Samurai Bass, Part One

　In this column, which aims to convey the appeal of Japanese-made electric basses, I’d like to introduce some highly acclaimed Japanese basses that have stood the test of time.
Although samurai no longer exist in modern times, the term “samurai” is often used to describe the Japanese spirit.
This term, which has come to evoke a sense of aesthetic beauty, is synonymous with the very embodiment of a hero of justice—one who charges into enemy territory with nothing but a single sword to defeat powerful foes. The Samurai bass, a product of Japan’s efforts from the 1960s onward to catch up with and surpass the American-born electric bass, continues to captivate many fans to this day without losing any of its luster.

　Japan has a long history of working with wood—a crucial element in instrument making—and it would be no exaggeration to call it a history of ingenuity.
Japan, one of the world’s leading forest nations, has a thriving tradition of wooden architecture, and numerous examples of architectural beauty still exist today—as exemplified by Hōryū-ji Temple, the world’s oldest wooden structure.
The wisdom of wooden architecture, with its history spanning over 1,000 years, combined with abundant timber resources and favorable climate conditions, undoubtedly breathes life into the roughly 50-year history of the Japanese electric bass, which has undergone rapid development.

　 In terms of the uniqueness of the wood used, many models produced up until the 1980s, for example, utilized Japanese cork (Sen), a species native to Japan. Because Sen has a grain pattern similar to the ash wood used in Fender models, it was used as a substitute in models from various domestic brands throughout the early 1980s, regardless of price range.

　Later, Sen gained popularity as a high-end furniture wood due to its few knots, ease of processing, and the elegant appearance it takes on when stained, which resembles that of Japanese cypress. As a result, its price is said to have skyrocketed, and while it is now rarely used in musical instruments, its sound is similar to alder—a neutral, unpretentious tone. The heavier variety, known as “Oni-sen,” is relatively close to white ash, while the lighter variety, “Nuka-sen,” is closer to alder or basswood, making it a versatile wood.Perhaps because it is slightly softer than alder or ash, while its tone is quite similar, it often possesses a slight resilience and sweetness—qualities that may have contributed to the sound of Japanese-made Basses of that era.

　 Another factor behind the rise of Japanese-made Basses was the economic climate: the exchange rate of 360 yen to the dollar persisted until 1971, and remained above 200 yen to the dollar until the first half of 1985. This made it extremely difficult to obtain American-made instruments during that era.The fact that the Rickenbacker 4001S had a list price of approximately 500,000 yen at the time illustrates just how expensive it was, especially when considered against the context of 1975, when the starting salary for a new employee was about 90,000 yen and the initial fare on the Japanese National Railways was 30 yen.

　 Considering that the list price of high-end Japanese models at the time was between 100,000 and 200,000 yen, it is evident just how much effort Japanese manufacturers had put into producing instruments of a quality that was on par with their American counterparts.

　If we draw a parallel to the legend of the brave Japanese samurai who, in the feudal era before the Meiji Restoration, crossed the sea and strode proudly down Broadway in New York, the spirit of challenge and the nobility of striving for greater heights seem to embody the “samurai spirit”—an aesthetic of manhood that resonates with the Japanese people even today. From the 1970s onward, competition among Japanese brands to produce “high-quality instruments that could rival those from overseas” intensified, ushering in an era brimming with the passionate zeal of the Japanese people.

　Inheriting the blood of the samurai and blessed with abundant forest resources, Japan’s history of musical instrument making is by no means short. Although electronic instruments originated in the United States, many manufacturers continued their own research and development, determined to catch up with and surpass them.

　Among the famous manufacturers known today, Yamaha is likely one of the oldest. Founded in 1887 and officially established in 1897, it boasts a history spanning over 100 years.Gibson, the world’s leading brand in electric guitars, was founded seven years later, in 1894, which gives a glimpse into just how deeply Yamaha’s legacy is rooted in history compared to other instrument manufacturers. Following Yamaha, Hoshino Gakki was founded in 1908—a year before Leo Fender, often called the “father of the electric guitar,” was even born.

　As the 1960s arrived and rock music boomed, numerous domestic musical instrument brands were established, and manufacturers that had been in business prior to that time also began focusing their efforts on electronic instruments.Kanda Shokai, which had been wholesaling musical instruments since as early as the late 1940s, established the Greco brand in 1960 and began sales in 1963. Hoshino Gakki, which had previously focused on manufacturing acoustic guitars, also established Taman Seisakusho (later TAMA) in 1962 and began producing electric guitars. Under the Ibanez brand, the company focused primarily on exports to overseas markets.Meanwhile, Yamaha also began manufacturing electric guitars in 1966. In 1969, Saito Gakki entered the market under the Fernandes brand, and as the 1970s began, Arai Trading—owner of Aria Pro—and Tokai Gakki joined the fray, ushering in a “Warring States period” for the domestic musical instrument industry.

