Question:
YTS-875 Or YTS-82Z
I have been playing a YTS-34II for 4 years, and am about ready to purchase a professional sax. I absolutely love Yamaha and am very interested in the YTS-82Z and YTS-875, could anyone who has played either or both make any comments or reccomendations? Any good set-up suggestions would be appreciated too. Thanks!

Answer:
Well, I sorta played both. I played a Yam 82ZL alto and a Yam 875 tenor. I don't see how you could go wrong with either sax, 82Z or 875. For some reason, the 875's are a bit pricier, meaning Yamaha must thing they are better in some respects, but I'm not sure what those reepects might be. I enjoyed playing both of them. If you get a chance, find a place where you can a/b them.

Answer:
What type of music are you playing? From my experience the 82Z is a very bright sounding instrument, and best suited for jazz. One of my students, who is a mostly a classical player, has a lacquered 82Z and it took a lot of searching to find a mouthpiece that would give her the best sound (Rousseau NC3 for classical.) For jazz, funk, or R&R the 82Z can be very well suited.
On the otherhand the 875 is a darker sounding instrument. Commonly used by some of the best classical players out there, and also in use by many very fine jazz musicians.
Personally, I could not play an 82Z since it is sonically too bright and forces me to work too hard to darken the tone.

Answer:
get a Conn 10M mate!!!

Answer:
I play an 875 alto and an 82Z tenor. I've also played an 875 tenor. You can't go wrong with either horn. It depends on what you are looking for. I know you are looking for a more definitive answer so instead I will tell you the main difference between the two horns (based on my experience).
Thie thing that seperates the Z from the rest of the Yamaha line is it's core. The core is thick, compact, and very present. The 875's core is not as compact and not as present. Both horns are equally medium bright. One is not brighter than the other. Some may feel the Z is brighter simply because the core is very compact. Those that love the Z love the sound of the core and welcome the core's upfront nature. Those that do not care for the Z's core prefer the 875 because they feel that they have more contro over the sound. I have seen posts describing the 875 as having no character. Those are the one's that would prefer the Z. But the 875 is more versatile tone-wise because it does not have that highly present core. A Z sounds like a Z, a Selmer m vi sounds like a mark vi, an sx90r sounds like a keilwerth, and an 875 can sound similar to all of them.
with that said..."I" prefer the Z on tenor and the 875 on alto. Try them and see which one you like.

Answer:
Don't forget the YTS-62II!
I play one of these and have been absolutely in love with it since the first note I played. I tried it against at YTS-875, out of curiosity, and the differences were hardly noticeable (to me at least), probably not anything more than the difference between any two horns.
I didn't get a chance to try an 82Z, but when I buy another horn (I'm going to have to leave my 62 with my brother when I go to college), I'm definitely looking into that one.

Answer:
Like many posters before, I play the 875 alto and the ULZ tenor. But I'd beg to differ with the sentiment of one being a classical and another a jazz horn. To tell the absolute truth, it was the classical side that sold me on an 82Z. It just sings, I love the core to the sound, and it is really warm. The 875 is an equally fine horn, perhaps a little more versatile as described by sinkdrain...although, I think I would say "Less distinct" as opposed to "more versatile". Bottom line is, both horns are wonderful, quality control is second to none, and the consistency can't be beat. If you like the Z, you will buy it. If you don't, you won't.! Many people said the same thing about keilwerth horns. I was told "you'll either love them or hate them" and it's true. Neither horn is better. They are simply different. Whatever you do, don't purchase one or the other until you have played them both, side by side and decided which one has what you want, because that is what it really boils down to. I'm about to purchase a gold plated neck for my Z because I like the spectrum that the GP brings to the horn, but that being said, the Z was my pick even with the "stock" (albeit still hand made) neck. I did make extensive comparisons between the two horns. If you have specific questions, feel free to ask (post here or PM) and I will do my best to answer them.

Answer:
Hey Saxchado,
My only question would be if you noticed a big enough difference in tone to justify the expense of the gold-plated neck? And if the difference was significant, was it more free blowing and spread, or did it just make it louder while still being very bright?
I ended up getting a Keilwerth for myself, but I am still curious about those Zs. I only tested one about 6 months ago, and it was so badly adjusted that I couldn't play it at all.

Answer:
The Z plays more like a Selmer: compact, focused core to the sound as described by others. The 875 plays more like a 62: a more spread, variable sound that doesn't have a distinctive personality. For this reason it's considered more versatile but, as saxchado chimed in, I don't see it that way. I just see it as having less personality.
All this aside I play a 62, and this gets the job done. But I have tried a lot of Z's and a lot of customs, and found the same to be true. The Z just has a certain something, along the lines of the mark VI having a certain something. It's not the same something, as the reviews might lead you to believe, but it's definitely what I would describe as "character".

