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The 875EX is not for everyone. Some consider the Yamaha sound to be too thin; some consider the Yamaha sound to be too brilliant (I find it quite brilliant). Recently, I spent some considerable time speaking with a member of Yamaha's team. I started off qualifying a few questions I had about the development of the 62 (the original one) and the 82Z, but the topic quickly progessed to the 875EX. I could not help but be impressed with the dedication Yamaha claims to have put into this horn (actually, quite distinctly, the alto, soprano, and tenor). I was surprised to hear that Yamaha's development of the 875EX alto was truly a dedicated effort. The Yamaha representative was quick to point out that the 875EX alto was not simply built from the original 875; it was apparently systematically developed to provide a new voice to the Yamaha line. I had already recently spent a few days comparing the 875EX, the 82Z and the Selmer Serie II; these were all somewhat older horns that have been professionally set-up. The results were somewhat surprising and added to the conversation.
So, a friend and I spent a few days playing among the three saxophones and rated them in categories, subjectively evaluating ergonomics, intonation, response, build quality and tone color. The tests are all flawed (some more than others), but this thread does provide two individuals' perceived ratings in the captioned areas. Also, players usually spend time getting to know their horns, so this evaluation does not allow for such. But it was fun, which is the reason I decided to post it.
Ergonomics:
We both found the Selmer Serie II and the Yamaha 875EX to be outstanding with the 875EX probably coming out slightly ahead of the Serie II. The right hand pinky keys on the 875EX were much more comfortable and smooth than the 82Z and somewhat nicer than the Serie II; the Serie II also felt somewhat bulky perhaps being a bit oversized. We both found the overall Serie II action to be noticably louder than the 875EX and 82Z; I think this is a common theme on the Serie II horns I have played given their internal springs. The palm key placement also went to the 875EX with the Serie II coming in second. The 875EX's palm keys were immediately accessible and are set quite high. The 82Z's palm keys are lower and are similar to the Mark VI.
Intonation:
The results of this section are simply anecdotal as the methodology is flawed; you can save your time and skip this section if you like. Essentially, I played each horn with its original neck, and then the friend played the same. After warming up and playing three notes to adjust mouthpiece placement, we respectively played each note for between two and three seconds trying not to adjust pitch and just trying to discern the baseline pitch of the notes on the horn. We took our respective turns recording the readings and marking the pitch variance on a sheet of paper. We had to be very careful not to adjust pitch, which is one reason we selected a shorter pitch duration. We did not get overly scientific with quantitative ratings because my methodology for assessing intonation in this test is significantly flawed. We did come to some broad generalizations, however. Consistent between both players, the Serie II has excellent intonation (< + or - 10 cents on each note) and seems to possess more stable A2 (Bb3) and above. The 875EX also has excellent intonation and may have more stable low register (F1 and below) and also fairs somewhat better (probably insignificant results) in the middle register than the Serie II. The 82Z performed far worse than the other two horns; I was somewhat surprised by this. The 82Z on C#2 and C#3 was > + or - 15 cents the vast majority of the soundings. Several palm key notes had the same issue. I have stated before that the 82Z is a bad match for the G1 neck, and I believe this is one of the prime issues. On the other hand, the 875EX plays quite well with the G1 neck.
Response:
We evaluated the perceived ease, speed and clarity of response among the three horns by playing static tones, passages, and overtones. We both found the 875EX to provide the fastest response, we disagreed on ease of response between the 875EX and the 82Z (they both respond with perhaps a little too much ease), and we both agreed that the 875EX and 82Z offer the most clear response. The Serie II is great, but Yamaha has this response thing down. I would be interested in playing the Serie III and perceiving its response.
Build Quality:
The 875EX was the hands down winner in this category while the Selmer came in second and the 82Z came in third. The 875EX has no perceivable issues whatsoever; it is simply as perfect as it gets. The Serie II had to have its tone holes desharpened; they were very sharp. Also, the Serie II's neck joint screw needs to be fastened with plyers to secure the neck tenon adequately. The 82Z was a mess. It's action has way too much play between the posts, its bell and bow tone holes were not level, the C#1 key sticks like its going out of style, the little screw adjustments adjust themselves, and manipulating the front F key drives the rod out nearly three millimeters.
Tone Color:
Selmer Serie II: This horn is an amazingly full and dark sounding saxophone. I have not played any other horn that achieves the fullness this horn has. Also, this horn is homogenous from Bb 1 on up. This is a very fine instrument with a full and even dynamic range.
Yamaha 82Z: This horn sounds like a Serie II in the low end and the 875EX in the high end; it's sound is not homogenous. I can't say much more. I have been a fan of this horn in the past, but it may primarily belong in the jazz genre. It is a great sounding horn nonetheless.
