Jeff Coffin "Signature" Saxophone

[jnapper]

With all of this talk about the new Dave Signature Taylor, Carter's signature snare drum, Boyd's signature violins (and I'm sure Stefan has something too) I thought it was time that the saxophone players have something to own and play on as well!

Yamaha has announced a new Artist Selected line of instruments. This is taken from Yamaha:

"States Kurt Witt, Marketing Manager, Winds, Yamaha Band & Orchestral Division: "Each artist went through a long process testing and narrowing down the instruments to a final group. Repeatedly, the artists praised the instruments they selected and noted that they could literally be played on a gig that very night."

The complete Artist Selection process has been chronicled through Yamaha's various social websites including the Yamaha Winds blog, yamahawinds.wordpress.com and on also its Facebook page, facebook.com/yamahawinds There, users can view videos detailing the process along with interviews with the artists."

Along with the Yamaha YTS-82ZU saxophone you get a gold plated G1 neck (which Jeff uses), a coupon for a box of free Vandoren reeds (Jeff plays Vandoren ZZ #3), a tuner, a metronome, a Monster saxophone swab, and an iTunes gift card.

Here is a link to the story on Yamaha's site: http://yamahawinds.wordpress.com/2009/09/28/jeff-coffin-yts-82zu-artist-selected-saxophone/

And a link to buy one! http://band-orchestra.musiciansfriend.com/product/Yamaha-Artist-Select-Jeff-Coffin-Model-YTS82ZU-Tenor-Saxophone?sku=584081

[whiteysax]

I saw this on the WWBW site... pretty cool. I've always been a Yamaha guy so I'd love to try one of these out. However, I must say I've been leaning toward Cannonball lately

[Ezhuks]

Now we'll just have to find 4,500$ somewhere.

[whiteysax]

Now we'll just have to find 4,500$ somewhere.
shit... if i had $4500 I'd be upgrading my bari first... still have my eye on a Yamaha 62... but the more i listen to other sounds the more i think i'll shop around when i have the $6000 to do so!

[jiac_69]

i still need to buy a bari, i hate the school one -_-

[jnapper]

I've always liked Yamahas too, my soprano is a YSS-675. You really should check out the Saxophone.com horns. I love my new tenor and bari, and they are running a sale on their in-stock baritones right now. 60% off of list! They may be even made in the same factory as the Cannonball horns because they look and feel pretty similar. Both of my horns came with metal resonators instead of plastic (which I believe is standard). Anyway, if you talk with them Garrett the man and knows his product.

[whiteysax]

I've always liked Yamahas too, my soprano is a YSS-675. You really should check out the Saxophone.com horns. I love my new tenor and bari, and they are running a sale on their in-stock baritones right now. 60% off of list! They may be even made in the same factory as the Cannonball horns because they look and feel pretty similar. Both of my horns came with metal resonators instead of plastic (which I believe is standard). Anyway, if you talk with them Garrett the man and knows his product.
i'll read up on them, but i'm real hesitant to try stock horns or no-name horns... my bari is a Vienna Woodwind (WWBW signature stock line)... a budget purchase... and although it has a nice fat sound, it's built like shit... i have to readjust height screws multiple times during shows, the middle of the horn is out of tune with the top of the horn is ou.t of tune with the bottom of the horn, i know attention wasn't given to the securing of the rod pins to the body of the horn so it's just a matter of time before those start to go. Same thing with my LA Sax Alto.. it took 3 years, but the flaws in it's production have started to show. Unless it's a Cannonball, Yamaha, Selmer, Yani, or Keilwerth, I'll never buy another horn without trying it out first

[jiac_69]

i have Vienna tenor i have it for 3 years now, and its still good. the response to it is amazing. with a plastic mouthpiece it sounds like shit, but with a berg larson 100/0 and rico plastic covers #1 it sounds incredible =] i also love the vine ingraving going up the entire horn, even the neck

[saxlover]

i almost walked out with jeff's horns the other night. i should have. no security, i touched them, should have ran with them:evil

