Close this search box.

The BEST SAXOPHONE In the World… for me

YouTube video


Last year, I made a video entitled “The Best Saxophone in the world?” It was all about the hype and mythology surrounding the Selmer Mark VI saxophone. My conclusion in that video is that the Selmer Mark VI is a great saxophone. It is the standard to which all other saxophones are compared. It may not be, however, the best saxophone for everyone out there. 

Many people got the wrong impression from that video. They thought I was just bashing the Mark VI. That’s not the case at all. I’ve actually owned three of them—now I’ve just got one. I keep it around because, as I said before, it is a great point of reference to compare other instruments. So what is the best saxophone in the world?

In this article, I’ll discuss why the Yanagisawa makes the best saxophone in the world… for me…

Mainly because that’s what I play on and make music with everyday.

The best saxophone in the world for you may be something else and that’s great. We all have different tastes and preferences when it comes to our instruments.

I’ll to take you through a few of the features of the latest WO series from Yanagisawa and let you know why I think they’re the best saxophones in the world from the perspective of a player and a repair technician.

YouTube video

Build Quality 

Now as a repair technician, I can say hands down that Yanagisawa saxophones are the best built saxophones available. They’re really in a league of their own. Doing adjustments or repairs on one of these instruments is a pleasurable experience, whereas with some other instruments they can be a little bit frustrating. 


As a player, nothing beats it ergonomically. When you have one of these in your hands, it just feels like it was made for you. The keys have a very solid feel to them, but at the same time, it’s extremely fluid and natural. It’s just a pleasure to hold in your hands and action the keys.


The sounds you get from a saxophone has a lot more to do with the player behind it, their sound concept and their mouthpiece and reed set-up, rather than the saxophone itself. Anyone who plays a Yanagisawa loves them because of the consistency of the tone and the response over the entire range at all dynamic levels. No one would ever say that this saxophone is better suited to jazz or classical or rock music. It just allows the player to play whatever they want to do with total freedom.


When looking for saxophones a lot of people ask “does it play in tune?” 

I got news for you, saxophone players play in tune—the saxophones themselves not so much. 

I’ve never had a horn that you could just set one embouchure and one voicing and play every note in tune without making adjustments. That doesn’t really exist. It’s just the nature of an instrument that has lots of different acoustical compromises built into the design. Having said that, Yanagisawa has managed to minimize the effects of these compromises. Which gives us probably the most consistent tone quality and intonation of any saxophone being made. 


It truly is a beautiful instrument. I’m not just talking about the fine hand-engraving, the sleek underslung octave key mechanism, and—you know—the overall look of the whole thing. There is a beauty in handmade things that are built to this level of precision and excellence. There’s nothing flashy, no gimmicks. The beauty of this instrument speaks for Itself.

Yanagisawa TWO2 unlacquered tenor saxophone


I own six Yanagisawa saxophones that have been built over the last 30-plus years. The consistency of these instruments is astounding. As good as the older ones are, the newer models just keep getting incrementally better and better. The WO series saxophones come in two models: Professional and the more expensive Elite.

These horns are nearly identical in every way that matters. The tube, the keys, the springs, corks, felts, and key pearls are the same with both models. Here’s a breakdown of a few of the differences between them…

Yanagisawa T880 saxophone in Menton, France
Yanagisawa T880 saxophone in Menton, France


The WO Elite models come with double arms on the low B and C keys, adding another level of stability to these keys. This is a feature I used to love. These keys can use a little extra support sometimes, but to be totally honest, it’s not actually necessary. The models I have from the Professional Series without the double arms are so well made that these keys are equally stable with the single arms.

I think this is something that they started doing a long time ago because it was an issue with other saxophones. However, their own build quality has rendered this obsolete.

There is also an extra connector on the left hand pinky stack that connects the C-sharp key to the B key. This is another feature that I used to think was really clever because this can be a sloppy mechanism on some other saxophones.

But once again, Yanagisawa has made their own innovation obsoletes. With the Professional models I own that don’t have that little gizmo, I would never notice a difference going back and forth between these two keys. It works just as well.

On the Professional models, they don’t have a pearl on the G-sharp key like they do with the Elite models. I thought this was going to be an issue for me but I don’t even notice the difference. 


