YAS 62 users and their opinions

[sessionsax]

For all you YAS 62 players out there,

What is you opinion of the horn,

Is the metal to thin?

Are the older 62s better or worse than the newer original model 62s (note - not the 62 II)

How is the intonation

How is the tone

Do they stay in adjustment

Thanks in advance

[RobD]

hey
i play a 62
i would have to say that its holding up great and i'm in my second year of music ed degree plus i go an a school that is run by selmer, and basically no matter how they try they can't prove that their selmers are better than my yamaha, its a great solid horn, my tech loves it, my teacher can't complain, gives a nice sound holds adjustment, easy to play, good intonation overal, i can't complain about it
i really recommend it

[sessionsax]

Thanks RobD,

I was hoping to get more info. I just recently traded a SBA relacquer for an early 62 and wanted to get some opinions. I have some folks telling me that I was crazy -- and I maybe -- but I am really enjoying the 62.

I hope some more folks will ping in.

[DougR]

Sprog1 has a very early YAS62 -
no G# Bb link,
Yamaha as a silk-screened Logo.

This has a round rich creamy sound, even intonation and holds adjustment well - have yet to meet anything significantly better.

She tried a later model tenor 62 and did not like it at all.

[Andrew]

Session,

I'd call you crazy :wink: . But anyway, I've played on many 62s, and I think that they are brighter/louder than the selmer horns that I've played. I know that they have a nice ring to them, and can project a little more than my VI can. They are really nice horns! You should have sold your SBA and just BOUGHT a 62...you'd have pocketed at least $1000. Did you do a straight trade?!

[sessionsax]

Andrew, yeah -- I did a straight trade. The SBA only had about 60% of the lacquer intact, and I just didnt want to mess with the fuss of trying to sell the horn. I worked with another forum member on the trade, and he was willing to allow me to try his horn without sending mine (I couldn't part with it, because I use it everyday) and he was willing to look past the looks of the SBA (it wasn't that pretty) and find the player that it is.

Timing had a lot to do with it. I probably could have made some cash on the deal, but MikeK was willing to work with me -- and that made it worth it to me.

I appreciate the input. It seems to confirm my take on the horn. I have been doing a lot of David Sanbornish session and gigs lately, and I wanted something with a brighter sound.

I have been very satisfied with the 62. I just wanted to know how others percieved it and if it was known to hold up. The horn is much lighter than the SBA and the metal is much thinner. So far, that has been my only concern.

By the way, if you have a change to deal with MikeK from this forum, he is a great guy to work with.

Thanks all,

[MM]

I'd had a 62 as a backup horn. The response and intonation are terrific. It seems bright when I played it at home, but in a big band context it seemed rather thin at higher dynamic levels. It didn't quite develop the edge and projection I could get from a Mk VI or even a Yamaha Custom.

Also tried a SBA which also blew very freely. It has a sweeter sound than the Mk VI with less of that sizzle. The SBA seemed to be a better solo horn while the VI worked better in big band. THe SBA's intonation characteristics seemed pretty much on par with the VI. The SBA's octaves perhaps were a bit wider if you didn't correct. The palm key response and intonation was better on the SBA.

I agree that even a relaquered SBA is much more horn than even a new 62.

[sax maniac]

I love mine its tone is great. though i do find that during movement and travel that it does sometimes get out of adjustment but thats just cause its so sensitive and and the meatl is softer than per say a begginer horn

[MikeH]

I have an early model 62 silver plate alto-a great horn. A fantastic combination of richness, brightness, projection, and volume. It outplays any Mark VI that I have seen ( I am not a Selmer hater, I own a mark VI tenor). If you see one of these early silver plated YAS 62's try it, you will probably be glad you did.

[puresaxman]

:? I have 2 62's i have a 62 alto i got new in 1980. The horn at the time was the best you could get. I played a Mark VII and the Supra80 they couldn't touch the 62. At the time I couldn't play a Mark VI so I couldn't say if the 62 can hang with the Selmer flagship. I also got a soprano 62R in 1984. Without a doubt the best soprano I have ever held in my hands. The bent neck makes it so easy to play. Your hands aren't out there in some foreign land wondering when it might get easier to play. I love both of my 62's and will never getr rid of them. Now I'm trying to find a tenor 62 from the same era..

