Tenor: Yamaha 82Z, Theo Wanne Datta 8, Bari * medium reeds sanded to remove some of the buzz. Back-up tenor is a Barone Classic
Alto: Purple logo YAS-62 with a V1 neck, RPC 80B mpc, Bari soft reeds sanded
For tenor I've been through 3 Selmer VIs, Selmer Series II, B&S, H.Couf, Dolnet, Yani 990, Keilwerth SX90, and a Keilwerth SX90R Nickel Silver and the 82Z is the workhorse gig horn that kills them all. It is great to step on stage and focus on the music and not think about the horn or setup.
That cracks me up. I've been through 3 VI's, a VII, a 10M, a Series III, a BN SX90R and a Yani 880. I recently have come back to sax from giving trumpet a try(actually a Yamaha trumpet). I'm currently playing a yts-23 and will be going to a YTS-62 or 82Z after a few months of getting my chops back.
I have to describe myself in similar fashion to Tom and Bob...and as I saw on another post somewhere "the legion of SOTW sax-flippers)..
and now a (drum roll please)
Yamaha Custom 875 with G1 neck (not EX but an the model made before the 82Z was introduced, this one made in 2005.
At the moment my only tenor. I almost always had back up horns...usually keeping at least 2 at a time, one nice one and one less expensive one for gigs when the nice one was in the shop or a job I didn't want to take the nice horn to a job.
I am very please with the Yamaha Custom 875, it really embodies everything I have wanted, the only thing that would better for me is to have a 62,61 or 82Z as my back-up one day.
4 digit YTS61 03xx 1969/70 unknown neck (extensively modified) but with original YTS 61 BA style wire octave key. Double arms on low C Key and low B. Conn 'Constellation' style octave thumb touch. Unique and a keeper---I've had 'em all over the last 40 odd years. Sakshama STM 7* or Berg SS 100/2 SMS or Yanigasawa 6 or whatever else will fit the bill. Reeds? anything that works at a particular moment in time.
YTS 82Z UL - back and forth between Morgan 7M, Ponzol II-V-I, and RPC .100. This week it's the Ponzol, but next week who knows? Rico H lig on the Morgan and RPC; Rovner on the Ponzol. Legere Signature 2.25 on all (and none of those work well on my VI, on which I go back and forth between a Phil-Tone Equinox 6 and a Florida Link 5*) I hated the Ponzol on my VI and was about to sell it last week when I thought I'd give it a try on the Z. Solid - very nice, and the darkness balances with the Z nicely for jazz. Prefer the Morgan for R&B
YAS23- Meyer 6M, Legere signature 2.25
YSS475 - Yamaha 4C (But I never play this, as I prefer the Cannonball)
I use an early YTS-61 as a backup tenor, not because it isn't a good horn, but because it isn't exactly what I want in a horn. Love the thing to death, though. Usually use a Jody Jazz Classic 7* (my preferred STM NY just doesn't have the strength to power through on the 61).
My primary (and only) bari is an early purple label YBS-62. Just a total beast. Depending on the situation, it will have either a Link Tone Edge 6* or a RIA aluminum 8 (for when I want everybody in the neighbourhood to know that I am playing bari).
Yamaha YAS-62 alto circa 1986, Peter Ponzol Custom Gold Plated Saxophone Neck / Crook with Vintage Brilhart Level Air No. 4 (80 thou.) metal circa 1969 mouthpiece, Rovner C-1M ligature, and a whole bunch of different reeds,
Yamaha YTS-62 tenor circa 1985 with Vintage Brilhart Level Air No. 6* (100 thou.) metal circa 1973 mouthpiece, Rovner C-2M ligature,and a whole bunch of different reeds,
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