[spellbound]

SoTW fam,

Just wanted to provide my initial thoughts on YTS-82z (silver) with both of the necks mentioned in the title. I'm using a Theo Wanne Slant Sig 2 - so a large chamber mpc w/ rollover baffle.

Now I've only had the neck a day or two, and I'm still working with the C1 so these observations may be subject to change. Of course, your mileage may vary.

Initially I only had the G1 neck for this horn. With the G1 - The tone and bottom end was great, and there was a decent amount of resistance with the horn. In my opinion, the tone was spread and lacking some shine/sparkle/pop or whatever you call it. I know this is a generic term, but again I wanted to provide my feedback. For me, anything above high A# became sharp - everything else was pretty locked in intonation wise. Now, this is probably me in part but it did change significantly with the C1.

With the new C1 neck (thanks Sax Alley), I saw much better intonation all across the horn. Simply locked in from top to bottom. It also felt a bit easier to control dynamics and sound. There seemed to be less resistance with the C1 neck and this led to me being also able to better control how much "air sound" I get with softer notes and sub tones. I thought that difference was pretty cool. This is one result that I didn't have with my Selmer Mk VI trying different necks. The tone with the C1 felt more focused, and more "shiny" - doesn't necessarily feel brighter just has more "pop".

I'm obviously ditching the G1.

TLDR - New C1 neck locked in intonation and gave me the tone I was looking for. Ditching G1

 

[Benjamin Allen]

I had the exact same experience switching from the V1 to the C1. The C1 neck just about improves everything on the 82Z. More specifically, it's because of the C1 that I love the 82Z and think it's the best horn for me over every Selmer horn I've played.

Thanks for your review. It's good to know others are coming to the same conclusion regarding the C1 neck.
Best,
Ben

 

[spellbound]

Thanks Ben.

Also agree on playing the 82z more now. I'll be working with it more, and perhaps even using it with the band.

Something I'd never even considered before since I love my Mk VI so much.

 

[Benjamin Allen]

That's fantastic. It's hard to consider setting aside a Selmer, let alone a Selmer Mark VI given it's playing attributes and history. I set aside a pair of Selmer tenors when I found the 82Z with the C1 neck. With the C1 neck being the original 62 neck, I suppose it's like playing a "Custom" and improved Yamaha Purple Logo 62 tenor, which is a horn I fell in love with early in high school--early 90s to age myself--over my Selmer at the time. I don't know why Yamaha has stuck with the G1 and V1 necks, which are very spread in their tonality. I suppose that's what their artists and play testers want.

 

[Reet McVouty]

TLDR - New C1 neck locked in intonation and gave me the tone I was looking for. Ditching G1

Do yourself a favor, don't ditch the G1. Just put it in a box and store it away. Having the original neck if you go to sell the horn is a plus. Selling a horn with two necks is a plus plus. Also, a change up in mouthpieces might require going back to the G1.

I have a YTS-875EX and I purchased a G1 for it because I wasn't happy with the G3 that came with it. It's more open now with less resistance than how it was with G3. Different strokes ...

 

[saxcop]

I also had tuning issues in the palm keys with the G1 neck. I thought it played great with a solid silver E1 neck. I sold the Z and kind of wish I hadn't. I later bought a silver 875. I bought a silver plated V1 neck. It plays very nice on the 875. So I have the original M1, E1 and V1 necks for it.

 

[KeithL]

I tried the C1, E1, and a couple of V1 necks with different finishes alongside a Ponzol neck I've had for years and the M1 that came with my early '90s YTS-875 Custom and preferred the V1 necks as well. However the only one I really liked more than what I already have was the solid silver V1 and I wasn't willing to go for the nearly $700 price.

 

[DryMartini]

This is helpful...Any feed back on the alto necks.

I'm still stuck on the runway as far as getting a new alto. The whole corona thing, you know.... People can't try horns or mouthpieces etc. Still considering Yamaha, Yani, Selmer...used models.

If people haven't seen this, it may be helpful

 

[Benjamin Allen]

At least I realize why Yamaha has stuck with the V1 neck--popular demand. I gave the V1 and C1 another comparison and still found the C1 to lock in focus, intonation, and tonal thickness/density (which I suppose is the result of being more focused) while the V1 is very spread and much more challenging to pin down at this stage in my playing. I would say the positives of the V1 are a broader dynamic range and and a greater spread tonality for those who prefer such.

 

[Benjamin Allen]

This is helpful...Any feed back on the alto necks.

I'm still stuck on the runway as far as getting a new alto. The whole corona thing, you know.... People can't try horns or mouthpieces etc. Still considering Yamaha, Yani, Selmer...used models.