[Tears June]

Just personal choice. If not buy the YAS-62 yet, better to get a Yana A-901.

Consider pricing for both horns is very close, both has very good keywork & intonation. But A-901 has better sonic character for my ear.


:cry:

[sessionsax]

Hey all, Heres a little trick that may work for the 62 players.

I was having a little trouble getting a full sound on the 62, but loved the intonation and keywork. The sound just seemed to miss something compared to the SBA that I had previously.

Here is what I did,

I took a very fine smooth sand paper and gently sanded the inside of the neck untill it felt smooth to the touch. I think that this very slightly increased the bore size of the neck.

The difference is amazing. The horn has a fuller tone and does not feel as stuffy as before.

I was a seemingly crazy thing to do -- out of frustration, but it worked fabulously for me.

If you try it, be careful though -- I sanded a little and played -- then sanded a little more.

Let me know if anyone else is brave enough to try this and your results.

[rollen]

sessionsax,

If you get a chance, try a silver plated M1 or G1 neck. I have an M1 silver plated neck on a 52 and it makes a difference. It gives the 52 a fuller/richer sound. From what I've been reading, the G1 necks are great!

[sessionsax]

rollen,

I am planning to do that. I heard that they had a bad batch come out, so I am waiting for that to clear up and I am waiting for better availability.

I appreciate the pointer!

[MS]

The alto G1 necks are fine. Brighter and freer/bigger than the M1 neck. They may be still working on the G1 TENOR neck, but the production alto works fine.

[sessionsax]

Just recieved my 62 and I love the horn. Great intonation and a rich full sound. Perfect for the contemporary style that I play.

The intonation is amazing, considering I am driving the horn with a Dukoff. I have to watch E2 and A2 a little, but nothing that causes major concern.

If you want and expressive, responsive, modern soprano, I couldn't recommend a better choice. The Yanis are nice as well, but for the price that I got this used, the choice was clear.

[JimMetcalf]

I have a YTS-62 Ser# 016060--had this one about 15 years now-great horn! When I got my YTS-875S I traded my older Mark VI as both the 62 and 875 played better! The 62 is a well designed horn-adjustments etc are easy. The SS springs don't rust! My 875 # 0064xx seems to be not as well made (blue steel springs etc)but plays well. Both of these horns have been good to me, so far.

[T.S.]

I have a very early 62 alto with a ponzol neck that has been set up with red (the painted) lucien pads and plastic dome type resonators. It has a very varied tonal colour, but leans to bright side, but changes with mouthpiece choice quite dramatically. A very good horn that I've never regretted buying.

[SaxyAcoustician]

I just bought a YAS-62II myself. Like I said in another thread, the 62II is the best kept secret in saxophones today.

[Jedi2427]

I agree...I've owned and dealt in every vintage sax on the planet...the 62 and or 62II in soprano, alto and tenor are great horns, which are often under estimated.

[Morry]

As good as teh 62s are, I liked my 61 alto better, although I preferred the early 62 tenors to the 61s. BTW, the alto is for sale...hint...hint....

[Parth]

i just got a 62 and its great!
it out played every other sax i tried and was even better than the 82z

[gigaic]

I also got a 62 last year. I feel the sound now is little bit different from the time I bought. In the beginning, the sound is sharp and clear but too bright in high notes. But now, its high notes become warmer. I haven't changed my mouth piece and brand of reeds. Its sound seems to be improving!

[DTExpress]

I have a 62 alto that I bought off a friend in 92'. He had it set up by Emilio
when he was at Berkley. It still has a few of those pads on it. I paid him $1000 and he bought a silver balnced alto for $2500 from Jimmy Halperin. He regretted selling me that horn. I've played it in every setting you can think of and being a Tenor player I have to say I get compliments on my alto sound. In this case I think it has a lot to do with the horn. It's got a syrupy golden sound and it plays in tune over the entire horn. Much better intonation than my student's 82Z.

