NOBUWORKS
A new guitar brand has emerged in Zaimokuza Beach, Kamakura City, Kanagawa Prefecture—a location also known as a prime spot for windsurfing. Drawing on abundant inspiration from the vast ocean and backed by the unparalleled technical expertise honed through years of manufacturing windsurf boards, NOBUWORKS exudes exceptional craftsmanship and a one-of-a-kind character. A new generation of guitars has arrived.
A guitar that lets you play phrases you couldn’t play before—it’s incredibly easy to play! But it doesn’t stop there; it’s a guitar with such depth that it could even be described as one for connoisseurs.
Windsurf Boards and Guitars!
Nobu Yoshida, the luthier, works as a musician while also crafting windsurf boards at a shop on Zaimokuza Beach in Kamakura City; on weekends, he serves as a windsurfing instructor. Yet even amidst such a busy schedule, his unwavering passion for guitar-making remains constant, and he dedicates himself to handcrafting each instrument with the utmost precision and care.We asked Mr. Yoshida, who leads such a “Superman”-like life, to talk about the connection between windsurfing and guitar crafting.
The Demanding World of Windsurfing Boards, Where Differences of Just a Few Microns Determine Victory or Defeat
Mr. Yoshida: “I also craft boards used by members of the Japanese national Olympic windsurfing team. Windsurf boards are extremely delicate; the way they interact with the water’s surface—and consequently, their speed and ride quality—can vary completely depending on the shape and angle of the arch on the underside, as well as the finish of the coating.In professional competitions, differences in finish as small as a few microns can sometimes decide the winner. For this reason, I’ve tried what could truly be called hundreds of different techniques, coating methods, and paints for surface finishing. This accumulated know-how is reflected in NOBUWORKS’ guitars.”
- Boards crafted by NOBU
- NOBU Yoshida and Shin Tomizawa, Japan’s representative in the Olympic Windsurfing RS:X class
Dynamic Woodworking Techniques
It’s true that guitar making and woodworking skills are inextricably linked; there are many famous builders with backgrounds in furniture making, such as the master builders at the Fender Custom Shop and Mike Shannon of Jackson. I asked Mr. Yoshida about this connection. Mr. Yoshida: “It’s certainly true that woodworking skills are indispensable in guitar making.I’ve personally seen many examples of skilled furniture makers becoming excellent guitar builders, and I have great respect for such people. Similarly, the world of windsurfing boards we craft demands the same level of precision—if not more. Playability, in particular, is a decisive factor. Whether a board can keep up with a player’s swift, passionate movements and respond linearly to those dynamic demands—I believe that’s a commonality between windsurfing boards and guitars.”
And Toward Lasting Value
Given Kamakura’s location, there are many wooden structures—such as shrines and temples—that have stood for a thousand years. How does this environment influence guitar making? Mr. Yoshida: “I think it’s an environment rich in inspiration and truly blessed. The fact that wooden structures built a thousand years ago still shine brightly today, transcending time—it’s deeply moving. I hope the guitars I make, while perhaps not lasting a thousand years, will be played for many years to come. That’s the romance of making guitars here.”
I don’t think these guitars are for everyone, so I’d be happy if people who like this style would play them (laughs).
Nobu Yoshida
One day, I received images of a new model currently under construction from NOBUWORKS. What’s more, Mr. Yoshida told me he had even built a new workshop to accommodate the development of this new model. My heart racing with anticipation, I headed to the new workshop for an interview.
Images of the new “Karin” model currently in production, sent by Mr. Yoshida
I visited a building located quite close to JR Ofuna Station. When I opened the door, a glowing NOBUWORKS guitar—serving as a sign—welcomed me.
Going down the stairs, I found a reception desk—it felt just like a studio. Indeed, the workshop includes an 18-tatami-mat studio, designed so that finished guitars can be tested immediately in the studio.
When checking the final product or making adjustments, they work alongside band members to verify the sound within an ensemble—it’s truly a workshop with a hands-on, practical approach.
I was also shown inside the studio, which was under construction at the time of my visit. It was fully soundproofed and spacious enough for band rehearsals.
And here is the brand-new workshop. The scent of wood gives it that distinct “newly built” atmosphere. They explained that, generally speaking, large-scale cutting and painting are done at the shop workshop, while fretting, assembly, adjustments, and finishing are handled here.
True to its status as a new workshop, the room has a modern and clean appearance. The table was laid out with rare pieces of wood and templates.
Blueprints on the wall and a new model in progress
He’s in the process of carving out the arch of the top. Can you see the stepped profile of the top, carved in a stair-step pattern? He’ll use a four-sided plane to smooth out these steps into a beautiful, seamless arch.
It gradually takes shape into a smooth arch. He explained that achieving a beautiful arch with excellent resonance comes only with experience, but watching Mr. NOBU handle the plane is a joy—it’s almost like magic.
