I am interested in this one as well as a comparison between the Series III and an 875EX. I've had a chance to personally compare the altos but not the tenors. Thanks!

 

I extensively play tested all three of these saxophones (and twenty-seven others) between February and March 2018. I remember being surprised by how good the Selmer Series III horns were. I went in thinking that I would like the Reference 54 or 36 better for what sound concept I had, but I came out thinking that the Series III was the best current model Selmer. I thought the tone was the most neutral with the Series III and perhaps a bit brighter. Ergonomics were excellent on all the Selmer horns, as well as the professional Yamaha and Yanigasawa horns.

Comparing the Yamaha 82Z-II, 875EX, and Selmer Series III saxophones specifically, I would say that the Series III is more resistant and closer in tone to the 875EX than the 82Z-II. Between the Yamaha saxophones, the 82Z-II was lighter in weight, but I actually preferred the Yamaha 875EX to both of them. The particular 875EX horn I played just knocked my socks off and I bought it on the spot. It's 22 months later and I absolutely love the 875EX.

Here's the list of saxophones I tried in case you have questions about these horns:
Cannonball stone series mad Meg tenor
Cannonball stone series nickel tenor
P. Mauriat tenor, forgot the model
Dakota Sax tenor
Keilwerth SXR90 lacquered raw brass
Keilweth SX90 gold lacquer
Jean Baptiste Tenor
Conn 10M tenor, multiple
Selmer mark VI, multiple
Selmer Reference 54
Selmer Reference 36
Selmer Series II Jubliee, multiple
Selmer Series III
Yamaha YTS-26
Yamaha YTS 875EX
Yamaha YTS-62-III, multiple
Yamaha YTS-82Z-II, multiple
Yanigasawa TWO02, multiple
Yanigasawa TWO10, multiple

 

I extensively play tested all three of these saxophones (and twenty-seven others) between February and March 2018. I remember being surprised by how good the Selmer Series III horns were. I went in thinking that I would like the Reference 54 or 36 better for what sound concept I had, but I came out thinking that the Series III was the best current model Selmer. I thought the tone was the most neutral with the Series III and perhaps a bit brighter. Ergonomics were excellent on all the Selmer horns, as well as the professional Yamaha and Yanigasawa horns.

Comparing the Yamaha 82Z-II, 875EX, and Selmer Series III saxophones specifically, I would say that the Series III is more resistant and closer in tone to the 875EX than the 82Z-II. Between the Yamaha saxophones, the 82Z-II was lighter in weight, but I actually preferred the Yamaha 875EX to both of them. The particular 875EX horn I played just knocked my socks off and I bought it on the spot. It's 22 months later and I absolutely love the 875EX.

Here's the list of saxophones I tried in case you have questions about these horns:
Cannonball stone series mad Meg tenor
Cannonball stone series nickel tenor
P. Mauriat tenor, forgot the model
Dakota Sax tenor
Keilwerth SXR90 lacquered raw brass
Keilweth SX90 gold lacquer
Jean Baptiste Tenor
Conn 10M tenor, multiple
Selmer mark VI, multiple
Selmer Reference 54
Selmer Reference 36
Selmer Series II Jubliee, multiple
Selmer Series III
Yamaha YTS-26
Yamaha YTS 875EX
Yamaha YTS-62-III, multiple
Yamaha YTS-82Z-II, multiple
Yanigasawa TWO02, multiple
Yanigasawa TWO10, multiple

Hey Scott, thanks much for the detailed reply. That is an incredibly exhaustive list of horns! Just a few more questions. Regarding the 875EX and III tonal qualities: Is one warmer/brighter than the other? More focused/spread? I slo noticed that your sig says you have an AW010 alto so I'm curious what you liked about the III and 875 over the multiple Yani tenors that you tried? Thanks again!

 

I've owned a Series III Tenor since 1999 and I love the horn. I recently sold my VI and tested out a YTS-82ZII and the 875EX. The 875EX is a much better horn and closer to a VI or series III. Not as free blowing as the Z but easier to control and a warmer sound. I ended up buying the 875EX and it's a tossup with the III.

 

Thanks Berg-Man - I felt the same way about the Yamaha altos - much preferred the 875 as it was warmer, broader, and more flexible (for me).

Regarding the III and 875, how would you compare the tone? Seems like they are a tossup for you, but do you prefer one over the other in different contexts? Thanks again!

 

I thought the 875EX and Series III were quite similar in tone, but the 875EX was darker and the Series III brighter; with regard to focus, they were similar and more focused than the 82-ZII. I thought that the Yani tenors did not sound as rich as any of the Selmer or Yamaha horns; they were disappointing overall and had a thoroughly "modern" tone that I couldn't shake. On the 875EX, I just had an easier time manipulating my tone.