　　GRECO, now one of Japan’s leading manufacturers, began in 1948 as Kanda Shokai, primarily acting as a distributor for imported guitars.
It was among the earliest companies to begin domestic production, and in 1960, the original GRECO brand was born.Starting with replicas of overseas models, the company remained true to its spirit of providing high-quality products at reasonable prices. By the 1970s, thanks to the exceptional quality of its craftsmanship, it had become a leading brand alongside Tokai, effectively splitting the market in two. While the sound quality of its replica models was outstanding, GRECO was also a quintessential brand committed to originality, and it is a well-known fact that this laid the groundwork for the subsequent great leap forward in Japanese-made models.

　In 1969, Saito Gakki was established in Bunkyo Ward and began operations primarily as a musical instrument wholesaler.
In 1972, after expanding its business nationwide, the company changed its name to Fernandes and entered the market as a full-fledged guitar manufacturer.

　Fernandes’ growth was largely driven by the fact that it began as a wholesaler, which allowed it to accurately grasp information from stores and customer needs; combined with the subsequent Hard Rock movement, this led to tremendous growth.

　Arai Trading Co., Ltd. was established in 1956 and launched its own brand, Aria, in 1960.
The company started out primarily with acoustic guitars, but to distinguish them from its acoustic line, it began releasing original basses under the AriaPro brand starting in 1975. Among these, the Super Bass series remains a flagship model that is still highly popular today.
Many of these basses are still in excellent condition today, a testament to the solid craftsmanship from the time of their manufacture.
The exquisite and uncompromising craftsmanship of Matsumoto’s master artisans at Matsumoku Industries, who were involved in production at the time, garnered global attention as “Samurai Craftsmen.” Their unparalleled originality and unrivaled precision in woodworking shook the world, and their refined appearance exudes a dignified aura reminiscent of a legendary sword.During the domestic band boom of the 1980s, most amateur artists held Aria instruments in their hands, burning with passion as they aimed to become professionals—this was a defining aspect of that era.
Furthermore, the fact that artists such as John Taylor of Duran Duran, Neil Murray of Whitesnake, and Cliff Burton of Metallica used these instruments demonstrates the high regard in which Aria was held by international artists.

　Founded in 1897 as Nippon Gakki Seizo, the company primarily manufactured pianos. It expanded into a wide range of businesses and, from the 1970s onward, became a leader in the digitization of pianos and keyboards. The wisdom and experience possessed by this veteran of the industry have a gravitas that simply leaves young up-and-comers in the dust. In the world of electric basses, the BB series—which remains highly popular today—is one of its early masterpieces. It possessed the persuasive power to establish its sound as the global standard.
In the days before the 1980s band boom, contests, and numerous outdoor concerts—when PA systems were still limited—the BB2000 was introduced. Designed to compensate for insufficient output by flipping a Precision-type Bass upside down (“reverse P”), it was a game-changer.

　It was also favored by Japanese artists who are making remarkable strides today, such as Ken Watanabe (Prism), famous for his melodic playing on multi-string Basses and featured in instructional DVDs; Kenji Sano (VOWWOW), who helped define the Japanese music scene of the ’80s; and Tetsuo Sakurai (Cassiopeia), who remains active today through dynamic collaborations with exciting artists.Often used in fusion and other genres, this model is beloved by many because it minimizes the influence of the wood’s natural characteristics, maintains a consistent temperature with digital equipment, and features a through-neck construction that vibrates within the body—resulting in excellent attack when slapping. Released as a high-end model with brass bridges and tuning pegs, it can be described as a “Samurai Bass” that Japan proudly presents to the world, both in terms of performance and overall appearance.

　In 1962, Hoshino Gakki established Tamam Seisakusho as a manufacturer of its own brand of musical instruments, including guitars and amplifiers.

　The brand name “Ibanez” was derived from the company’s history of importing Spanish-made guitars from “Ibañez Salvador” since before World War II, and it initially began as a brand dedicated exclusively to exports. Through thorough market research, the company accurately identified overseas preferences, becoming a successful Japanese brand that gained recognition and high acclaim in international markets. Unbound by conventional wisdom, the company continued to release original models based on innovative ideas.

　Later, the brand was re-imported into Japan, and backed by its international acclaim, it has remained a popular brand in Japan to this day.

MC-924

　The MC-924 was released during the brand’s peak period, when it was hailed as “Ibanez of the World.”
Featuring an original shape with a through-neck construction, its low-noise, wide-range pickups produce rich bass tones, while the through-neck design delivers exceptional sustain.

