Yamaha Chinese YESS Mount

RobertM

Platinum Member
This may be an OCD drum gear issue (obsessive compulsive), but I'm wondering if the current YESS system on the Yamaha Live Customs and new Stage Customs are not as "resonant friendly" as the Sakae-made Yamaha YESS mount.

I just double checked my post-2010 made Recording Customs, and the footprint for the two screws on the YESS mount (on toms) is much smaller than the current YESS footprint for the Live and Stage Customs. Here is a good shot of how much bigger the footprint is for the Live Customs vs. the Recording Customs (see attached images).

What do folks think? Andy (Guru) or others who are savvy with drum building and physics, I'd especially like to hear your learned opinion. Not sure what to make of this difference, and I have not been able to visit a store with a set of SCs or LCs to a/b against my RC toms. I do know that according to Bob Gatzen testing, inserting the YESS rod almost all the way into the YESS receiver actually enables the drum to resonate more than just inserting a bit of the rod into the receiver. I thought it might be other way round for those results, but no: here, more = more resonance.

As a separate issue, has anyone else wondered why only the "Amber Shadow" finish (pictured below) often appears as a "non-shadow" paint job? All of the other real-time photos I've seen of the Live Customs in "Emerald Shadow" and "Black Shadow" show a stereotypical "shadow finish": black ring, emerald or faint black finish with wood grain, black ring. The "Amber Shadow" looks more like "Amber Oak" finish.
 

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Werent the older YESS mounts known for cracking the finish from undue stress on tbe mounting points? Maybe the slightly larger footprint was a means of alleviating stress on the drum. Maybe it resonates more because of this?
 
Pretty certain they're the same as original Yess mounts on MIJ MCA's, BCA's.....I've never had any issues with my Yess mounts, and I have the large 14" & 16" mounted toms, as well as 8", 10" & 12" toms...great mount system IMO...
 
Werent the older YESS mounts known for cracking the finish from undue stress on tbe mounting points? Maybe the slightly larger footprint was a means of alleviating stress on the drum. Maybe it resonates more because of this?


I have had no such issues with my former Recording Custom or current Club Custom with YESS mounts. These are my favourite tom mounting hardware these days.
 
This may be an OCD drum gear issue (obsessive compulsive), but I'm wondering if the current YESS system on the Yamaha Live Customs and new Stage Customs are not as "resonant friendly" as the Sakae-made Yamaha YESS mount.

Yes, you are experiencing OCD :)

As far as I know, Sakae never produced the hardware. Yamaha produced the hardware initially in Japan, then in Indonesia and then in China (even before the plant move).

I believe for most of the time YESS I was being sold, the hardware was made in Indonesia. Look at the 3 hole receiver of the tom mount. On the top it says Japan, Indonesia or China. The bulk of what's out there right now says Indonesia. The Japanese receivers had the 3 plain wing bolts. The Indonesian receivers have 3 lightning style wing bolts and so do the newer Chinese units.
 
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