Now perhaps the most significant difference between the Professional and Elite models is that the Elite models are built with ribbed-to-body construction and the Professional models are built with post-to-body construction. What does this mean? Ribbed construction means that all of the different posts holding the keys in place. This allows them to swivel and turn are attached to one long piece of metal that gets attached to the saxophone.

The Professional models with the post-to-body construction just have each individual post soldered on to the saxophone. This results in less metal. The lesser expensive saxophone actually has less metal on it than the more expensive version. This can have a minor impact of how the horn feels when played. However, whether that difference is better or not is up to the individual player. If we go back and look at some of the old vintage horns like Conns and Buescher ‘s Made-in-the-USA, these horns had the post-to-body construction and they play great. 

(July 19th Facebook Photo)


Once again, the Yanagisawa saxophones are made so well that for me the difference in the ribs or post construction is just the weight of the instrument. On tenor, I prefer a lighter horn. That’s one of the reasons I really like my Mark VI. It’s a very light saxophone compared to my Yanagisawa T880 which is pretty heavy.

This is also why I prefer the Professional model Yanagisawa on tenor because it’s lighter. One could also say that the extra metal on the exterior of the horn can darken the sound of a saxophone. My WO 2 tenor is made of bronze, which already darkens the sound and weighs slightly more compared to the brass model. Less metal on the body is a nice way to balance out the weight and the sound.


Finally there’s the neck on the Elite models which have the signature underslung octave key. On the Professional models, you’ve got the traditional style octave key. The neck itself is identical—the only difference is what metal is soldered onto it and where. And once again, I think that the Yanagisawa quality has rendered this difference in design almost entirely cosmetic.

Yanagisawa A991 with underslung octave key

Final Thoughts

So once and for all, if you’re thinking about getting yourself a Yanagisawa saxophone but aren’t sure which model to get, don’t think that the Elite ones are a better sounding horn or a better built horn.

They just have a few extras on them that really are just extras. There are some minor differences in how the two models play, but one is not necessarily better than the other. Some players are going to prefer the sound and response they get from the less expensive models.

When I ordered this tenor saxophone, I had actually ordered the Elite TWO20 model. When this one arrived, I opened up the case and I saw right away that it was just a Professional TWO2 model. I was disappointed and I planned to send it right back but I had to play at first, of course.

After playing this for a little while, I realized very quickly what a great saxophone it is and that I don’t actually need any of the extras that the Elite model comes with and I prefer the lighter weight. I haven’t spent a lot of time with the Professional WO level altos, but the ones I have played were neck and neck with the Elite models. I think with these WO series saxophones, Yanagisawa has really narrowed the gap between the two different models to the point where there’s very little difference when it comes to the things that really matter most. 

Recently, I became a Yanagisawa endorsing artists through the Conn-Selmer company which distributes their instruments in North America. If there is one maker of saxophone things that I can endorse with absolutely zero hesitation, it’s Yanagisawa and I’m very proud to do so. 

Let me know in the comments section below what the best saxophone in the world is to you and why.

The BetterSax Alto Saxophone

Now, while I am a big fan of the Yanagisawa brand saxophones, not everyone can afford or needs an instrument of this caliber and price. I have recently developed the Bettter Sax alto saxophone to fill a gap in the market for a high quality, reliable and desirable entry-level saxophone at the affordable price.

My vision for this saxophone is to change the way we think of an entry level instrument. I want people to be able to buy this horn and not have to think they are going to need a step up instrument a few years later. If your budget is under $1000 this can be your one and only main instrument no matter what level player you are. This truly is a fantastic horn and I’m excited to finally get it into your hands!

You can purchase the BetterSax Alto here.

Also be sure to follow BetterSax on Facebook, Instagram, LinkedIn, and YouTube to stay up to date with us for news, giveaways, and other saxophone tips and tricks.

More Posts

Leave a Comment

Your email address will not be published. Required fields are marked *


jose says:

It’s really one of those things you have space to change opinion… The best saxophone for me is the one I sounds better.. In my case, an old 1920 Buescher C type. The sax has a very deep, sultry voice. I uberoverhaul a couple of years ago (don’t ask how much but was close to 5K…) and now I know never, ever will be sold that sax.
But if you ask me THE best saxophone, the one I would love to have is the Ramponi & Cazzani R1 “two voices”. I tried at in London and love it! More expensive than the Selmer but man! what a sound!!!