Answer:
Razzy hits it right on! Similar to a mark vi in concept but don't expect a Z to sound like a mark vi. It sounds like a Z.

Answer:
I currently have a silver Custom YAS-875 that I was able to get brand new back in 1999. Before that I had a Selmer Mark VI alto and hated it, honestly. The intonation was so poor. I then got a Mark VII and it wasn't much better. I have played the Super Action 80, SA 80 II, Conn, Buscher <still have a Buscher True Tone Low Pitch (satin silver)>, Yani, L.A. Sax, and a host of other top and not so great brands. I decided to go with the Yamaha Custom 875. I have never been less than completely satisfied with the YAS-875 Custom in silver. I like the sound the silver gives as opposed to the lacquer or the black lacquer.
Finally, I had saved enough. I was in the market for a tenor. I had a Hohner tenor sax from when I lived in Germany back in the 80's. During that time I also had access and played King, Conn, Selmer, Yamaha, Buscher, and a host of other saxes.
I played everything I could get my hands on. I am fortunate to live in an area (south Florida, U.S.A.) where there are a few large stores that carried a good selection of horns (MARS Music before they went out of business, and Sam Ash Music). I played vintage horns that were traded in, the new Reference line from Selmer, their Series II and III, Yanis, Cannonballs, off-brand modles with various names, and then I ordered two from the Woodwind and the Brasswind. I ordered silver Yamaha tenors. One silver YTS-82Z and one new Custom YTS-875 II. They arrived together -- finally.
You can read my evaluation on them at the bottom of this thread.
I prefer the Custom YTS-875 IIand kept that. My setup is the silver Custom 875 tenor, a Berg Larsen 120/0M, stock Berg ligature, Rico Plasticover 2 1/2 reeds, and I've never been happier. Last month during a local concert I got rave reviews from the crowd and the sound engineer that came in for our live recording. This horn is so versatile that I can get mellow or harsh -- all with the same setup. Some of that is me, but I credit the horn with the ability to be that flexible. Yamaha did a fantastic job with the new 875 Customs. The new G1 neck is better then the M1 that came with the previous Customs.
Take care & be safe.
J.D.
----------------------------------------------- :usa:

http://www.wwbw.com/Yamaha-YTS875-Custom-Tenor-Saxophone-i93786.music?t=4

Top of the line quality and value

by J.D. posted, 6/24/2004 7:24:13 PM

Musical experience:teacher, studio player, church musician, lifelong student, Style of music:Jazz, gospel, R n B, contemporary, classical ..., Home town:Miami, FL

