[reedytolearn]

Hey Sax On The Web!

I'm a multi-instrumentalist composer that has always loved the sound of the saxophone. Lately I'm finding a lot of opportunities to put the (sampled) instrument into my work and am finally able to rationalize investing a few thousand dollars / hours into buying and practice with the goal of tracking myself instead of using the samples I'm currently using.

Sonically, I'm looking for something that may actually be the opposite of what many on here seek: a tenor that is bright, clean, focused, and not too "vintage". This is because it's substantially easier for me to add character/dirt to a clean instrument to make it fit in a range of contemporary genres (pop, rock, electronic, etc.) than to go the other way. (I understand the mouthpiece also plays a part in this and will be selecting accordingly.)

I have minimal experience with reed instruments (just two years of Clarinet in school, 20+ years ago), but I prefer to buy a quality instrument that I'll grow into and keep a long time versus something disposable. Budget maxes out at 3.5k. I know that buying new leaves a lot of money on the table, but I think my complete ignorance of the instrument + COVID probably makes buying used time/cost/health prohibitive, unless there are some reputable used dealers that I can safely purchase from.

Based on my browsing and listening tests the YTS-62iii has emerged as the early favorite, but I'd love to hear any recommendations on other horns and/or places to purchase in the Los Angeles area (if at all possible I'd like to support a small shop during these times!)

 

[ZootTheSim]

I'm no expert, Reedy, but any Yamaha will likely do the trick, even an entry-level YTS-23--if it's in good shape, you really can't go wrong. If you want a more rare beast, I recently picked up an absolutely amazing B&S tenor that can get quite bright. In fact, I had to switch to a more muted reed and less edgy mouthpiece to do it justice. Call me a new convert, but I like to think of it as a modern horn with a vintage soul.

They don't come up for sale too often, but at the moment there are a couple on the forum. Member Jerry K. has a nice-looking B&S for sale in the San Diego area, and buddy lee has a top-of-the-line B&S Medusa in Florida:

https://forum.saxontheweb.net/showthread.php?377004-For-Sale-B-amp-S-2001-Tenor-Excellent!!!

https://forum.saxontheweb.net/showthread.php?377416-FS(-)-B-amp-S-Medusa-tenor-(gold-brass-3-necks)

 

[click]

I'm no expert, Reedy, but any Yamaha will likely do the trick, even an entry-level YTS-23--if it's in good shape, you really can't go wrong. If you want a more rare beast, I recently picked up an absolutely amazing B&S tenor that can get quite bright. In fact, I had to switch to a more muted reed and less edgy mouthpiece to do it justice. Call me a new convert, but I like to think of it as a modern horn with a vintage soul.

They don't come up for sale too often, but at the moment there are a couple on the forum. Member Jerry K. has a nice-looking B&S for sale in the San Diego area, and buddy lee has a top-of-the-line B&S Medusa in Florida:

https://forum.saxontheweb.net/showthread.php?377004-For-Sale-B-amp-S-2001-Tenor-Excellent!!!

https://forum.saxontheweb.net/showthread.php?377416-FS(-)-B-amp-S-Medusa-tenor-(gold-brass-3-necks)

I am no expert myself.

I do agree with Zoot about the YTS 23.

I would also add that it might take a long time for you to get the sound you want, unless you are a prodigy, or have 8 hours a day to practice.

The best way to get there, I believe, is to get a student or classical mpc at first and work on fundamentals, getting a solid, round, full sound under control before getting a higher baffle mpc and working on that bright focused modern sound. Gaining control might not be that easy at first.

I would recommend getting a tutor.

In sum
Get a used YTS 23 and a Brilhart 4 or Yamaha 4C mpc at first.
Work with a tutor.
Once you get close to where you want to go, adjust with a different mpc and a different horn if you need to.

https://forum.saxontheweb.net/showthread.php?3593-Good-sound

https://forum.saxontheweb.net/showthread.php?223303-How-long-until-you-sounded-decent

 

[soybean]

Another vote for B&S.

 

[Cal Jazz Cat]

When I want a modern bright Sound I use a Yamaha 82Z II that comes with metal resonators. Used they are within your budget.