Jay Metcalf says:

Definitely there is room to change one’s mind on what the best horn is…

Larry Weintraub says:

Jay: Nice video/article. Okay I have only seen a Yani to play once and that was when I was teaching at a now defunct music store. I used their Yana alto to teach with. This was around 1997 or so. It played really nice. Other than that I haven’t seen one since to try out.

You said at the end they are distributed by Conn-Selmer in N. America. Well at the Saxophone Symposium I have seen the new Selmers but not the Yani’s. So at least from Virginia Beach to Wash DC I have not come across them.

Now what I have seen are Selmer’s and Yamaha’s galore. However the horn that was a sleeper in this area was at the Sax Symp was the Cannonball. I had never heard of them before. I tried the Big Bell tenor and you known what I actually like it, a lot. Here is how I feel the Cannonballs play.

The lower register is big and fat. Actually it sub tones better than my Selmer Mk VI. Mine is a Nickel Plated Black Laquer Big Bell Model w/the semi-precious stones on the horn. The ergonomics on feel of the horn is very close to my Selmer Mk Vi w/this exception. The keys are further about and the high D, E & F are also spaced further apart than my Selmer Mk VI. So that took getting used to. The bore of the horn is bigger than a Selmer or a Yamaha. So it takes more air to play or at least getting used to. The upper register is nice and tunes very well but the sound is not quite as nice as either my Selmer Mk VI or my 1947 Conn 10M. But still it’s a nice sound and w/my metal FL Otto Link mpc it cuts just fine. I can also play the whole range of the Cannonball softly. My repair tech really likes the Cannonballs. The low Bb, B, & C are double braced. I think this is a great idea along w/my key clamps for keeping the Cannonball in regulation. Also the connecting bar from the low F to the key above it is a great idea for keeping those keys in regulation. This is something that my repair tech did for my Selmer MK VI by using a marching band lyre and cutting off the post and soldering it onto my F pad to the key above it. I 1st saw this on a Keilwerth SX-90R.

Actually that is what i really wanted was the Keilwerth SX-90R. I played them when I was in NYC w/my Navy Band. However they were about $2.5K to $3K, more than the Cannonball tenor. Plus the Cannonball played very close to the Keilwerth. So the price point was the final factor in buying the Cannonball.

Now all this being said it’s still not my favorite tenor. I bought my Selmer MK VI brand new, still in the plastic wrapping the 2nd semester of my Freshmen yr at college in 1974. The Selmer MK VI is my favorite tenor. It has the sound. It blends really well in a section and it is the go to horn for soloist once the horn came out. The ergonomics are the industry standard. Your Yana Pro model tenor looks just like a Selmer MK VI from what I could see.

Now all that being said I would not recommend any of my students buying a used Selmer MK VI w/out playing it first. Especially do not buy one off of eBay. You never know what you are going to get. I keep mine well maintained but I am not selling my Selmer MK VI, EVER!! So yes the Yana is a great horn and I would recommend one to my students if they were in the market. Especially if someone in the Norfolk, VA area carried them, which they do not. However because of my prodding the local Music & Arts started carrying top of the line Cannonballs. People are buying them and I have recommended the Cannonball to my students. One of my former tenor players bought one and it really plays. I tried the Gerald Albright tenor and man, that horn really soars.

Ya know what? I also really loved my Conn 10M. Yes the ergonomics are not modern, it takes getting used to. But man, what a sound. Now I did a little informal survey that was unscientific but still the results were amazing. It was a comparison between my Selmer MK VI and my Conn 10M. On one on one sessions I played both instruments to adult females and males. I played the exact same thing on both instruments making sure to play in both the lower and upper registers. The results were evenly split between 5 men and 5 women. To a person all the females preferred the sound of the Conn 10M to the Selmer MK VI. All the males preferred the sound of my Selmer MK VI over the sound of the Conn 10M.

