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Discussion Starter #1
Hey everyone, need some advice here.

Will it be considered a downgrade if I replace my Mark 7 alto with a brand new Yamaha YAS 62?
 

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It's a downgrade only if you care about what others think. If you like it better than the mark 7, it should be ok for you. What is the appeal of the YAS62. If it is about ergonomics you may also consider other used modern Yamahas or Yanagisawa models.

Alphorn
 

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I don’t think it would be a downgrade, they are both top of the line saxophones.

Would I do it? Probably not, but then again I like the 7.
 

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Save yourself some money and get a used 'original' 62... by that I mean 1 piece key guard for B/Bb/C real MOP key touches, stainless springs . Try a VI neck and you will have one smokin' alto that's built to last and will play anything you throw at it.
 

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Is not a matter of downgrading, it is a matter of differences
They are completely different saxophones regarding the sound, the keywork layout, the blowing and the feeling in general
So I strongly strongly strongly suggest you to go to the store carrying your M7 and compare it to the 62 on every aspect before sell
btw, the only 62 I would take into consideration is the vintage purple logo
 

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MVII is worth more in the market, but players are going to recognize a 61 or 62 as an equally legitimate professional horn. Maybe the smarter horn, being equal, yet cheaper to own. So if you like it more, don't hesitate.
 

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I bought the YAS 111 about 6 weeks ago and i am so impessed with this version of the 62 i also own the SA80 11 which is not that different from a MK 7 imo and they are both super instruments.
 

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Hey everyone, need some advice here.

Will it be considered a downgrade if I replace my Mark 7 alto with a brand new Yamaha YAS 62?
Why do you want a new YAS 62? What is lacking in your Mk VII? I would suggest that you first make sure that your Mk VII is in top condition, else what you are buying may just be a horn with fewer leaks. Maybe that is the upgrade you actually need (ie a repad or overhaul). If you are going to keep a horn, an overhaul is worth the investment. I wish I had known a good tech when I sold my Balanced Action many years ago. If I had known then what I know now, I might well still be playing that horn - I thought it was worn out.
 

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A Selmer Paris alto should be the top dog in any alto fight. You can make all the excuses you want, but I suspect the MK 7 just looks bad and probably needs an overhaul and you think you're tired of it and you're going for the 'bling'. There's a long-time alto man locally who still has his original MK 7 alto and he sat in with me a few times. He gets a wonderful woody, round sound from it but depending on the mouthpiece and how you play, it could do anything - and you already own one! It actually was this that caused me to re-evaluate my Selmer USA alto. I changed necks, did some modifications to my Studio mouthpiece, made some adjustments to the horn and cleaned/lubed it. It is now more in tune, more even in voicing and less 'edgy' - more full and complex. At this point I'm the most satisfied with it than I have been since I bought it new in 1983.
Do what you want, but make sure to convince yourself that you won't be making a mistake that will haunt you forever.
 

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A purple logo 62 will almost certainly hold it's current value and likely increase against one of the later 62 series, or a new one. Your VII is currently seen as a sort of Selmer 'also ran', but this was still Selmer's one and only top level horn at the time. The models that followed, along with the current spread of various iterations mean there is no longer really a single top Selmer model, but a variety of them. Same with Yamaha.

Keep the VII, and look for a pristine purple logo 62 (much less than a new one, a great horn, and with somewhat of an icon status).
 

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+1 re purple logo 62s, I still have my purple logo yas62 from the late 70s, and yts62; my 2 favorite horns. id get a yss62 to complete the collection, but soprano is like a kazoo

good idea to play-test both to find personal preference, + check by tech for leaks/weak springs.. good luck
 

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Discussion Starter #13
Thank you very much for all the wonderful feedback. I love my silver plated M7 but it seems to have some intonation problems lately where the second octave G and above have become very sharp.

