82Z tenor revised G1 neck availability

[psyguy]

I have learned from Yamaha this morning that the revised G1 neck should arrive early this week.

[jp3]

Will it possible to identify a sax with the revised neck- other than by play testing against tuner? Will those currently in dealer stock be sold -as is- leaving it to the customer to make a warranty claim?

[Brian]

I would suppose one could say that any new horn ... neck or otherwise ... new or old ... should be checked with a tuner. If it plays in tune, you dont have a problem. If it does, than you have to sort out if it is equipment or player technique. Maybe that seems like an over simplistic response, but there is no substitute for good ear.

[Andres]

I attended a Yamaha clinic last night showcasing the 82Z, EX and 62II. The yamaha rep said that not all necks had the inconsistencies, but all the horns now shipping have the "tweaked" neck", and Yamaha will swap out the neck of any horn that the user feels is playing sharp.

[Brian]

Andres, Can you give us a report of how the Z and EX compared sonically? We have all heard all the hype, but it would be great to hear someones 'ear' experience when something was played side by side.
Thanks, Brian

[Dirty Dave]

I wonder why my new G1 neck that's on order from WWBW is not supposed to arrive until August?

[Andres]

I tried an unlacquered 82Z Tenor, unlac'd 82Z alto, lac'd 62II alto and Custom EX alto. Also available were the YSS62II and YSS475. All the horns (except the 475) had the "fixed" G1 neck. The Yamaha rep didn't bring any other tenors, nor did they allow the music store (where the event was held) to offer their "old model" 62's and Customs for comparison.

I'm just a serious amatuer/hobbyist, so keep that in mind. YMMV.

Here's my take on these horns:

I couldn't tell much difference between the 62-II and the Custom EX altos, except that the EX blew with less resistance. Great Yamaha sound (yes there is such a thing), perfect intonation and superslick keywork. The unlac'd 82Z alto was a screamer! It was really resonant, more like a real good VI. Kinda hard to explain...sort of like if Selmer took a great VI, solved the intonation probelms, gave it perfect keywork, and changed the tonal core a bit.

I did hear several of the area's top players raving about the Z. One said it sounded and played like he wished his VI did. Another said that it played just like his VI *used* to play when new. :wink:

I only got to play the 82Z tenor for a couple of minutes (since more than half of the attendees were kids, like grade 8-10 kids. And they hogged the horns, the little b@#*!!) However, it was very similar to the alto: resonant, great projection, fantastic keywork. Like one of the few really good VI's I've played in the past, and better IMHO than the YTS-61 I had years ago.

Find one and play one for yourself. You'll be glad you did.

I played Yamaha horns for 10 years, but sold them while I was in college. They're even better than I remember. I really think their keywork is perfect, I like the fact that they have near-perfect intonation right out of the box, and am thankfull that they are so amazingly consistant from horn to horn. I'm seriously thinking of selling off my '49 Big B alto in order to afford one of these new horns.

[psyguy]

I own an 82Z tenor. It has the original faulty G1 neck. Nonehtless, I had two different pro players at the dealer compare the 82Z to closeout Yamaha 62 and 875. One owns a 1950's vintage Mark VI. He was impressed with the resonance, projection, and great keywork. He remarked that it would be his first choice if he no longer had his Mark VI.
The other owns a SX90R black nickel. He belived it was no contest...the 82Z was tops. I think he would still prefer his SX90R.