[whiteysax]

i have Vienna tenor i have it for 3 years now, and its still good. the response to it is amazing. with a plastic mouthpiece it sounds like shit, but with a berg larson 100/0 and rico plastic covers #1 it sounds incredible =] i also love the vine ingraving going up the entire horn, even the neck
I'll never buy another Vienna... not impressed

[jnapper]

i'll read up on them, but i'm real hesitant to try stock horns or no-name horns... my bari is a Vienna Woodwind (WWBW signature stock line)... a budget purchase... and although it has a nice fat sound, it's built like shit... i have to readjust height screws multiple times during shows, the middle of the horn is out of tune with the top of the horn is ou.t of tune with the bottom of the horn, i know attention wasn't given to the securing of the rod pins to the body of the horn so it's just a matter of time before those start to go. Same thing with my LA Sax Alto.. it took 3 years, but the flaws in it's production have started to show. Unless it's a Cannonball, Yamaha, Selmer, Yani, or Keilwerth, I'll never buy another horn without trying it out first

I understand completely. I played a pit gig with a guy that had one of their bari saxes and was pleasantly surprised with their construction, sound and price. I have long abandoned the notion of brand making that big of a difference, as long as the horn is made well, plays in tune and is easy to play I'll be more than happy to recommend it.

I did a little more investigating and sure enough Cannonballs are made in Taiwan, just like the saxophone.com horns. Not necessarily the same factory, but probably in the same town. Like I said before, they're worth checking out and the owner is player as well.

[whiteysax]

I understand completely. I played a pit gig with a guy that had one of their bari saxes and was pleasantly surprised with their construction, sound and price. I have long abandoned the notion of brand making that big of a difference, as long as the horn is made well, plays in tune and is easy to play I'll be more than happy to recommend it.

I did a little more investigating and sure enough Cannonballs are made in Taiwan, just like the saxophone.com horns. Not necessarily the same factory, but probably in the same town. Like I said before, they're worth checking out and the owner is player as well.
Italian horns have been getting a lot of good reviews in recent years as well... In Roi's later years with the band he had started playing some custom made italian horns (including that beautiful silver soprano). I believe they're a bit pricey though.

[jnapper]

Are you thinking of the P.Mauriat's? I looked at those too, just nowhere near to try them out. I would have loved to have played a few for giggles. But I'm happy with my new horns.

[jnapper]

Oh, and have you checked out this place: http://www.saxophones.co.uk/ I know they're in the UK, but it looks SWEET!!!!

[whiteysax]

Oh, and have you checked out this place: http://www.saxophones.co.uk/ I know they're in the UK, but it looks SWEET!!!!
DAY-UM!!! It's about time someone opened up a shop for saxes that resembles a guitar shop! I'm sure I could waste a good 12 hours just walking around with my mouthpieces in there!

[werkinsnake]

Now we'll just have to find 4,500$ somewhere.

Yikes! :eek It wasn't long ago when Yamaha's top of the line models went for about 2K less. Well, I guess that $4,500 is in line with what Selmer is charging for their new horns these days. The Yamahas are great horns, but I still would not be able to justify the cost. A used YTS-62 can go for as low as $1,500, and they are great horns.

[whiteysax]

Yikes! :eek It wasn't long ago when Yamaha's top of the line models went for about 2K less. Well, I guess that $4,500 is in line with what Selmer is charging for their new horns these days. The Yamahas are great horns, but I still would not be able to justify the cost. A used YTS-62 can go for as low as $1,500, and they are great horns.
I was willing to spend $6000 on a 62 Bari last year (if i had the money)... now that i have a functioning horn I'm gonna take the time to play around with some more vintage horns before getting another new one

[werkinsnake]

I was willing to spend $6000 on a 62 Bari last year (if i had the money)... now that i have a functioning horn I'm gonna take the time to play around with some more vintage horns before getting another new one

The new Taiwanese horns are really decent too. The Kesslers and Barones seem to be built pretty well, and they are really cheap. The last Kessler tenor I played seemed to be a little sturdier than my Selmer.