I have done extensive research and played one of everything from Yanagisawa, Selmer (Mark VIs, VIIs, the new Reference horns, the Series II and III models), Keilwerth, Yamaha, Cannonball, and a few odd brands in between. After hours of playing various horns, researching, talking with pros around the world (via internet), and trying to match a horn with music I will be playing (jazz, gospel, R & B, solo and studio work, classical, etc.), I have finally decided on a tenor. WW&BW sent me an 82Z and 875 - both in silver. Here's my findings. I pulled out the YTS-82Z first. It melted in my fingers and the response was outstanding. I set up my tuner and checked the intonation. DEAD ON the money from the bottom to the top including altissimo. I didn't get that response from any of the other horns I played. Incredible consistency, exceptional ergonomic placement of the keys that melt in your hands, and effortlessly free blowing from the bottom to the top. After about two hours of playing, I picked up the YTS-875. DITTO. SAME awesome qualities. So what's the difference between them? Other than the advertised specs (2 vs. 3 point bell brace, reinforced bow rib/brace ...) there is more metal in the 875. The 82Z is a little thinner. Remember the 82Z is modeled after the 62 with Custom enhancements basically. The right hand F# side keys on the 82Z are placed slightly differently than the 875. If you aren't fingering a strange altissimo fingering combination, you'll never notice this slight difference. This same fingering can be used on the 875 as well, but is more comfortable on the 82Z for that particular fingering -- no big deal. The upper D,Eb,E,F, F# notes on the 82Z were a little finicky/sensitive and didn't want to speak as fast as the 875. It was almost like a leaky pad effect, but the pads were not leaking. A comparison of this was done over and over with the same mouthpiece and piece of music. I even tried the other neck. Always the same result -- day after day -- even when I had my wife randomly place one in my hands as I was blindfolded. After a true blind test, the 82Z had some difficulty where the 875 never skipped or was fussy. I also found that when I pushed the horns hard that I was able to somewhat overblow the 82Z and it would have a rattling buzz to it with some distortion (not growl) to the quality of the sound. The 875 took the push and never waivered or gave resistance or lost sound quality. These differences were again noted by playing the same reed, mouthpiece, ligature, and selection of music. I also noticed that the 875 G key (on the left hand ring finger) has a support post so you can't bend the key if you misused it as a grip exerciser. The 82Z doesn't have this -- probably to reduce weight and free up the resonance. The 82Z's left hand palm F key seemed to have some play and needed a little more support and I fear that going gig to gig would cause the pad to seat improperly due to the lighter key construction on the 82Z. The 875 was a little stronger and less flimsy. The right hand pinky keys (low Eb & C) were very comfortable on both. The overall shape of both together on the 82Z is a circle cut in half. The 875 is mostly a rectangle/square cut in half. Can't feel any difference between the two when playing -- only looks different. The left pinky keys are the same on both. The finish on both was fantastic in silver. The 875 has a little more engraving on the bell and bow than the 82Z, but that's merely cosmetic. The cases are also different. The new cases on the tenors have a center latch and a key lock on each side. The 82Z's case exterior is constructed of a black vinyl (heavy raincoat material) cover, over padding, over wood underneath. The 875 is black leather with reinforced leather corners, over wood, and feels stronger and will be more rugged than the 82Z case. I fear that loading in/out of a trunk or baggage compartment of a bus from gig to gig that the 82Z's case will be prone to tearing or ripping and I would suggest a case cover if you can find one. After hours of playing, comparing, trying various jazz, classical, and technical pieces for speed & comfort, listening for intonation, quality and color of sound, depth of tone, flexibility & ability to blend or solo, make darker or brighter in tone, and evaluating the personality of each horn, I decided on the 875 over the 82Z. Don't get me wrong. The 82Z is no mistake and it does have a slight (and only slight) bit more resonance than the 875 off the line; however, I can make the 875 sound just like the 82Z if I want to with hardly any effort which is a wonderful feature of the 875 and a compliment to its flexibility and versatility. I can't make the 82Z sound like the 875 (slightly darker when needed). Also the 875 has more power in the lower notes (low E through Bb) and sounds a little more gutsy and not as "thin" as the 82Z down low. There seems to be a slight edge of superior quality in the workings and response of the 875 over the 82Z. 4 1/2 stars to the 82Z and 5 stars to the YTS-875 Custom.

Answer:
Wow! What a great review, SilverAlto875 !!! Outstanding contribution!
I wish I could find more of those comparative reports. You clarified me incredibly well a question I had since long ago.
I owned a YTS-62II for a few days, later returned to Music123 because of its lack of tone quality to my ears. I thought initially that my experience with Yamaha was over, especially after trying the B&S 2001 which is my current tenor, but curiosity for the "Custom" models kept on growing.
Custom 875s are not hard to spot on Ebay for decent prices, usually below 2000$, while 82Zs are far less common. I tend to buy used saxes because, if not satisfied and decide to resell them, loss is often low (if any), so I was going to opt for the 875 mostly for that. Your review reinforces considerably that choice.
Then I'll see how it compares to the B&S, I guess one of the 2 will go back on Ebay.
Thank you !

Answer:
Silveralto, that bit more resonance that you describe is enough for me to prefer the Z. I think a lot of it has to do with the Custom sounding, for me, exactly like my current 62. I really can't hear a difference, aside from the G1 neck. I switched around my neck (M1? whatever comes pre-mark II 62's) with the G1 on the custom, and vice versa. The G1 really changed the response on either horn, but it felt more like I was comparing the necks; the different bodies had absolutely no difference in sound. Granted, this was a while ago but I remember clearly how I felt about this, since it puzzled me that such a more expensive horn sounded identical to my cheaper one! Also, I've been playing and shedding long enough to rule out things like how well the horn is set up, key heights, action, etc. when A/B'ing horns and to just focus on the SOUND coming out of the thing and how it takes the air... the sound was so much the same that I found myself hunting for some kind of difference which I did not find.
Both horns, of course, are really really good. Awesome intonation, response, flexibility, etc. etc. but just lacking in "character" like a good VI. There's another, better, 5-letter word for this :D
So I guess I'm just looking for something else! And the Z thus far has that, has a little more character than the 62/Custom (I tend to think of these as the same horn). When I save up the cash I'd like to order a couple of these and if any one sounds like a real kepper, I'm hanging on to it.

Answer:
I have YTS-62--and YTS_875s. The 875s is by far the best playing tenor I have ever played. (Started playing tenor in 1955, so have played a few) Yamaha makes a great horn! I traded my Mark VI because I didn't use it anymore! Backup tenor now is an older YTS-62 (SN#0160xx)that also is a great player! :)