If people haven't seen this, it may be helpful

I think the exact same performance characteristics of the tenor necks apply to the alto necks. If Yamaha had just included the E1 neck, I likely would not have tried the V1 or the C1. The V1 is spread with a broader dynamic range for the greatest flexibility, the E1 is a little more focused than the V1 and starts to better focus the sound for a thicker tonal density with improved intonation over the V1, and the C1 neck is the original Yamaha 62 neck with tremendous focus and amazingly tight intonation. I suppose the C1 neck is the most "Selmeresque"neck in my opinion. If you best like the original Purple Logo 62, then the C1 would be the neck to choose. According the Sax Alley, the C1 neck is a good neck for a Mark VI.

I strongly prefer the Yamaha ergonomics over all the Selmer ergonomics, and I prefer the tone of the 82Z tenor with the C1 neck over all the Selmers I've played. It's personal preference though. I do love the Selmer Reference 54 alto and the Yanagisawa sopranos are one of my favorites. But I can't find a tenor that approaches the 82Z and C1 neck combination--this is only my preference and should not be construed and me dissing other people's preferences. To each his or her own . . .

 

[KeithL]

I think the exact same performance characteristics of the tenor necks apply to the alto necks. If Yamaha had just included the E1 neck, I likely would not have tried the V1 or the C1. The V1 is spread with a broader dynamic range for the greatest flexibility, the E1 is a little more focused than the V1 and starts to better focus the sound for a thicker tonal density with improved intonation over the V1, and the C1 neck is the original Yamaha 62 neck with tremendous focus and amazingly tight intonation. I suppose the C1 neck is the most "Selmeresque"neck in my opinion. If you best like the original Purple Logo 62, then the C1 would be the neck to choose. According the Sax Alley, the C1 neck is a good neck for a Mark VI.

I strongly prefer the Yamaha ergonomics over all the Selmer ergonomics, and I prefer the tone of the 82Z tenor with the C1 neck over all the Selmers I've played. It's personal preference though. I do love the Selmer Reference 54 alto and the Yanagisawa sopranos are one of my favorites. But I can't find a tenor that approaches the 82Z and C1 neck combination--this is only my preference and should not be construed and me dissing other people's preferences. To each his or her own . . .

I liked the V1 on my older 875 Custom because it helped open the palm keys up a bit. Getting these notes to have a full sound has always been a struggle for me which is why I spend almost all my time playing my Barone and TM tenors which just respond and sound better than my Yamaha in the palm keys. I prefer the ergos on the Yamaha as well but the TM is almost as good. I have a friend that has a 62EX tenor that blows bigger and brighter than my 875. I'm not sure the V1 is the neck I'd choose for that horn body. You've made me curious. If I get a chance I'll try these neck combinations on an 82Z and see if I feel the same way.

 

[Mark R]

At least I realize why Yamaha has stuck with the V1 neck--popular demand. I gave the V1 and C1 another comparison and still found the C1 to lock in focus, intonation, and tonal thickness/density (which I suppose is the result of being more focused) while the V1 is very spread and much more challenging to pin down at this stage in my playing. I would say the positives of the V1 are a broader dynamic range and and a greater spread tonality for those who prefer such.

After reading this I am curious to try a C1 on my Eastman tenors. For several years now I have been playing a Lacquered V1 on my Eastman 52nd St. and it also matches well with other Taiwan built tenors I've owned like P. Mauriat.

 

[Benjamin Allen]

I just realized (was informed) that the YTS-82Z Atelier tenor has a C1 "Light" neck. Here is the link from Kessler music that discusses that horn. I think the only two variables that actually impact sound are the neck and the internal bow changes. The Z II already has seamless metal resonators. Everything else (like the neck screw) Yamaha claims alters the sound is debatable. For Kessler to claim, that the Atelier "Custom Z . . . produces the largest sound we have ever heard from a Yamaha tenor!" is a bold claim. But I agree that the 82Z with the C1 neck produces my favorite tenor saxophone sound to date.

And hey Mark R--hope you're well!

https://www.kesslerandsons.com/product/yamaha-custom-z-atelier-special-tenor-sax/

 

[stingray3]

I have an 82ZII Atelier UL w/o F#. I have played a couple 82ZII’s w V1 necks and briefly owned 2 w G1 necks. I never really liked the G1 necks and didnt keep them long. I havent played my Atelier side by side w a regular 82Z to compare but it does sound and play better than I ever remember the others doing. Maybe its the C1L neck or the other improvements. To me, it seems to have a bigger sound. As far as the large thumbscrew, i dont know if it makes that much difference, and if it does, I doubt most people would notice, but I do see more and more pros using them. I also like the look of the bell brace on the Atelier better, but thats just personal preference. I have an old purple logo 62 and it does remind me of that one, just more responsive and sounds fuller, especially the higher notes. The altissimo comes out on the Atelier easier than any horn Ive ever played. I have a Selmer Series III and I really like that one alot too, but the Atelier is just soooo easy to play, especially fast stuff. Ive played several Mark VIs and they just never impressed me that much. I know alot of this is off topic, and I usually dont post anything, but i wanted to chime in.

