82 Z and a yamaha 875 EX. Pros - cons - and suggestions would be greatly appreciated. Which is better? is one better than the other? and which one is cheaper?
 

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Keegan802 said:
I am a bit ashamed to be posting this, because until now, I have been a faifthful selmer guy. However, desperate times call for desperate measures, and I have - reluctantly been looking at just a few yamahas.
Why should you be ashamed? If you're a smokin' player then it shouldn't matter what horn you play on as long as it does the job for you, right?

Keegan802 said:
Basically, I'm wondering what the real difference is between a yamaha 82 Z and a yamaha 875 EX. Pros - cons - and suggestions would be greatly appreciated. Which is better? is one better than the other? and which one is cheaper?
The 82Z is the 62 with the Custom brass alloy and Custom G1 neck. I played the 875 since its introduction in 1990 until 2004 or so. Given a choice, I'd pick the 82Z over the 875 without question. In short, the response is better. Given the choice between an 82Z and a 62? 62, hands down.

Lastly, the 82Z is cheaper.
 

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SaxyAcoustician said:
I played the 875 since its introduction in 1990 until 2004 or so. Given a choice, I'd pick the 82Z over the 875 without question. In short, the response is better. Given the choice between an 82Z and a 62? 62, hands down.

Lastly, the 82Z is cheaper.
If you put the 62 ahead of the 82Z and the 82Z ahead of the 875, why did you play the 875 since 1990 when the 62 has been out much longer?
 

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bfoster64 said:
If you put the 62 ahead of the 82Z and the 82Z ahead of the 875, why did you play the 875 since 1990 when the 62 has been out much longer?
The 875 was my first pro horn and was recommended to me at the time because it was the "top-of-the-line" (I was in 9th grade. What did I know?). If something is introduced later and is more expensive, it's gotta be better, right?

It took a while to realize that a good horn is a good horn. Has nothing to do with price and when it was designed and produced.

I didn't try the 62 until the 62II was introduced. It was around the same time I started to idolize Dave Koz too. :)
 

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Steve P said:
Pat,
Glad I can help. I actually recently played the Yani 992 and EX sops side by side... For me, the EX was the winner, hands down. The ease of playing just cant be matched. It requires no effort to play, physically. No keys feel out of place, slow, or clunky at all. And the sound is just what I am looking for. The Yani was definitely a fantastic horn, just not what I was looking for.

Steve P
Have you compared it to the Yani 901 by any chance? A good many players seem to prefer the 901 over the 992 sop.
 
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