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Hello all, long time lurker! I have a quick question for some of you repair specialists and wondering if you can help me pin down the issue of my problem before I go to a repair tech!

A few months ago i acquired a Vito/Yanagisawa Bari (B6) and just recently started playing it. It’s had some work recently done after I received the sax (bad pads replaced and horn brought to playing conditionl). I ended up replacing the original neck with a Bronze Yanagisawa neck to fix some super sharp palm keys. This neck change exposed an issue I did not notice prior. G/G#’s in both high and low octaves are running flat (10/15 cents) and the A’s about 7-10 cents sharp. In both octaves, especially in the high one, there is a weird resistance to these three notes

Now my question is what can be causing this problem? I know for a fact that I definitely need to get the new neck fitted for this sax which is one factor I can name right now. Unfortunately the same Issue with the three notes shows up with the previous neck as well and I want to have an idea before I head to a repairman in the next few days.

Any help would be greatly appreciated!
 

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From my experience with Yanagisawa B6 horns I can say that the current model necks would seem to be no different from the originals.
I frequently moved from the original to a 901 neck and noticed that the intonation was perhaps the the best one could expect from any baritone with either.
7-10% on a couple of notes, I’d say your doing well.
These notes are not the best on any horn, especially one that’s new to you.
My recommendation is to just relax and get to know your horn.
These minute issues work themselves out in time.
 

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JS Crescent, JS NOS, Selmer SBA, Couf Superba I, Conn, Buescher, King
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^ Useful notes, to me.

Also worth adding, re Yanagisawa in general, but my own experience is mainly sop, alto, tenor: 901 necks and 991 necks are generally interchangeable, but have very different tonal/response characteristics and slightly different intonational patterns. If you have a 991 and have never tried a 901 neck on your horn, or vice-versa, it's worth experimenting with if either (a) you find your 991 pitch center more locked in than you like, or (b) you find your 901 lacking in "sparkly ring." I'm using the alto necks as the model for my comments here.

To me, the 901 necks have a more VI-ish quality, except with more raw power and thickness. The 991 is more ringing. I prefer the 901's pitch center, personally, to the 991's, as I like more flexibility than most 991 necks inherently have.

Necks influence results on bari much less than on sop/alto/tenor, so this is more for the other Yana pitchings.
 

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Discussion Starter #6
From my experience with Yanagisawa B6 horns I can say that the current model necks would seem to be no different from the originals.
I frequently moved from the original to a 901 neck and noticed that the intonation was perhaps the the best one could expect from any baritone with either.
7-10% on a couple of notes, I’d say your doing well.
These notes are not the best on any horn, especially one that’s new to you.
My recommendation is to just relax and get to know your horn.
These minute issues work themselves out in time.
After finally playing a good amount on the horn you were in fact correct, I wasn’t voicing or supporting those those notes as I should have, I blame being solely a tenor/Clarinet/flute player for the past 3 years for my job!

As for what ptung suggested, he is correct in saying that the neck responded differently. The Yani Neck is labeled a 92 and is made of bronze. Compared to the original neck it seems to round out the sound a little bit. Oddly enough it is just a tiny bit longer which might explain why it plays better in tune on the palm keys, which is getting better as I play the original neck more! Hoping to get the Yani neck fitted within the neck few weeks and I will be a happy player. Thanks for the suggestions!
 
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