I'm still a little leary about anything coming out of PRC. Last I checked, many of the Chinese brands still used screws and rods that are sand molded as opposed to forged. That means that these parts have a tendency to just break under normal playing conditions. Don't even get me started on the glue that they use for pads, corks, and felts. :freak

[jnapper]

The new Taiwanese horns are really decent too. The Kesslers and Barones seem to be built pretty well, and they are really cheap. The last Kessler tenor I played seemed to be a little sturdier than my Selmer.

I'm still a little leary about anything coming out of PRC. Last I checked, many of the Chinese brands still used screws and rods that are sand molded as opposed to forged. That means that these parts have a tendency to just break under normal playing conditions. Don't even get me started on the glue that they use for pads, corks, and felts. :freak

I would agree with you 100%! I'm a band director by day and some of the nightmares we experienced when those Chinese instruments started coming through the door were enough to make you wonder who designed those things. Many of the instrument shops around me refused to even work on those instruments. The told my students to take the instrument back and just get a new one.

[whiteysax]

The new Taiwanese horns are really decent too. The Kesslers and Barones seem to be built pretty well, and they are really cheap. The last Kessler tenor I played seemed to be a little sturdier than my Selmer.

I'm still a little leary about anything coming out of PRC. Last I checked, many of the Chinese brands still used screws and rods that are sand molded as opposed to forged. That means that these parts have a tendency to just break under normal playing conditions. Don't even get me started on the glue that they use for pads, corks, and felts. :freakSounds like my Chicago Series LA Sax Alto... never again

[werkinsnake]

i'll read up on them, but i'm real hesitant to try stock horns or no-name horns... my bari is a Vienna Woodwind (WWBW signature stock line)... a budget purchase... and although it has a nice fat sound, it's built like shit... i have to readjust height screws multiple times during shows, the middle of the horn is out of tune with the top of the horn is ou.t of tune with the bottom of the horn, i know attention wasn't given to the securing of the rod pins to the body of the horn so it's just a matter of time before those start to go. Same thing with my LA Sax Alto.. it took 3 years, but the flaws in it's production have started to show. Unless it's a Cannonball, Yamaha, Selmer, Yani, or Keilwerth, I'll never buy another horn without trying it out first

Hey Chris, are your height screws rattling loose during gigs? Like the G#/F adjustment screws are coming loose and causing leaks? If so, try using some "Thread Lock". In a pinch, you can also put a dab of clear coat nailpolish on the heads of the screws. It should keep them in place. Just make sure that the corks on the adjustment screws are not on the verge of falling off before you use the Thread Lock or nailpolish.

BTW, if the intonation of the Vienna is bothering you, you may want to look for a Yamaha or Selmer neck that will fit the particular model. It's a good bet that the Vienna is a copy of either the YBS-62 or the SA80 II. In many cases, Asian horns with whacky intonation often suffer from a poor neck design.

I would agree with you 100%! I'm a band director by day and some of the nightmares we experienced when those Chinese instruments started coming through the door were enough to make you wonder who designed those things. Many of the instrument shops around me refused to even work on those instruments. The told my students to take the instrument back and just get a new one.
Well, I hate painting with a broad brush since there are quite a few companies in China that are making some outstanding instruments. But there are still many companies that are putting out pure garbage. I hate the thought of young musicians being turned off of playing music due to a faulty instrument.

[jiac_69]

my friend steeber bought a chinese horn off ebay, beautiful black and gold, he put 1500 worth of work in it and its still breaks, a chinese horn is a money pit, pay for what you get. (haha)

[whiteysax]

Hey Chris, are your height screws rattling loose during gigs? Like the G#/F adjustment screws are coming loose and causing leaks? If so, try using some "Thread Lock". In a pinch, you can also put a dab of clear coat nailpolish on the heads of the screws. It should keep them in place. Just make sure that the corks on the adjustment screws are not on the verge of falling off before you use the Thread Lock or nailpolish.

BTW, if the intonation of the Vienna is bothering you, you may want to look for a Yamaha or Selmer neck that will fit the particular model. It's a good bet that the Vienna is a copy of either the YBS-62 or the SA80 II. In many cases, Asian horns with whacky intonation often suffer from a poor neck design.

thanks for the advice, jake! I might look into that since it's going to be years before i have the extra money to look at upgrading my bari again.