The females said the Conn 10M sounded smoother, sweeter, less penetrating. The men liked the Selmer MK VI because it has more highs or edge to the sound. It projected better, thought it had a fatter sound.

As far as tuning despite what people say I feel that my Conn 10M plays in tune really well. I have used it w/my Aebersold’s and I used it on my last combo gig before the Virus hit w/great success. But I can say the same for my Selmer MK VI.

So in conclusion flip a coin and go figure. To me, my Selmer MK VI is easier to get around on to play technical stuff. It has a great sound. However my Conn 10M really has a fantastic sound. Go see for yourself and write your comments.

Bill Hurd says:

Enjoyed your commentary. I’ve had a couple of 5 digit MKVI’s a King Super 20. My current tenor inventory includes a 1922 Conn 10M and a recently added used JK SX-90R Black because now i have both a traditional Big sound with lots of color and character in the Conn vs a more contemporary horn with the projection, ergonomics and ease of being more lyrical in the SX90R. Both my former MKV1’s were different one with lower register intonation issues the other with altissimo difficulties. Since I’m mainly an alto and soprano player i rationalized to myself that i just needed to say that I’ve owned a MKV1 tenor. As the pandemic continues the silver lining is guys are practicing more. I know i am and i just can’t stop playing my recently acquired Jk SX90R tenor. Bill

Matthew Mortenson says:

I’m not quite 6 months in to learning. I have a student alto, Yamaha Advantage, a Yamaha 4C mouthpiece & have been using Vandoren reeds, 2.5, mostly Java & Zz. I practice every day & would like advice on a good next step up in quality of saxophones. I’m 63 & having a lot of fun learning! I really wish I’d started sooner. Thanks, Matt

Jay Metcalf says:

Matthew, my advice is to go from a student sax directly to a pro instrument if that is possible in your budget. There is not enough of a difference between student models and intermediate models to make them a great investment. So I would stick with the student horn until you’re ready to make an upgrade and then just upgrade once.
The best value for money is a used sax and I would recommend a used pro level Yanagisawa or Yamaha to start looking.

Yanni Hatz says:

Hi Jay. I want to thank you for the great work you are doing. You are my favorite sax educator on the Internet and there is always something new for me to learn. I have been playing exclusively the soprano saxophone for over 30 years. Steve Lacy is my all time favorite soprano saxophonist. I have been playing a Yamaha YSS 675 for the last 15 years. Great sax but I was missing something. Then I took the advise from some good friends and great saxophone players from Italy to try the Yanagisawa WO1 one piece soprano and I fall in love as soon as I try it! This model is like driving a Lamborghini! But for me it’s the sound, the ergonomics and how light instrument is. I also bought a P. Mauriat 76 2nd edition alto saxophone to have something different to play! Next month I’m planning to buy a tenor sax. I want to try few models but I think I will settle either with the P. Mauriat 69 or the Yani WO1. For Selmer I didn’t had the change to try them but they are very expensive for my budget!
We will see. And again thank for all that you do for the sax community!

Jay Metcalf says:

Thanks. Congrats on the new Yani, their sopranos are so good! Yanagisawa is better than P. Mauriat for me, and yes the Selmers are very expensive and not any better than the Yanagisawas.

Gary B says:

Hi Jay, I have seen several of your articles and posts and enjoyed them all. I have had a Yani A991 since 2011 and it has been fabulous. Previous to it I played a Buffet Crampon from my junior year in high school (1964). I think I can actually say that the Yani actually improved my playing and intonation. It is a wonderful horn. As an aside, I still have my original Leblanc Concerto clarinet from the same period.

Jay Metcalf says:

The Yanys are fabulous indeed.

Michael says:

Hi Jay, I have seen and want to get a used yanagisawa 991 for £1800 but need your view. Money isnt an issue but just want something for a lifetime as I am still a beginner.

Jay Metcalf says:

one of my favorite saxophones. the 991s are spectacular. That’s a great price if it’s in good shape.

Juan Dela Cruz says:

Hi Jay, thank you for all you do, I learn a lot from your videos and article.
Is that a vintage Yanagisawa A-5 or A-6 pictured on this article? Are these old yani’s good for a recreational player like me who would like to upgrade to a professional sax but whose budget wont allow paying for the newer models?
(I currently have a student Yamaha 200 advantage)
Thank you.