On the other hand, I found the Yani altos to be quite good and compared very well to the Selmer and Yamaha alots. I didn't find a YAS-875EX to try, so I couldn't comment on that as compared to the Yani AWO-10, but the AWO10 was darker, more resistant, and focused in sound than the YAS-82Z-II. Somehow, the "free blowing" aspect of the 82Z was a problem for me, it was harder for me to control both on tenor and alto.

 

My findings are exactly as yours. The overly free blowing nature of the 82zII caused me some intonation issues also. I was blowing right through the altissimo too. I think Yamaha marketed the 82z's to less seasoned players who want to feel that the horn blows super easy. I had a Keillwerth SX90R in Nickel Silver that blew the same way as the Z, way too free and no control. Both the III and 875EX are the tops in modern Tenors IMO.

 

Thanks for the great comments! Much appreciated.

 

Yes, thanks again - much appreciated!

 

Coming in late here, and slightly off-topic, but I have an upcoming opportunity to pick up a Serie III tenor in excellent condition for a steal. I'm currently playing a 62 III and I like it a lot, and I won't get an opportunity to compare the two. So....any experienced players here who could fill me on on key work differences - my 62 is light, fast and responsive - and tonally perhaps?

Thanks in advance.

 

Series III are great Tenors and used is the way to go. Good ergos with quick response, probably a thicker sound than the 62.

 

Great, thank you. That's sounding positive for the Selmer.

 

I have spent significant time on both the 82Z II, which I currently own, and the Serie III, which I owned for several years. Like the others said, the Z with its V1 neck has a more spread tonality/sonority; this significantly impacts intonation but also adds "character" to the sound. I switched to the C1 neck and the focus and intonation of the horn locked in beautifully. The density of the focus is quite nice as well with the C1 neck. The E1 neck is also quite nice and provides the all around best of both worlds.

As is, I prefer the ergonomics of the 82Z II much better over the Serie III. I also prefer the focused sonority of the 82Z II with the C1 neck. The tonal depth of the 82ZII is darker than the upper partial rich (brilliant/bright) Serie III. All in all, the Serie III is a great horn for those who prefer a very focused rather bright/brilliant instrument. If the comparison were between the Serie II and 82Z II or the Reference 54 and the 82Z II, it would be tougher for me to recommend the 82Z II, though I still would. If the comparison were between the 82ZII and 875EX, well, that would be even tougher. Regardless, these are all great instruments, and you can't go wrong.

 

... Like the others said, the Z with its V1 neck has a more spread tonality/sonority; this significantly impacts intonation but also adds "character" to the sound. I switched to the C1 neck and the focus and intonation of the horn locked in beautifully. The density of the focus is quite nice as well with the C1 neck. The E1 neck is also quite nice and provides the all around best of both worlds.

on my 82Zii I tried the V1, E1 and C1 necks for the same reason as you guys; the horn is too free blowing and inefficient with air. The best neck I found was a Selmer mark VI. That what I use now and love it.

 

Yamaha 62 purple logo smokes the 82Z II in my opinion. The Series III is a great horn too. I’ve owned all of them and I don’t think you can lose either way......especially if you can find a good 62 purple logo tenor for around $2K.

 

I've tested them side by side for a a couple of hours recently. The SIII was matte finish and the 82Z black lacquer. Both instruments were brand new. I had only one sample of each available to me. I tested with 3 mouthpieces (Guardala MBII, Dukoff D7, Forestone Funk).

In terms of ergonomy both are so advanced and sophisticated that, honestly I had no preference. Both have an absolutely fantastic action. Also I didn't pay attention to the weight. Hence I guess the difference is neglectable.

It was the tone and the response I was after. And in both departments the Yamaha had the slight edge. The response in the lower register was better. The altissimo also came out more naturally. And the tone was a bit fatter, more roaring. And it seemed louder ;-).

Still have to compare it with a 875EX now ...

 

Proud Selmaha player here. I’m using a series iii neck on an 82zii. One just has to slide the plastic tubing on the octave rod up about an eighth of an inch to get it to work. I like it much better than the V1. I had a E1 sterling silver neck that was good. The ergos of an 82z are about as perfect as its gets for me, although with Sugru I can get a Mark Vi very close. I can’t say my Selmaha tone is better than my MarkVis or SBA, but I just enjoy it so much anyway.

 

One thing I wanted to try but wasn’t able to was the old M1 neck. Anybody here try that on the 82Z?