[werkinsnake]

thanks for the advice, jake! I might look into that since it's going to be years before i have the extra money to look at upgrading my bari again.
Yeah, I hear ya. I'm still using a pitch shifter in order to create a fake bari sound. Would love to get a bari, but I need to hit the lottery first. lol

[whiteysax]

Yeah, I hear ya. I'm still using a pitch shifter in order to create a fake bari sound. Would love to get a bari, but I need to hit the lottery first. lol
do you use the boss pedal?

[werkinsnake]

http://www.youtube.com/watch?v=DbnLBHQtkDY&feature=channel

No, right now I'm using the Digitech Vocal-300. It's a decent sounding unit full of customizable reverbs, delays, envelope filters, harmonizers, phlangers, as well as several distortion effects. The best thing about it is that it is inexpensive and relatively easy to use. The worst thing is that you have to have to modify all of the factory presets in order to get consistent levels from effect to effect.

[werkinsnake]

Double Post

[whiteysax]

http://www.youtube.com/watch?v=DbnLBHQtkDY&feature=channel

No, right now I'm using the Digitech Vocal-300. It's a decent sounding unit full of customizable reverbs, delays, envelope filters, harmonizers, phlangers, as well as several distortion effects. The best thing about it is that it is inexpensive and relatively easy to use. The worst thing is that you have to have to modify all of the factory presets in order to get consistent levels from effect to effect.
interesting... I use a Boss harmonizer pedal to harmonize my horn... but it barely does the job... certain pitches come off out of tune or unsupported just as a result of the acoustics of the instrument since the pedal was meant to be used with an electronic instrument. I'd love to find a better harmonizer, or better yet, effects rack

[werkinsnake]

interesting... I use a Boss harmonizer pedal to harmonize my horn... but it barely does the job... certain pitches come off out of tune or unsupported just as a result of the acoustics of the instrument since the pedal was meant to be used with an electronic instrument. I'd love to find a better harmonizer, or better yet, effects rack
There's a local guy in Pittsburgh who used to carry around a unit similar to what Jeff and Leroi used. Compressor/Limiter, Eventide processesor, and a Q-Tron envelope filter that was all packed into a fairly large box. We were playing at this oldies festival and had some time to compare our setups during the soundcheck. The Vocal-300 was able to do everything that his processors could do. The added benefit is that my unit can fit into a small duffle bag. A rackmount unit also requires more maintenance. Furthermore, the more effect units you daisychain, the more unwanted electronic noise you are going to get. OTOH, his unit looked cooler! lol

Come to think of it, Ian Gordan (sat in with DMB at Starlake 06 both nights) uses a Vocal-300 for his trumpet. Jeff Coffin used to use a Digitech Whammy pedal as a harmonizer unit, and the technology of the Whammy is built into the V-300.

[whiteysax]

There's a local guy in Pittsburgh who used to carry around a unit similar to what Jeff and Leroi used. Compressor/Limiter, Eventide processesor, and a Q-Tron envelope filter that was all packed into a fairly large box. We were playing at this oldies festival and had some time to compare our setups during the soundcheck. The Vocal-300 was able to do everything that his processors could do. The added benefit is that my unit can fit into a small duffle bag. A rackmount unit also requires more maintenance. Furthermore, the more effect units you daisychain, the more unwanted electronic noise you are going to get. OTOH, his unit looked cooler! lol

Come to think of it, Ian Gordan (sat in with DMB at Starlake 06 both nights) uses a Vocal-300 for his trumpet. Jeff Coffin used to use a Digitech Whammy pedal as a harmonizer unit, and the technology of the Whammy is built into the V-300.yeah... i talked about a rackmount unit with this effects specialist at a guitar center a few months ago but we didn't get into pedal boards or anything. I'd love to have all those options available to me... I might start writing again. But for my current gigging, all i need is a harmonizer... but i'd like to find a unit that doesn't make the harmonized pitches sound like 1990s video game midi sounds. Your vocal 300 retains most of the acoustic properties of the horn when you play through it?