 

[Dr G]

When I want a modern bright Sound I use a Yamaha 82Z II that comes with metal resonators. Used they are within your budget.

Yes, an experienced player might get a bright sound from that setup, but a beginner will suck equally well regardless of reeds, mouthpiece, and horn.

+5 to get a working horn, a decent mouthpiece, some good reeds, and a teacher.

 

[JayeLID]

Resurrected thread ( a bit ).

I guess the thing which puzzles me about the thread is...if for a recording, and if the OP already has the know how to "add sonic character to a clean sounding instrument"....one would not need to make a horn choice in order to produce a 'bright sax sound' on a recording.

Does it matter of the horn is a Conn Director or Yama 82 ? Keilwerth ? Amati ? Selmer ? Cannonball ? Bundy ? Buffet ??? King ?

What model sax is so 'dirty sounding' that it'd actually be a challenge to give it desired equalization on a mixdown ????

Just play the axe and let the sound engineer (in this case perhaps the OP himself) do their stuff during mixdown, no ?

 

[turf3]

Keep in mind that the OP doesn't know how to play saxophone, doesn't own one, has only played clarinet in the beginning band 20 years ago, and wants to get a Gerald Albright sound for recording projects, and thinks the Yamaha 62 might be the right horn.

And, OP posted one time, 2 months ago, and has never been back.

I'm not gonna waste any more electrons.

 

[datsaxman]

What Turf said. A driveby post.

 

[GHawk]

I'm not gonna waste any more electrons.

Sharing is caring...I mean, covalent.

 

[datsaxman]

Sheesh. Chemistry jokes is it??

Do not get me started ...

 

[Cal Jazz Cat]

Yes, an experienced player might get a bright sound from that setup, but a beginner will suck equally well regardless of reeds, mouthpiece, and horn.

Hey Dr G. Perfect example on why I rarely post. My understanding was that the 82Z was based on the 62. The OP wrote that he was thinking of buying a 62 so I thought my suggestion was valid. Fortunely someone with much more sax knowledge than I was here to correct my misinformation.

 

[turf3]

Hey Dr G. Perfect example on why I rarely post. My understanding was that the 82Z was based on the 62. The OP wrote that he was thinking of buying a 62 so I thought my suggestion was valid. Fortunely someone with much more sax knowledge than I was here to correct my misinformation.

You missed the part about someone who's never played saxophone in his life making a drive-by post to ask about whether one top line sax might have a lightly brighter tone than another.

 

[reedytolearn]

You missed the part about someone who's never played saxophone in his life making a drive-by post to ask about whether one top line sax might have a lightly brighter tone than another.

Hey, OP here.

I actually responded, quickly and at length, and that post has been stuck in moderation for four months. Hopefully you can understand why that discouraged me from further participating in the forum. I'm guessing this one will suffer the same fate.

FWIW I wound up going with the YTS 62.

 

[reedytolearn]

Resurrected thread ( a bit ).

I guess the thing which puzzles me about the thread is...if for a recording, and if the OP already has the know how to "add sonic character to a clean sounding instrument"....one would not need to make a horn choice in order to produce a 'bright sax sound' on a recording.

Does it matter of the horn is a Conn Director or Yama 82 ? Keilwerth ? Amati ? Selmer ? Cannonball ? Bundy ? Buffet ??? King ?

What model sax is so 'dirty sounding' that it'd actually be a challenge to give it desired equalization on a mixdown ????

Just play the axe and let the sound engineer (in this case perhaps the OP himself) do their stuff during mixdown, no ?

Two reasons, mostly comes down to philosophy and workflow.

First, as an engineer my goal is always to get things as close to the printed sound as possible when tracking. Second, as a player, I want as little dissonance as possible between the sound that I'm hearing in my head for the track and what I'm getting out of the instrument. No point in thinking "this sounds dull but I'll fix it in post" if I don't have to!

 

[reedytolearn]

Hey Dr G. Perfect example on why I rarely post. My understanding was that the 82Z was based on the 62. The OP wrote that he was thinking of buying a 62 so I thought my suggestion was valid. Fortunely someone with much more sax knowledge than I was here to correct my misinformation.

I did end up looking at these in my search. Was a valid suggestion, thank you!