 

[Benjamin Allen]

I have an 82ZII Atelier UL w/o F#. I have played a couple 82ZII's w V1 necks and briefly owned 2 w G1 necks. I never really liked the G1 necks and didnt keep them long. I havent played my Atelier side by side w a regular 82Z to compare but it does sound and play better than I ever remember the others doing. Maybe its the C1L neck or the other improvements. To me, it seems to have a bigger sound. As far as the large thumbscrew, i dont know if it makes that much difference, and if it does, I doubt most people would notice, but I do see more and more pros using them. I also like the look of the bell brace on the Atelier better, but thats just personal preference. I have an old purple logo 62 and it does remind me of that one, just more responsive and sounds fuller, especially the higher notes. The altissimo comes out on the Atelier easier than any horn Ive ever played. I have a Selmer Series III and I really like that one alot too, but the Atelier is just soooo easy to play, especially fast stuff. Ive played several Mark VIs and they just never impressed me that much. I know alot of this is off topic, and I usually dont post anything, but i wanted to chime in.

Great post, and I'm really glad you chimed in . . . Same experience with the Selmer Serie III in terms of loving it and being generally less impressed with Mark VI horns as well. Your post helps out a lot in terms of my understanding. Thank you.

 

[Jazz House]

I just realized (was informed) that the YTS-82Z Atelier tenor has a C1 "Light" neck.

Yes! This is a critical fact.

My experience with the C1 neck is that it delivers massive improvements across the board to Yamaha's top of the range offerings.

In the past, I've found the 82 and 875 with their stock necks to be a little difficult to play in tune in the high register. Also, I've found them somewhat uneven across the range in how they focus and respond to different throat positions. The C1 corrects these issues for me on both horns. My favourite modern tenor is the 875-EX with the C1 neck. I find it to be a brilliant setup and would like to get one someday.

Regarding the Atelier horn, I'm always sceptical when manufacturers talk about weight reductions/increases, hard rubber thumb rests, lighter construction as having an effect on tone. So when I went to try one of the 3 such horns that made it as far as Australia and found out that it came with the C1 neck, my first question was whether I could try the C1 neck on an off the shelf stock standard 82Z. Low and behold they played pretty much the same, which is to say brilliantly.

The Atelier struck me as a horn that pretty well satisfies what most professional working musicians need: flexible tone, good intonation, comfortable keywork, reliable build quality. The only thing I didn't like was the price. Simply getting a standard 82Z or 875-EX (better, IMO) and replacing the neck with the C1 has a dramatic effect and costs a lot less.

Also, I would dispute that the V1 has a 'bigger' sound. I think the C1 requires perhaps a little more care with the airstream to get it to really project, but it's also more rewarding to play.

 

[Benjamin Allen]

Yes! This is a critical fact.

My experience with the C1 neck is that it delivers massive improvements across the board to Yamaha's top of the range offerings.

In the past, I've found the 82 and 875 with their stock necks to be a little difficult to play in tune in the high register. Also, I've found them somewhat uneven across the range in how they focus and respond to different throat positions. The C1 corrects these issues for me on both horns. My favourite modern tenor is the 875-EX with the C1 neck. I find it to be a brilliant setup and would like to get one someday.

Regarding the Atelier horn, I'm always sceptical when manufacturers talk about weight reductions/increases, hard rubber thumb rests, lighter construction as having an effect on tone. So when I went to try one of the 3 such horns that made it as far as Australia and found out that it came with the C1 neck, my first question was whether I could try the C1 neck on an off the shelf stock standard 82Z. Low and behold they played pretty much the same, which is to say brilliantly.

The Atelier struck me as a horn that pretty well satisfies what most professional working musicians need: flexible tone, good intonation, comfortable keywork, reliable build quality. The only thing I didn't like was the price. Simply getting a standard 82Z or 875-EX (better, IMO) and replacing the neck with the C1 has a dramatic effect and costs a lot less.

Also, I would dispute that the V1 has a 'bigger' sound. I think the C1 requires perhaps a little more care with the airstream to get it to really project, but it's also more rewarding to play.

That's what I did in terms of just switching necks. More specifically, I wouldn't have kept the Z if it weren't for the C1 neck. If it's still available, I might play an 875EX with the C1 neck tomorrow morning--haven't tried that yet. (I also really like the 875EX.) Yamaha makes such profoundly good saxophones across the board. I think my proclivity towards the Z comes from my early playing experience with the Yamaha 62 when I liked it so much more than my Selmer at the time. And since the Z is just the Custom version of the 62, this makes perfectly good sense in my mind.