[SaxyAcoustician]

The 62 is one of the finest saxes ever made and at the prices they go for now is easily one of the best values in professional saxophones today (besides the Yanagisawa 901). The original 62 neck (not the G1 that today's 62 horns come with) really makes the horn sing.

[hodges1]

I have a 62 I bought a few months ago. I also owned a 52 for 15 years. The 62 is a very wonderful horn. It is a tad too bright for me, but still a very fine sax. However, I am very partial to Selmer still. Even with a Selmer 100, I favor the sound of my Selmer 100 over the sound of the 62, even though the action on the 62 is better. The Yamahas are very beautiful looking horns with the best mechanics, ergonomics, and action, but they just don't give me the same depth, timbre, warmth, and expression that the Selmers give me, whether it is the old USA Selmer Pro Saxes or the Selmer Paris saxes.
I had the same type of issue with the 52 I owned. In comparing the 52 and
62, I would call them fairly close in sound. Action wise, they feel the same. The 52 was more warmer and mellower, while the 62 echoes a little more and is a little louder with more bounce and liveliness. They are both great horns.

[Connical]

Well I like my early 62 tenor very much. I do believe it's a bit brighter than
my old Mark VI and maybe a little thinner up top. But that's hard to say
since its been so long since owning the VI. I also have a G-1 neck and I prefer
it to the original neck. Seems to project better. All in all, I still play my 62,
instead of a VI . Even though I do like VI's more, but the difference is not enough
to justify dropping the massive coin needed for a clean VI . So the hunt continues
for that estate sale find, or swap meet ... , meantime I'll stick with the 62.

[Yellowhorn]

On a related note, I have just traded my YSS 475 for a YSS 62 with some dough, and I am very glad I did it!

Even though the 62 is older than the 475, it is superior than the 475 on several counts, namely:

-it is a pro horn
-it is lighter (both sonically and physically)
-it has pro features (single unit base, blue steel springs, engravings, etc.)
-its sound is mellower

Just sharing, mates ;-)

[calisax]

The keywork is actually quite similar to a mark VI. I'm normally not much of a Yamaha fan, but I do dig the 62's. The sound is very resonant. A lot of bang for your buck.

[playitfunky]

I have a yas62 thats from about 1986/87. It's the old silkscreened logo. It's a real screamer. Many people have played it and said they like it as much as any 62 they have ever blew. I also have a YTS62 that is engraved logo. It's a nice horn but not special like the Alto. I just put a Barone Copper neck on the tenor though it really opened up the sound. I think overall the 62's are an under rated horn. Overall I also think its your best bang for the buck.

[saxandstrings86]

I've got a silkscreen YAS-62 that I've been playing for a couple of years now and I love it to death. Before I got to college, I was a Selmer guy through and through, but when one of the seniors put this horn in my hands, that was it for me. I still play Selmer horns off and on, and I own a SA-80II tenor (though I'm not a huge fan of it), but I've had a fair share of yamaha's in my hands now and I still get a tingle when I play one.

Funny thing aoubt this 62 (serial 007xxx) is that It's the horn I've learned all of my repair technique with. the senior that put her in my hands and told me to play her my freshman year had brought her back from the dead when he found her in the storage room, and handed her down to me (after naming her Nani). He also taught me most of what I know, and I've now done dent work, alignments, repading, spring replacements, tone hole repair, and pretty much everything else I could come across.

Since then, I've done a rebuild of two Paris SA-80II tenors (including the one I own, which everyone loves to play besides me), a Martin "The Martin" Bari, a Martin Indiana bari, and minor repairs on my YBS-52 bari, Buffet pre-r13 pro clarinet, and countless instruments for my friends and school, including brass and woodwinds.

Let's jsut say that my 62 holds a special place in my heart, on top of playing like any top-notch instrument on the market

[YAY SAXOPHONE]

I have a purple logo 62. The horn resonates very well. Although, the upper octave is still stuffy and has some weird intonation issues, even after an overhaul. I think the sax is from the early 80's but i'm not positive. Overall though, it is a great horn.