- Mouthpiece
- Yanagisawa
- Reeds
- Vandoren Red Box
Strength 2½
I bought this horn new in 1984. One of Yamaha’s classic models, it has a sweet center to the tone, with enough edge when I need it.
The instruments I play
Gear List
The instrument doesn’t make your sound, but it should make your sound easier
For me, that’s been with Yamaha. I’ve played their instruments for most of my professional career, with great support from their ateliers and clinic team. In the studio or on stage, I want a distinctive sound, reliable intonation, and an instrument that lets me get on with the music.
Saxophones
The horns, mouthpieces, and reeds—and why they work for me
- Mouthpieces
- JodyJazz SUPER JET 9*
JodyJazz DV 9*, sometimes 8* - Reeds
- Vandoren Red Box
Tenor reeds · Strength 5
My 2003 alto has the darker character I like in the 875. The gold plating gives it a large sound with a nice point to it.
Yes, I play tenor reeds on my alto. I know it’s unusual, but it works for me—I find it gives me a fuller sound.
- Mouthpiece
- Phil Barone metal
Custom baffle work by John Reilly - Reeds
- Vandoren Red Box
Strength 3
I love, love, love this horn. Warm subtones, screaming altissimo, and everything in between. So much fun.
Bob Sheppard gave me the Barone mouthpiece during a lesson. I’m not sure of the model, but after John Reilly’s work on the baffle, it became my tenor piece for a long, long time.
More about this horn
This limited-production instrument is based on the 82ZII. Its refinements include a different balance point, carefully redistributed weight, hand-smoothed internal edges and seams, a lightweight C1 neck, a special neck screw, and a distinctive lacquer.
The aim is the tonal character of a vintage horn with Yamaha’s evenness, intonation, and consistency.
From Jeff Peterson’s description
Los Angeles Yamaha Atelier
- Mouthpiece
- Vintage Otto Link
- Reeds
- Vandoren · Strength 2½
Occasionally a fiber reed
For a big horn that’s a pain to carry around, this bari plays very easily. The silver plating gives it some extra grease and sparkle.
Gary at Stein on Vine sold me the old Otto Link. It makes it easy to pick up the horn and get my groove on. I’ll sometimes use a fiber reed when I’m switching between lots of doubles.
Product photos show reference examples; year-specific details and custom setups may differ
Beyond Saxophones
Flutes & Clarinets
My woodwind work also includes Flutes and Clarinets. Different instruments give me different colors to bring to a session or performance.
On Stage and in the Studio ↗Electronics
Electronic wind instrument
Roland Aerophone Pro AE-30
An electronic wind instrument in my setup, alongside my acoustic Saxophones and Woodwinds.
My performance setup
Inside the Rack
Mixing & recording
Behringer XR-12
The mixer for my live rig, with USB recording to capture performances.
Effects
Eventide H9
The effects processor in my rack.
Vocoder
electro-harmonix V256
My vocoder, paired with the Yamaha VL-70m.
Tone generator
Yamaha VL-70m
The tone generator paired with my electro-harmonix V256 Vocoder.
Explore the makers
Find your sound
Try different instruments and setups. Find what makes your sound easier.
When you're in the studio or playing live, no one cares about what brand of instrument you play. It needs to be in tune, have a unique, robust sound, and it's worth repeating, it needs to play in tune. I've been playing Yamaha instruments for most of my professional career. It's a great company to work with. Their ateliers are great at tweaking my horns, and they've had great clinic support for me through the years. As a musician, it's your obligation to try as many different instruments as possible. The instrument doesn't make your sound, but it should make your sound easier. For me, that's been with Yamaha.
The Instruments I Play, and other info
Soprano Sax - Yamaha YSS-62
I bought this horn new in 1983. One of their classic models, it has a sweet center to the tone, with enough edge when I need it.
Yanagasawa mouthpiece, Vandoren Red Box 2 1/2
Alto Sax - Yamaha YAS875GP
2003 - Although the majority of players seen to gravitate towards the 62 models, I've preferred the darker 875. Along with the gold plating, it
gives the horn a large sound with a nice point to it.
Jody Jazz mouthpieces. I jump between a Super Jet 9*, and a DV 9*, sometimes an 8*. I also play tenor sax reeds on my alto.
Vandoren Red Box 5. I know it's weird, but it works for me. I found it to be a fuller sound.
Tenor Sax - Yamaha Atelier 82ZII
Here's what Jeff Peterson from the Los Angeles Yamaha Atelier had to say about the horn:
"It is limited production based on 82ZII. Some ergonomic changes place it in a better balance point. We did a lot with weight distribution with lighter posts, ribs, etc., in strategic places. A lot of labor-intensive hand work is done to smooth internal edges and seams. Lightweight C1 neck, magic neck screw, and the special lacquer are all contributing factors.
Designed to provide the desirable tone qualities of vintage horns with the evenness, intonation, and consistency of a Yamaha."
I love, love, love this horn. It's everything I've wanted in a horn, warm subtones, screaming altissimo, and everything in between. So much fun.
Phil Barone metal mouthpiece - Not sure of the model. Bob Sheppard gave it to me when I was having a lesson with him. John Reilly did work on the baffle, and it's been my tenor piece for a long, long time.
Vandoren Red Box 3
Baritone Sax - Yamaha 62S
For the big horn that's a pain to carry around, this bari plays very easily, and the silver plating gives it some extra grease and sparkle at the same time.
I play an old Otto Link that Gary sold me from Stein on Vine. That piece makes it easy to pick up the horn without any warm up, and get my groove on.
Regular Vandoren 2 1/2. Occasionally I'll play a Fiber reed if I need to go to it in the middle of a lot of doubles.