He showed me a rendering of the finished color. He explained that he shapes the arch into a beautiful curve while visualizing the final color in this way.
The finish on the frets is also beautiful. Since the fret edges, in particular, have a major impact on playability, he pays extraordinary attention to detail—he uses a “double-setting” process, where he sets the frets temporarily, finishes the edges, and then sets them again. The result is a meticulous finish achieved by sparing no time or effort.
The control cavity is divided into small compartments, which not only speaks to the precision of the woodworking but is also a joy to look at. You’ll have to wait and see what kind of wiring is actually installed here.
This is NOBUWORKS’ original sustain block.
They also have a deep passion for Floyd Rose systems and collect tremolo and sustain blocks from every era. Since the sustain block has a massive impact on the sound, it was designed through repeated experimentation and trial and error. Installing this NOBUWORKS original tremolo block dramatically improves not only the tone but also sound separation and the attack of harmonics.
Here, I was treated to a recording made using a NOBUWORKS guitar. To put it simply, it’s “an electric guitar sound I’ve never heard before.” It features a sharp attack, a tight feel, rich harmonics, and yet it still has body.A rich midrange and a smooth, extended sustain. While this might sound like I’m just stringing together all the common praise found in guitar catalogs, it truly is a sound that captures the best characteristics of electric guitars widely regarded as having exceptional tone. “It sounds like the attack of a mid-’60s Strat mixed with the body and sustain of a Les Paul Custom,” I said, and Mr. Yoshida grinned.
Interview
Since we had the chance, I wanted to take a look at the workshop at the windsurfing shop in Kamakura. When I mentioned this, Mr. Yoshida readily agreed, saying, “Sure. It’s about a 20-minute drive—shall we go now?” We immediately set off for the shop’s workshop with Mr. Yoshida at the wheel. Needless to say, our conversation in the car quickly turned to music.
When I asked Mr. Yoshida when he first started making guitars, I got a surprising answer. “Well, my parents bought me an electric guitar when I was in middle school, but by the next day, I’d taken it apart and stripped off all the finish. I guess there was just something about it that didn’t sit right with me. Since then, I’ve played all kinds of guitars, but I could never quite find one that satisfied me—so in the end, I realized I’d have to build the guitar I wanted to play myself.”
I was also curious about where he learned to make the highly regarded boards—which are particularly popular among intermediate players, who make up the majority of his clientele—so I asked him about it.
“It’s kind of the same as with guitars—I just enjoyed making wind instruments. But I felt that the existing boards weren’t quite right, so I started making my own,” he replied casually. And there’s that drive to actually bring his ideas to life, along with an unwavering dedication—you could even call it obsession—that he pours into every detail. Mr. Yoshida talks about all this cheerfully, without dwelling on the hardships. I felt like I’d caught a glimpse of a genius.
“Oh, right—the studio I’m building now. I’m putting a lot of thought into the walls and lighting so it can double as a music video location. I want to make it ready for future shoots.” Mr. Yoshida’s dreams are endless. And his attention to detail, down to the very smallest details, remains as extraordinary as ever…
As we chatted happily like this, the car arrived at Zaimokuza Beach in the blink of an eye.
He immediately showed me around the workshop.
In stark contrast to the new, pristine workshop we’d seen earlier, this one exudes the dignified presence unique to a workshop where work has been carried out over many long years.
He told me they make only one board here per month. That might seem like a small number, but it appears that much time is necessary to ensure an uncompromising, meticulous finish. Of course, the same all-out passion is poured into the guitars as well.
Powder from planing various types of wood. It’s used to repair natural flaws in rare woods or for inlay work. In his unique method, he sometimes mixes it into paints, resins, and adhesives. You can see the years of use in his tools as well.
Mr. Yoshida picks up each tool as if cherishing it and happily explains the details of each one. During the day, he immerses himself in making fingerboards, while guitar building takes place mainly at night after the shop closes. On weekends, he heads out to sea as a windsurfing instructor, and he also performs overseas as a musician. It makes you wonder: when on earth does this man sleep?“Well, I hardly get any sleep,” Mr. Yoshida says with a smile. I was surprised when I looked into his eyes—there was absolutely no sign of fatigue. He radiates youthfulness and occasionally flashes a childlike, innocent smile. It feels as though he finds everything he’s currently working on utterly enjoyable. He gives his all to everything and genuinely enjoys it. This vitality must be one of his talents as well.
Our shop also offers custom-made wetsuits. Unfortunately, it was raining, but from the window, I could see the ocean right nearby.
The arch of the body top had been finished with even greater smoothness and beauty. The fretwork was also flawless.
The interior of the cavity was completely sealed and finished like this. In addition to the standard output, it’s equipped with NOBUWORKS’ original S.A.W. system (Sonic Air Wave), which allows the body’s resonance to be output directly. It’s a unique specification.