Yamaha 875EX: This horn is brilliant. Again, this horn is brilliant. But this horn's sound is also dense and wonderfully homogenous. My friend asked, "What gives with the EX?" I don't know "what gives," but this horn, while not as full as the Serie II, possesses a richness that is quite nice. The EX also has an enchanting quality; I was driven to it time and time again. It perhaps has a very unique bore taper. I greatly enjoyed the G1 neck on this horn.
Finally, this post/thread is not intended to contribute to some body of literature re. saxophones. I had the time to quickly write a review, much of which has been covered previously, and capture some opinions publically on the forum. Thanks for reading.
So, a friend and I spent a few days playing among the three saxophones and rated them in categories, subjectively evaluating ergonomics, intonation, response, build quality and tone color. The tests are all flawed (some more than others), but this thread does provide two individuals' perceived ratings in the captioned areas. Also, players usually spend time getting to know their horns, so this evaluation does not allow for such. But it was fun, which is the reason I decided to post it.
Ergonomics:
We both found the Selmer Serie II and the Yamaha 875EX to be outstanding with the 875EX probably coming out slightly ahead of the Serie II. The right hand pinky keys on the 875EX were much more comfortable and smooth than the 82Z and somewhat nicer than the Serie II; the Serie II also felt somewhat bulky perhaps being a bit oversized. We both found the overall Serie II action to be noticably louder than the 875EX and 82Z; I think this is a common theme on the Serie II horns I have played given their internal springs. The palm key placement also went to the 875EX with the Serie II coming in second. The 875EX's palm keys were immediately accessible and are set quite high. The 82Z's palm keys are lower and are similar to the Mark VI.
Intonation:
The results of this section are simply anecdotal as the methodology is flawed; you can save your time and skip this section if you like. Essentially, I played each horn with its original neck, and then the friend played the same. After warming up and playing three notes to adjust mouthpiece placement, we respectively played each note for between two and three seconds trying not to adjust pitch and just trying to discern the baseline pitch of the notes on the horn. We took our respective turns recording the readings and marking the pitch variance on a sheet of paper. We had to be very careful not to adjust pitch, which is one reason we selected a shorter pitch duration. We did not get overly scientific with quantitative ratings because my methodology for assessing intonation in this test is significantly flawed. We did come to some broad generalizations, however. Consistent between both players, the Serie II has excellent intonation (< + or - 10 cents on each note) and seems to possess more stable A2 (Bb3) and above. The 875EX also has excellent intonation and may have more stable low register (F1 and below) and also fairs somewhat better (probably insignificant results) in the middle register than the Serie II. The 82Z performed far worse than the other two horns; I was somewhat surprised by this. The 82Z on C#2 and C#3 was > + or - 15 cents the vast majority of the soundings. Several palm key notes had the same issue. I have stated before that the 82Z is a bad match for the G1 neck, and I believe this is one of the prime issues. On the other hand, the 875EX plays quite well with the G1 neck.
Response:
We evaluated the perceived ease, speed and clarity of response among the three horns by playing static tones, passages, and overtones. We both found the 875EX to provide the fastest response, we disagreed on ease of response between the 875EX and the 82Z (they both respond with perhaps a little too much ease), and we both agreed that the 875EX and 82Z offer the most clear response. The Serie II is great, but Yamaha has this response thing down. I would be interested in playing the Serie III and perceiving its response.
Build Quality:
The 875EX was the hands down winner in this category while the Selmer came in second and the 82Z came in third. The 875EX has no perceivable issues whatsoever; it is simply as perfect as it gets. The Serie II had to have its tone holes desharpened; they were very sharp. Also, the Serie II's neck joint screw needs to be fastened with plyers to secure the neck tenon adequately. The 82Z was a mess. It's action has way too much play between the posts, its bell and bow tone holes were not level, the C#1 key sticks like its going out of style, the little screw adjustments adjust themselves, and manipulating the front F key drives the rod out nearly three millimeters.
Tone Color:
Selmer Serie II: This horn is an amazingly full and dark sounding saxophone. I have not played any other horn that achieves the fullness this horn has. Also, this horn is homogenous from Bb 1 on up. This is a very fine instrument with a full and even dynamic range.
Yamaha 82Z: This horn sounds like a Serie II in the low end and the 875EX in the high end; it's sound is not homogenous. I can't say much more. I have been a fan of this horn in the past, but it may primarily belong in the jazz genre. It is a great sounding horn nonetheless.
Yamaha 875EX: This horn is brilliant. Again, this horn is brilliant. But this horn's sound is also dense and wonderfully homogenous. My friend asked, "What gives with the EX?" I don't know "what gives," but this horn, while not as full as the Serie II, possesses a richness that is quite nice. The EX also has an enchanting quality; I was driven to it time and time again. It perhaps has a very unique bore taper. I greatly enjoyed the G1 neck on this horn.
Finally, this post/thread is not intended to contribute to some body of literature re. saxophones. I had the time to quickly write a review, much of which has been covered previously, and capture some opinions publically on the forum. Thanks for reading.