History of the MC-924
Specifications varied by production period. Early MC-924 models featured an ash/mahogany body and a control layout consisting of 1 Volume, 1 Tone, 1 Boost/Cut, 3 EQ-B, and a 3-way switch, allowing for precise tone shaping.Subsequently, starting in 1982, a change in pickups (from SUPER4 to SUPER5) led to a change in the control configuration to 1 Volume, 1 Tone, 1 Balancer, and 3 EQ-B.
After further minor changes to the wood, in the later models produced from 1984 onward, the pickups changed from SUPER5 to SUPER J60, and the controls changed to 2 Volume and 2 Tone.

　One of the defining features of the later-model MC-924 is its active pickup—a low-impedance model known as a split-coil bar-pole-piece pickup. Even during the heyday of synthesizers, it did not get lost in the mix; despite its artificial tone, it made a strong impression thanks to its powerful output.
　With its highly original body shape and iconic, bass-rich sound, this legendary Samurai Bass is invariably cited as one of Ibanez’s flagship models.

　Fuji Stringed Instruments Manufacturing Co., Ltd., which has produced the majority of Japan’s musical instruments, was founded in 1960 in Matsumoto City, Nagano Prefecture. The company’s original factory was a converted cattle shed, and it was from this humble beginning that countless legends were born.　
Although the company initially began by producing classical guitars, it shifted to electric guitars the following year in anticipation of the electric guitar boom in the United States. Driven by a “Samurai spirit” and aiming to be number one in Japan—as reflected in the “Fuji” in its name—the company established itself as one of the top manufacturers. When the electric guitar boom arrived in 1965 following the Ventures’ breakthrough, it grew into a highly capable company without yielding to the competition.The company went on to introduce brands such as Greco and Ibanez to the world, and its high level of creativity and rich technical expertise drew global attention.
　From then on, through the tireless pursuit of Japanese craftsmen, the quality of “replicas”—which were intended to be mass-market products—was continuously improved, and as a result, Fujigen’s technical standards eventually surpassed those of the United States.

　In 1982, Fujigen Stringed Instrument Manufacturing Co., Ltd. formed a partnership with Fender, one of the two major U.S. manufacturers, and began OEM production as Fender Japan. Starting as an imitation, “Made in Japan” gained recognition from the original brand and eventually earned high acclaim worldwide.
　Rather than merely imitating models from the U.S., the ability to develop models tailored to specific needs is undoubtedly the greatest advantage of a domestic manufacturer. I own one myself, and my strongest impression is just how sturdy the neck is.
Even now, it shows no signs of warping, reaffirming to me that it was built to withstand Japan’s climate.
The sound itself is just as refined as that of American-made instruments, reflecting meticulous craftsmanship.

　The journey of the Samurai Bass began with a simple aspiration and eventually accelerated with the momentum to catch up with—and even surpass—the rest of the world. This led to the acquisition of a patent from Fender, then the world’s top brand, and ultimately the establishment of Fender Japan. That was the moment when Japan’s musical instrument manufacturing technology stood shoulder-to-shoulder with the world’s best. It’s not hard to imagine that this was the most motivating event for Japanese craftsmen, who were always driven by lofty aspirations.Setting aside the circumstances surrounding the original Fender USA, it seems that all their wisdom was brought together as if to declare, “Now is the time for the Samurai Spirit to sweep across the world.” Even today, when you hold one of those vintage instruments in your hands, you can still feel that peak level of determination—and that may well be one of the reasons why they remain popular on the market today, commanding prices that exceed their original list prices.

　That spirit of Fender Japan lives on today; the company continues to craft instruments imbued with that noble spirit while garnering high acclaim from overseas as well.

　In recent years, there has been a growing movement to reevaluate Japanese-made Bass guitars manufactured in the 1970s and 1980s. In addition to the originals, highly popular replica models of Fender, Rickenbacker, and other brands boast not only striking appearances but also exceptional sound quality and instrument craftsmanship; they are circulating in music stores and at auctions at prices equal to or exceeding their original list prices.Major factors behind this trend include the limited production runs of these popular high-end models—many of which were manufactured 30 to 40 years ago and are now scarce—as well as the fact that musicians both in Japan and abroad began actively using Japanese-made guitars from the 1970s and 1980s, leading to coverage in magazines and other media.Japanese guitars from that era were produced during the height of the “copy model war,” and manufacturers prioritized quality over profitability, resulting in well-crafted instruments. In fact, their sound quality was reportedly on par with—if not superior to—that of American-made guitars. However, not all older Japanese models are of high quality, so we recommend purchasing from a shop that offers fair prices and reliable maintenance services.

　At THE Used Musical Instrument Store, we will continue to carry a wide selection of Samurai Vintage instruments. We are committed to further expanding our inventory to serve both those looking to sell and those looking to buy, and we sincerely look forward to your visit.
Thank you very much for taking the time to read this.