The first thing that surprised me when I picked it up was the texture of the neck. It felt rough, and honestly, my first impression was, “What on earth is this?!” However, within a minute of playing, that roughness actually began to feel familiar and comfortable. It’s strange—even though it was my first time touching this neck, I felt a sense of familiarity as if I’d been playing it for ages.According to Mr. Yoshida, as you play the guitar, the roughness of the finish wears down. After about half a year of playing, the neck transforms to perfectly conform to the player’s hand shape and playing style. I was actually allowed to touch a neck that Mr. Yoshida had played for about half a year, and it had transformed into a vintage-like texture—it was hard to believe it was a recent model. He hopes players will enjoy the experience of “raising” the neck through their own playing.
The model on the right is the one that’s been played in. This finish uses a special paint and application method developed after years of experimentation, making it impossible to replicate elsewhere.
The natural acoustic tone is very solid, and—perhaps thanks to the sustain block—the low-end resonance feels particularly pleasant against your body. I immediately plugged it into an amp. I set the gain a bit higher and, as expected, cranked the volume up. A very sharp and pure sound burst out—the response was so fast it was almost disorienting. It’s somewhat similar to the feeling I got when I switched from a Celestion to an Altec 417. Despite the strong low-end present in the unamplified sound, the tone is tight. Of course, it delivers more than enough of the necessary low end, but there’s no unwanted resonance or muddiness in the low frequencies. I suppose this is largely due to the setup. The pickups are reportedly a Duncan Cool Rails in the front and an SH-14 Custom 5 in the back, but apparently, the specs aren’t decided upfront; instead, they’re carefully selected to match the tone of the finished guitar. This, too, might be one of the luxuries unique to handcrafted instruments. The output isn’t too high or too low—it gives a rich, juicy output right in the sweet spot. That’s the impression I get. As for playability, it’s impeccable—it’s very easy to play, but I’m told it’s difficult to master. Or rather, I was reminded of the depth of this instrument and came to realize that it truly takes a considerable level of skill to draw out its full potential…
S.A.W. System
Next, I switched to the S.A.W. system, which sets the amp to clean and outputs the body resonance directly. It’s completely different from the sound coming from the pickups—it’s another mysterious, woody tone, yet distinct from both Electric Acoustic and fully acoustic guitars. It’s, so to speak, “a sound that feels somehow nostalgic, yet one you’ve never actually heard before.” It feels as though the entire guitar has become microphonic, and it seems like it would really shine in recording situations.
Finally, I asked Mr. Yoshida for his recommended settings. “There’s no one specific way to do it, but since I personally love ’80s hard rock, I think this guitar is well-suited for that kind of sound. Our guitars seem to pair particularly well with gear from that era. When you plug an old RAT or OD-1 into something like a JCM800, it produces an unbelievably satisfying sound. So, while it might not be a guitar that appeals to everyone, I’d be happy if someone who enjoys that kind of tone were to play it.”
At age 14, he picked up a guitar at a friend’s house for the first time, and at 15, he begged his parents to buy him one—only to strip off all the finish and take the body apart the very next day.As a middle school student, he experimented with modifying the tremolo, pickups, and circuitry by trial and error, and even shaped the neck grip himself by using an iron bracket he found at home like a plane. From then on, every guitar he owned was not a factory-made instrument; instead, he adopted a style of enjoying them by buying parts individually, assembling them, and customizing them. At age 17, he embedded LEDs into the position marks to create a glowing neck.
Before long, I began building guitars from scratch using wood, drawing on my past experience to create instruments through my own unique approach to guitar building, which involved using numerous custom-made tools. I incorporate the results of my research in other fields—such as finishes that make the wood grain appear up close and special textured finishes on the neck—and I am deeply committed to handling every step of the process myself, right up to the final stages.
In 1998, he resigned from the apparel planning and production department where he had worked for eight years and moved to Canada on his own. After returning to Japan, he began working at a long-established windsurfing shop. On weekends, he teaches windsurfing on the water, and on weekdays, he develops and manufactures windsurfing boards under the “NOBUWORKS” brand—the same name as his guitar brand. Each board is handmade individually and tailored to the owner’s physique.These boards, which clearly embody a design philosophy that even world-renowned brands find difficult to achieve, have gained a strong following among that demographic. He also handles board maintenance for Shin Tomizawa, the Japanese men’s representative in the Olympic Windsurfing RS:X class (Beijing, London).
His musical activities include composing and performing music for commercials.(SUBARU SOUTHERN AFRICA, among others) In 2011, he collaborated with “Claire Johnston” and “Mango Groove” on his own song “PARTNER.” These bands are so famous that there isn’t a single South African who doesn’t know them; they have deep ties to President Nelson Mandela and have performed at events such as the Queen’s Freddie Mercury tribute concert and sung the national anthem from center field at the Rugby World Cup.
ABALONE Sample Tracks
