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Discussion Starter #1
if you've ever played or owned this horn how was your experience with it. i need an alto upgrade and this is a top option right now. is it worth waiting and saving more money to get a mark vi? PLEASE HELP:mrgreen:
 

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I have an 875ex and my buddy has an 82z. We have both come to these conclusions based on our 2 horns:

the 82z is naturally more free blowing
the 82z is a little brighter
the 875 feels better ergonomically to us

Overall, we would both pick the 875. That being said, I would not hesitate to play the 82z in any performance.
 

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Discussion Starter #4
trust me i know what your saying. i would have to save till next winter if i wanted a mark vi. i really wanted a better horn to play all the shows my band has coming up over spring and summer tho. i can finance the yamaha and get it immediatly and easily afford the payments.
 

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The 82z is my favorite modern horn. I don't own an alto, but I have played many, and most of them have matched or exceeded all but the very best Mark VIs I have played. I own an 82z tenor, and it's my favorite horn that I've ever played. I used to have a 1958 Mark VI that I sold after trying out the tenor that I now own, and I don't regret it.

If you shell out many thousands of dollars, you might get a Mark VI that you'll love forever... or you might get a Mark VI that is a $5k decent horn. If you get a Z, you will be getting a great horn that you could have for the rest of your life. Their resale value is also pretty strong, so if you end up finding that VI later, you could sell your Z toward the price of the VI. (I'd probably just keep the Z.)
 

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I've owned an 82z alto for around 3 years now. The first 6 months or so I struggled finding my sound with the horn but now I wouldn't trade it for anything. The horn will seem very bright at first but I was able to darken the tone a lot by trying different mouthpieces and reeds. For me I went from a selmer C* with alexander superials to a meyer 5 with vadoren traditional 3s. I love the setup, love the horn. Not only does it give the player a lot to work with as far as developing a unique sound, but yamaha horns have a good reputation as far as durability is concerned.
 

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I own an 82ZB, the black model and I do not regret buying it. Aside from the good intonation and ergonomics, it is one of the most free blowing horn. Yes, it sounds brighter than the other horns, but with the right mouthpiece and reed combination, you can make it sound darker. Presently, I am happy with the sound of a Tone Edge 7 and a Java 2 reed.
 

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I'm with HeavyWeather, Saxguy, and renegade. Granted I have never owned VI (yet), I so far have four different altos, including 82z. I've only scratched a surface, but I can tell from my own experience that the modern horns tend to be 'brighter' and feel more 'solid', yet they still offer a lot of flexibility to form your own 'sound concept' if you work with different setups (mouthpiece, reeds) and on your own playing.

When you compare two horns side-by-side, there will likely be some difference, even within the same type of horn from the same manufacturer. Often times you won't be able to explain why exactly but just say 'hey, it sounds like a Yamaha/Selmer/modern/vintage/etc'. However, I think it's important that you don't immediately dismiss one from the other. An experienced player should be able to adjust and overcome the existing defficiencies to create his own sound, where a certain horn and setup may make it easier to do so. I own some mouthpieces that I don't like on a certain day but find them fine on others.

I'm sure somebody else has mentioned this already, but I believe that there is a trade-off to the modern manufacturing methods. While they may allow for the production of 'high' quaility instruments and eliminate 'poor' products most of the time, it also limits that 'exceptional' horns are produced purely by chance. So I wouldn't discount an 82z by simply saying 'it'll never sound like my VI'. The variation of VIs I'm told is very wide. If I had to choose a horn blindly, I'd take my chance on 82z rather than VI.

Finally, I think it ultimately depends on a player. Try all kinds of horn in person if possible, then make a decision after actual playing! :bluewink:
 

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Probably the best new alto on the market today. I had a student turn up with an 82z UL a few month's ago. needless to say I was very impressed. The action is light and fast. the horn is free blowing and very expressive. I play on a Brilhart type M.P's...I had no prob's getting it to happen.
I have had 2 Mk6's an M number MK7 and a B.A. It took me years to find my current Alto
(a Yanagisawa 8833). If I was in the market today for a new Alto, I think I would order a new 82Z UL without high F#.
 

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the 82 z alto is a very good horn.Before you buy it see if you can play an old purple logo 62 alto in good adjustment. they can be had pretty cheap and I actually liked them better after trying side by side with a brand new 82z . I normally play a selmer mark 6 alto but have kept the old 62 also and sometimes use that one for gigs.the mark 6 has a totally different sound and some guys just like the selmer sound over the yamaha .I like both brands but I still think the older 62 wasnt beat out by the z. my 2 cents all though we are talking about all great horns here..
 

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I moved to an 82Z from a mark vi a couple of months ago and am really happy......the Yamaha does everything i want and has a great tone! I have just got back from a 3 week pop tour and the horn gave me no problems at all.!!!!!!! tHE uNLAQUERED VERSION WORKS BEST FOR ME!!!
 

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Discussion Starter #12
thank you very much everybody. i hear that the 875ex is a bit darker than the 82z and find that multiple people prefer it over the 82z. how does the unlaquered version effect the sound?
 

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I've played an 82zul for a couple of years now. i tried a laquered and a silver but IMO the UL just resonates better, you can feel the horn ......................
 

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thank you very much everybody. i hear that the 875ex is a bit darker than the 82z and find that multiple people prefer it over the 82z. how does the unlaquered version effect the sound?
You will open up a can of worms with that question. To save you the time, i will say this: The reed, mouthpiece, ligature, neck and horn type make up a good 90% of your sound. People will claim significant differences in lacquer tone or resonance, but in reality----it's more likely just the tiny discrepancies between horns, even of the same model and make. You can play two horns of the exact same model, with the exact same mouthpiece, reed, ligature, neck etc and still notice a few differences. That is the inherent individuality and beauty of all saxophones.

To contribute to your previous question: I played on a student/intermediate model Leblanc for 9 years and switched to an silver-plated (shotblasted) 82z last year and I'm VERY happy with it. Free blowing is an understatement. I can't say if it's brighter than the 875ex because I only played an 875EX one time in a sax shop. But I guarantee you---your mouthpiece will have a greater influence on your tone's darkness or brightness. For a very esoteric and detailed review of Yamaha horns (and more) I would look to this link: http://www.shwoodwind.co.uk/Reviews/Saxes/Alto/Yamaha_YAS82Z.htm
 

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Back when I was a sales person, I sold the heck out of 82Zs and 875EXs. In my opinion, they are the best in the price range. I sold all the different options, (reg laq, Silver, Unlaq, Black Laq).

I would have many of my customers try them up against SA80 IIs, Yanis, Selmer Ref series and for the money, most of them get the Yamahas.

My favorite of the different Yamahas was the Black Laq 875EX, then the 82ZUL.
 

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I've tried 5 875ex altos, 2 82z's, 2 selmer series II's, 2 series III's, 2 mark VI's, and 2 Yanagisawa a901's. Out of them all, I still prefer my 875ex.
 
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