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Discussion Starter #1
I'm interested in learning more about how the Mauriat 66 RUL and the Yamaha 82Z UL tenors compare. I'm currently in the market for an 82Z tenor, but have read lots and lots of testimonies in favor of the Mauriat 66 URL, to the point where my cusiosity has been stirred. This tenor will be a back up for my 73XXX MK VI, which will then be sent to Randy Jones for an overhaul.

I'm also very interested in learning more about which finish you recommend for the Yamaha. I don't enjoy that much the unlacquered finish, but do believe that the finish does makes a difference. So, though I'm partial to regular gold lacquer, I'm also looking at the unlaquered and silver versions as well. Your comments will be greatly appreciated.
Thanks!
 

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I played an 82ZUL for about 6 years, until I got my Mark VI. I personally think the 82zUL is the perfect backup horn for a Mark VI. The yamaha was the closest thing to my Mark VI out of many horns that I have played. I tried a P. Mauriat URL for a while and I didn't care for it. It is much more free-blowing than the Selmers or even the Yamahas in my experience. I think the Mauriats would make great rock horns because the one I played was probably the loudest horn I've ever tried. A lot of my friends love the 66URL though, and they are great horns. But if you're looking for something similar to the Mark VI as a backup, I would choose the 82ZUL.
 

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Discussion Starter #3
Ekdowlin,

Did you try the silver plated 82Z as well? Have you had experience also playing 82Z with and without the high f# key?
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I only played the unlacquered 82z. It did have the High F#
 

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I haven't tried an 82Z,although I would like to, but in case this helps, I'll say that my PM66RUL is very free-blowing (maybe a bit too much?) and it's got a big, warm sound that I personally love, with lots of harmonics. The only thing that I don't like is that it tends to get greener and greener as times passes, and I do clean it even time I play on it. But some people don't care and actually like this feature.
 

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I played an 82ZUL for about 6 years, until I got my Mark VI. I personally think the 82zUL is the perfect backup horn for a Mark VI. The yamaha was the closest thing to my Mark VI out of many horns that I have played. I tried a P. Mauriat URL for a while and I didn't care for it. It is much more free-blowing than the Selmers or even the Yamahas in my experience. I think the Mauriats would make great rock horns because the one I played was probably the loudest horn I've ever tried. A lot of my friends love the 66URL though, and they are great horns. But if you're looking for something similar to the Mark VI as a backup, I would choose the 82ZUL.
Wow I would never say the Z in the sounds like a VI. Maybe I have just tried the wrong Zs. The Z has a much smaller drier sound IMO.
 

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theya re both excellent horns though, and you would not be dissapointed with either for sure!,it all comes down to feel,and the sound you are looking for i think..
 

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Wow I would never say the Z in the sounds like a VI. Maybe I have just tried the wrong Zs. The Z has a much smaller drier sound IMO.
Agreed, the z has a smaller and drier sound than the VI. It just seemed to me to be the closest thing out of the horns I have played. Perhaps a Martin Committee that I played came closer.
 

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I have played a 82Z (not the UL) for a couple of years and later switched to a Mark VI. In my opinion they sound very different. "Dry", clear, crisp... and just not that Selmer sound would be my comment on the 82Z. The 82Z has a lot of power and comparing to the Mark VI it was much louder playing not with a mic. I can't speak for the UL but only for the regular Z, it is in my opinion a great horn but soundwise not a Mark VI clone at all.
 

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The 66RUL is a great horn. It is very freeblowing and open. To me it is more reminicent of the american vintage horns than a VI. When I fisrt started playing P. Mauriat saxophones I had a system 76 DK Tenor and I loved it so much that I sold my beloved selmer. The PM simply blew it out of the water. The sound was richer and the scale was way more even. I have no regrets selling that horn. Recently though I got myself a 66RUL and I love the power and richness that that horn has to offer, it does what I need when I need it to. The sound is different than the 76, it has a bit more presence. In terms of a backup to a VI, I would recommend this, but you might want to try out the system 76UL, Bob Reynolds thought that it was closest to his VI. IMHO, I think that the 82Z is lacking something in the sound. I can not get a full rich overtone spectrum when I am doing my classical work. And for me the sound of the 82Z doesn't travel very far.
The best way to figure this out is to try them all out and see for yourself. Every VI plays different. After 35 years or so of different owners and multiple repair techs working on a horn, they will all play a little different, but will keep that same tone. Try out many different horns and fidn the one that you think will work best for you.
 

