When are we going to see a YBS-82Z/875

[Hotspur]

You know I own two 82Z's and I have been wondering why has Yamaha not gone to the next level on their bari's?? Granted I understand price would be high but so are most prices for bari saxes. Plus I'd love an alternate to the YBS-62 as I find it to be rather sterile and I'd love an alternate to a Mark VI bari because well either they have been abused or they are absurdly priced. Does anyone know if yamaha is going to come out with maybe a custom bari?

[mrzel]

I have asked the same question in the past. I wondered why advancements in Baritone saxophones was slow. Many here fired back that it comes down to dollars and cents. There is little incentive to invest in new models and the associated costs of prototyping when Baritones aren't bought with the frequency of the other saxophone models.

I play a vintage YBS-61 and would absolutely love a new modern era horn. I am considering a P. Muriat for my next horn. Perhaps a PMB-302GL. If Jason Marshall plays one then I know that the horn can keep up with my less skilled playing.

[Homely Saxman]

I was just thinking about creating this very thread. I love the custom series, and it would be great to see a custom series bari. An 875-EX bari bight be too heavy, though- my EX alto outweighs a few low B-flat baris. Still, they're both wonderful horns- if very different horns- and I wonder what either could do in baritone form. I wonder the same thing about the Selmer Reference series.

[Chris Peryagh]

If they do ever launch a Custom series bari, it will have to be considerably different to the current 62 in several ways - not just a 62 with different keyguards and bell brace. There should be several mechanical differences and the use of a different brass alloy for the body and different bore taper, maybe a different 8ve mechanism that's easier to adjust but still has the doubled lower vents, the RH main action could be made so all the keys are independent, adjustable front F key, etc., but please don't add double arms to the bell keys as they don't need them as the current bell key design is well designed and functions fine as it is. Keep the double bell to body brace as that's important.

I think they're hard pushed to improve on an already excellent design. If they can improve on my old 62 bari then I'd like to see if that's possible.

[EsbSpecial]

At the moment, it doesn't seem like it would make any sense to "update" the 62 baritone. They are what many consider to be top of the line and have a cadre of dedicated players - never mind that baris are almost niche horns. PLUS the already small market has tons of players in the field from every one of Yamaha's offerings, Keilworth, Jupiter, Selmer, P. Mauriaut, etc.

With your MK6 comparison, remember that there were no mk7 baris.

[mrzel]

I certainly think it is possible to improve YBS-62. I played one for 4 years before I bought my own YBS-61. I wish I could have bought the 62 I was playing at the time. But here's my thoughts on the matter.

1. I'd love to see a silver bell,
2. Custom necks,
3. Thicker bow brace to handle dings better (i still tap the side of chairs on occasion at gigs)
4. Left hand pinkie table which a tad closer to the ring finger (this is personal, I know the Yamaha pinkie tables are great compared to vintage)
5. Key guards on the exposed keys on the top of the horn like the 12m's have.
6. Low A key on left pinkie table (It would be nice to have two options for hitting low A in a hurry)
7. High G key (not really needed but if we're dreaming then I'll take one)
8. Adjustable palm key heights for people with huge hands like myself.

i love my Yamaha but I would love to see some new options on the horizon for the next Yamaha Baritone.

[EsbSpecial]

1. appearance.
2. Short neck baris really don't have enough of a neck outside of the top curl to do much with (strictly from a pneumatic perspective that is).
3. Possibly really cool.
4. That would be a nightmare.
5. A good tech with a soldering iron could do that custom work for you - appearance.
6. I have a Conn 11m with the LH pinky A and the thumb A. God, I wish it wasn't on the pinky - just seems to add weight and slow down the entire action.
7. This is why Tenors exist.
8. That could be really cool.

I like the cut of your jib, though.

[mrzel]

I think appearance issues do make for a more finessed playing experience and thus a better feeling horn. Just a bit more:

9. Adjustable right hand pinkie table. I would love to see it moved closer to the D-key and in an ergonomically appropriate position. i have to reach back from the natural pinkie position to reach low C and Eb. I feel that some of the ergonomics could be improved in most baritone saxophones., and that Yamaha designed most of its horns for people with smaller hands.

10. Triple position neck strap loops. I had one on my tenor and I like using different hook positions between straps and harnesses.

11. Larger thumbrest (ala saxgourmet)

[Chris Peryagh]

... Yamaha designed most of its horns for people with smaller hands.

I've found a lot of players with small hands find the palm keys (especially the high D key) stick out too far for them so they catch it accidentally. Not a problem for me as I do have fairly large hands and feel Yamaha have the ergos pretty much spot on compared to more recent Selmers, Keilwerths and a whole array of vintage saxes. I can usually tell when a player has gone from a Yamaha to an SA80II as they use palm key risers (or have the high D and F keys built up) and want the LH and RH pinky keys adjusted to make them more comfortable.

As for the LH low A key, it's only something that's fitted to baris with antiquated keywork as an afterthought to link the low A key with the rest of the bell keys or a cheaper design that needs an extra arm (or one fitted with a touchpiece) to link it to the low Bb key. Yamaha have an excellent low A mechanism that's without doubt the best designed and working low A mechanism ever made as it doesn't rely solely on the low A pad cup to close the other bell key pad cups via a multitude of linkage arms and adjustments - the thumb key closes the low Bb key and the A key is also closed by the thumb touch but with a separate linkage so the closure and spring tensions of all the bell keys can be finely balanced. I think it's still best keeping the low A touch for the left thumb only as that's been the standard on modern pro level baris since the low A was first fitted.