Mark Robinson says:

Jay, Do you have any opinions on T-3, T-4, or T-500 models? Thanks.

Eran Gitlin says:

Thanks Jay for this review and all the knowledge and information you share! Your knowledge is enormous and allow me learn from you.
I saw that the resonators are different between TW20 and TW02. What is the impact of this difference?


David says:

Jay, love the content and what you are doing for the saxophone community. I have a Selmer Super Action 80 Series II from back in 1998/99 (N. 586190, not sure if that even matters). I’ve been out of the game for a while. I’ve been active duty military for the last 18 years and just haven’t carved out consistent time to play much but I was very serious about it prior to enlisting. Now that I’m approaching retirement from the military I’m looking to finally get back into the swing of things as it’s been on my mind daily for as long as I can remember. That being said, is this horn any good still or should I look at upgrading? Should I just look at an overhaul since it’s been in the case for the most part for the last 15 years? There’s so much information out there now about different horns and preferences. Any insight you can provide would be much appreciated.

Jay Metcalf says:

Yes, great horn. Will likely need a checkup at least. Pads may be fine though. I have horns that I have played very little in that same amount of time but they are in perfect playing shape.

David says:

Thanks Jay! Much appreciated.

Christian says:

Hi Jay, i love the Yani too. I ´m playing an Tenor W02 un-lacquered. It´s so easy to play and so wonderful in tune.
I play a WWC 56 MPC with a 115 opening on a legere signature 2.5. That way we sound dark and “airy” 🙂

Your Sax has such a nice patina.I love it. Mine ist still very “shiny”.
Did this build up, or did you ave it finished this way. Looks like there is clear lacquer applied right now.

Best regards

Jay Metcalf says:

It took a few weeks to get mostly patina as it is now. I played it a lot though. I did not do anything other than play it.

Timmy says:

Hi Jay, thanks for fine review!
Would you please give me a hint.
I’m Beginner with borrowed Jupiter. I’ve been thinking of buying a new Yamaha 280 or this Better Sax. There would also be a possibility to buy Yanigisawa A-500 near mint condition 1994. Slightly played, 1,5 year.
I just read your article and now I’m lost. Is it worth of buying? Request $ 1000.

With best regards,


Jay Metcalf says:

Well, 1994 was 30 years ago so unless the pads were replaced at some point, it will likely need some work. A horn that has not been played in 30 years is likely to have very dry pads but it is possible they are still in good working condition. You will definitely have to have the horn serviced at a minimum. The case might also stink which would mean the horn would stink. Getting a new horn solves all these problems and eliminates the unknowns. If you’re a beginner, best to remove potential problems and go with something safe. If you want to spend more, you could factor in the additional cost of getting the used horn into like new shape.

Steven Smith says:

Hi Jay,
after watching your videos and pre owning a Yamaha YAS 25, I purchased a Yanagisawa Alto Sax WOL Lacquered, having owned this for 4 years I am looking to move to a Yanagisawa Tenor.
I looking at the un-lacquered TWO2Ou but worried about the Verdigris on the Bronze, so swaying to the TWO10U,
would like your thoughts on this please.

Kind Regards

Jay Metcalf says:

If you don’t want it to look like mine, you should get the lacquered version. Both great horns.

Ray says:

I went to play test a Yanagisawa tenor intent on coming away with a TWO20. However I found one significant (for me) difference between the TWO20 and TWO01 that I tried, and that was that the tip of my L/H little finger was butting up awkwardly and uncomfortably against the “elbow” (for want of a better word) of the L/H pinky keys cluster when playing a G# on the TWO20, but far less so on the TWO01. Noticing little, if any, difference in any other respect (sound, weight etc) this was enough for me to walk way with a TWO01 (even though my heart had been set on a TWO20).



filter by difficulty using the tabs

  • All
  • Advanced
  • Beginner
  • Bundle
  • Free
  • Intermediate
  • All
  • Advanced
  • Beginner
  • Bundle
  • Free
  • Intermediate

Play Sax By Ear Crash Course


Double Diminished Dominance


Two, Five, Win!


Little Leaps and Sounds Christmas Etudes

Scroll to Top