[werkinsnake]

yeah... i talked about a rackmount unit with this effects specialist at a guitar center a few months ago but we didn't get into pedal boards or anything. I'd love to have all those options available to me... I might start writing again. But for my current gigging, all i need is a harmonizer... but i'd like to find a unit that doesn't make the harmonized pitches sound like 1990s video game midi sounds. Your vocal 300 retains most of the acoustic properties of the horn when you play through it?
Well, it retains about as much of the sax sound as a digital sampler can allow with current technology. I will say that lowering the pitch sounds much better than raising the pitch. The end result is a harmonizer that sounds exactly like Jeff's rig in the album version of "The Evil Boweevil". Each effects bank allows you to program up to two effects + reverb and/or delay. So you can also recreate the Harmonized/Wha effect that Ryan Zoidus (sp?) frequently used with Soulive.

[whiteysax]

Well, it retains about as much of the sax sound as a digital sampler can allow with current technology. I will say that lowering the pitch sounds much better than raising the pitch. The end result is a harmonizer that sounds exactly like Jeff's rig in the album version of "The Evil Boweevil". Each effects bank allows you to program up to two effects + reverb and/or delay. So you can also recreate the Harmonized/Wha effect that Ryan Zoidus (sp?) frequently used with Soulive.
i tend to harmonize up since I'm covering Ross's trumpet parts with my sax... but it would be nice to have control over my own reverb...

[werkinsnake]

How far up are you going from your played pitch? I'd say that you can get away with going up to about a 5th before the tone really starts thinning out. At an octave up, the sax starts sounding more like a kazoo.

[whiteysax]

How far up are you going from your played pitch? I'd say that you can get away with going up to about a 5th before the tone really starts thinning out. At an octave up, the sax starts sounding more like a kazoo.
the only parts I can think of that I'm playing harmonized trumpet parts out of the sax range are being harmonized up a third. Although I do use it on the double octave setting during ASTB for the Also Sprach part.
The funny thing with the Boss pedal is that the better sounding intervals are 5ths and octaves. The more closed the interval, the more "honky" and pitchy the sound seems to get...


ps. i appreciate all the references to coffin's music during this discussion... almost attempting to keep it relative to the thread... we probably should have started another thread... :lol

[werkinsnake]

Actually, you may be able to get away with an octave up for the simple fact that you're on bari. The lowest pitched wind instrument I've ever used with the harmonizer was a tenor sax, and the kazoo sound starts kicking in whenever I get to about the 3rd Bb on the horn. Playing in the lower octaves, on tenor, the +1 octave is about the same as the harmonizer that Roi was using for ASTB back in 1998.

Come to think of it, I've never been able to get 3rds to sound good on any harmonizer. This may have less to do with the sampling, and more to do with the compromises made in our tempered scale itself. The harmonizer probably programs intervals based off of 12 even increments of 440 hertz. While mathamatically sound, it just doesn't work out in a scale made of compromises.

ps. Yes, we did kinda threadjack this one didn't we? OK, I'll try to pull this back on topic. Ummm....Jeff's beard is cool?!?!

[whiteysax]

Actually, you may be able to get away with an octave up for the simple fact that you're on bari. The lowest pitched wind instrument I've ever used with the harmonizer was a tenor sax, and the kazoo sound starts kicking in whenever I get to about the 3rd Bb on the horn. Playing in the lower octaves, on tenor, the +1 octave is about the same as the harmonizer that Roi was using for ASTB back in 1998.

Come to think of it, I've never been able to get 3rds to sound good on any harmonizer. This may have less to do with the sampling, and more to do with the compromises made in our tempered scale itself. The harmonizer probably programs intervals based off of 12 even increments of 440 hertz. While mathamatically sound, it just doesn't work out in a scale made of compromises.

ps. Yes, we did kinda threadjack this one didn't we? OK, I'll try to pull this back on topic. Ummm....Jeff's beard is cool?!?!i think you nailed the issue with the 3rds, which sucks cause most of the harmonies i play on tenor are 3rds... less frequently I use the 4ths, 5ths, and the occasional 6th.

ps. the beard rocks :monkey

[saxlover]

my dick is getting hard listening to you two talk.

[werkinsnake]

my dick is getting hard listening to you two talk.
"Awkward Turtle"

Google it kids. :D