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Discussion Starter #12
I really appreciate all your comments. I feared that the rolled tone holes of the 66RUL would this horn sound similar to a Keilwerth, but that's not what I'm gathering from what I've read so far. I will check the 76UL as well.
Any comments on the high F# key will also be appreciated. Some swear that horns without it sound better.
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All of my P. Mauriats have a high F#. And I don't feel as if it takes anything away from the sound. I know what you are talking about about how some horns sound "different" with the F#.
 

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Hi everyone,

I have one big question for all you cats that played a VI, IF you had to take one horn to replace your VI on all of your playing situations, would it be a 66r, 76, or a Z. in other words, what axe in you opinion would have the most balanced attributes?
 

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I had a five digit Mark VI and am now playing a silver Z. I get to play a VI every week at my band rehearsal 'studio'. And it is my least favorite of all the horns I and the 'studio' has available. 'Balance' is where the Yamaha horns reign supreme, they are so balanced and even-scaled that some will refer to this balance as 'lacking in character'.

Whenever someone says a horn has such a 'great mid-range' (or low end or high end) I think of that girl that has such a 'great personality'!
 

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Discussion Starter #16
Hgiles,

Have you experienced with other necks on your silver 82z? G1, G3, unlacquered, lacquered...etc.
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I tried a lacquered G3 neck once and liked the core, warmth, and torque it added, but it was at the detriment of clarity, brightness, and power. Different, not necessarily better, yet a nice compliment to the G1. In fact I am looking for a silver G3 now.
 

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Discussion Starter #18
I'd love to find out how the silver G3 compares to the original silver G1, when you get it.
 

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Hello all,

I played my last VI tenor for 20+ years, 106,XXX, a very nice VI, one of the darkest I'd ever played, I find most VI's to be on the bright or 'upper mid heavy' end of the frequency spectrum (for lack of a better term...), all in a very positive way. I play naturally fairly bright and had been wanting to get more of a 'spread' sound in the last several years. In my attempts to do this, I bought & played an unlacquered 82Z for about four years, kept the VI, but much preferred the Z. I don't agree with those that think Z's are quite similar to VI's, not at all to me. As an aside, I had the high F# key removed and the tone hole filed down, patched... The Z was far more 'spread', and 'drier' would apply (used in a post above) as well. The pitch was far superior on the Z, altissimo slightly easier on the Z as well (for me). I then tried a 66RUL and did ..not.. want to make the switch, I was by then endorsing Yamaha saxes and quite happy.

I played the 66RUL a few times and could not deny the difference in sound, it was much, MUCH bigger and more interesting (to me) than the Yamaha and I prefer free blowing horns (but cannot deal with the difficult ergonomic 'feel' of a 10M), the 66RUL is very free blowing, to me, sounds closest to a Conn 10M. I've become so comfortable with the P. Mauriat 66RUL that I've now sold the VI, happy to pass it on to a student. I'm very pleased to now be an endorser for P. Mauriat saxophones. (and I play the 66RUL without the F#, just 'because')

Of course, it's all deeply personal, one player calls VI's 'dark', 'spread', etc., and the next (me) refer to them being on the 'bright' & 'focused' end of sound, go figure, to each his own, of course.

As much as I enjoyed the Z and felt it a far superior tenor to my VI (and all other VI's I'd played over a lifetime), the 66RUL is far superior again, in every aspect, to the Z. Best of luck with your decision, enjoy.

best, DC
 

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I had 2 66RUL'S,1 66R Vintage lacquer and 3 Z tenors.For me there my fave 2 modern horns going.They 66RUL has a darker sound for me,HUGE sound,free blowing but very easy to play and has a thick core to it.The Z for me has better ergonomics,Yamaha are the best for this,but thats my taste.The Z is atad more flexible i think,more zing to it.Not bright but just has that singing vibe.It can match the 66RUL for projection and a huge bottom end.I love both but for me the Z has the edge but only just.Both are monster horns,you can realy push lots of air in them but again both can whisper with a tiny bit of air.Had a silverplate Selmer 3tenor also flexible and was in this sound scape.Had MK6 horns and lots of others but the Z and 66RUL are in 1st,2nd and if a 3rd i would put the silver serie Selmer II.I hate dead and stuffy horns,i like a free blowing tenor.
 
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