Not sure if it was me or the horn itself. I had the tech lowered the key action a couple of years ago and also changed my embouchure somewhat. If I get the high notes in tune, the low notes will be very flat. Now I can't seem to tame it. Can this be fixed on the horn?

The reason I have set my eyes on the 62 is probably due to the lower price and the sudden influx of Yamaha 62 review videos appearing on my Youtube page.... Power of advertisements... Yes, one of you was right that I am probably looking for some bling in my life.

Where the intonation problem can be fixed or not, I should probably keep the M7 to satisfy the brand conscious side of me and to avoid future regrets. I will save up for the 62 for a modern horn. Guess it won't hurt to own more than one alto.
 

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I sold my VII years ago and picked up a 61. Now the 62 is my workhorse axe. I likes the VII sound but didn’t like the ergos. Left hand pinky table felt huge and ungainly. Really preferred the aesthetics of the VII. Same as my VI tenor. Very nice dark honey color.

Didn’t find the lacquer 61 compelling to look at. LOvE the look of my 62S II
 

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Thank you very much for all the wonderful feedback. I love my silver plated M7 but it seems to have some intonation problems lately where the second octave G and above have become very sharp.

Not sure if it was me or the horn itself. I had the tech lowered the key action a couple of years ago and also changed my embouchure somewhat. If I get the high notes in tune, the low notes will be very flat. Now I can't seem to tame it. Can this be fixed on the horn?

The reason I have set my eyes on the 62 is probably due to the lower price and the sudden influx of Yamaha 62 review videos appearing on my Youtube page.... Power of advertisements... Yes, one of you was right that I am probably looking for some bling in my life.

Where the intonation problem can be fixed or not, I should probably keep the M7 to satisfy the brand conscious side of me and to avoid future regrets. I will save up for the 62 for a modern horn. Guess it won't hurt to own more than one alto.
It sounds like you have a leak in the upper stack, possibly the G or bis pads. Is it easy to softly play the lowest notes of the horn starting on low Bb and working your way up chromatically to low F? If not, you most certainly have a leak, or leaks.

Another thought. Does the G lock itself back into tune if you're pushing the bis key down as you play it?
 

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Get the Yamaha for the beater and get your Selmer in good playing condition.
It never hurts to have two, or three, saxes.
 

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Not in my book. I've hated the MK VII ever since they came out. NOT a great horn for someone with small hands, plus the tone always seemed tight, stuffy and weak to me after being spoiled with an early MK VI for years. The Yamaha is an absolutely top-quality horn. It has a warm, buttery-if-slightly-predictable tone, and the intonation is actually a bit better than the Selmers.

I'd say you'll probably wonder why you ever waited. The Yamaha just blows easier and feels nice and tight, mechanically speaking.
 

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If you're going with brand consciousness, you should be playing a MK VI, anyway. The VIIs were nothing more than the brainchild of a new exec at the Selmer corporation who decided for no reason that they needed something "new and fresh," so they redesigned everything on the MK VI. UGH! It's a classic example of some marketing wonk doing something the new just for the sake of being different. I'm not much on tradition most of the time, but the MK VI was the closest thing to a perfect sax at the time, and maybe still today. Messing with perfection is just stupid.
 

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All of the top brands today are pretty well constructed. That said, you should make your decision based on pros and cons of the horns in question. All the usual factors come into play. Aesthetics is first, because your first impression is visual. What is more suitable to your eye. After that, there's the laundry list which you can set up using your own priorities first to last. Mine being tone and pitch quality, projection, ergonomics and of course cost always needs to be factored in.

I'm a Yamaha guy. I own a TS-875EX tenor, YSS82ZR soprano and a YAS62II alto. However, my main alto is a Cannonball, as it has darker sound than the Yamaha. The 62 has great projection and has a pretty even pitch throughout the instrument. Plus great ergonomics that all Yamaha's have. It's also a lot lighter than the Cannonball. Anyway, It's going to remain in my bullpen because I see it coming into play for my later years.
 
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