We describe the highly acclaimed Japanese-made Basses that have stood the test of time—and are recognized as “Japan Vintage”—as “Samurai,” and refer to the domestic brands that have nobly upheld “Japanese quality” since the 1960s as “Samurai Basses.”The craftsmanship of Japanese-made Basses saw its greatest leap forward from the 1970s through the 1980s, leading to the production of numerous “copy” models. In this column, we will not discuss which is superior: the “original” or the “copy.”
A fascinating book was recently published that captures the Japanese sensibility toward craftsmanship. Titled “The Philosophy of Japanese Craftsmanship,” its general premise is that there are two basic types of architecture representing the “design philosophy” behind production and manufacturing processes.
The classification is based on the “tailored type,” which involves creating custom parts used exclusively for a specific product, and the “assembled type,” which uses off-the-shelf parts. It is said that the Japanese manufacturing industry is “excessively” devoted to the “tailored type,” which is one reason for its low profit margins. While strict customer demands hone manufacturing capabilities, this system results in low profits.
Conversely, the observation that the United States excels at “assembled” or “modular” products makes perfect sense. This is a fascinating hypothesis that strongly reflects national character.
The intense years since the 1970s, during which the quality of Japanese-made electric instruments was raised to a world-class level, serve as clear proof of the above. Just five years after the light bulb was invented in the United States in 1879, incandescent light bulbs were adopted in Japan, and by 1890, the country had succeeded in achieving self-sufficiency in their production. From this period onward, a healthy competitive relationship has been established between Japan and the United States in the realm of manufacturing.
In Japan, the biwa—which has its roots in West Asia—is said to be the oldest prototype of a stringed instrument, dating back to the 7th or 8th century. After its introduction to Japan, it evolved independently as an accompaniment instrument. Tracing its history further back, it is said that a proto-form of the stringed instrument existed in the West Asian region around the 1st century, and that it was transmitted via the Silk Road, originating from the “Eurasian (EURO) (ASIA) continent.”Biwa monks appear in the Heike poetry anthology as early as the 9th century, and by the 12th century, the Heike biwa had become established alongside the Japanese epic “The Tale of the Heike.”
Meanwhile, the shamisen was introduced around the mid-1500s, and the “Yodo,” crafted in 1597, is the oldest surviving model.It is generally composed of a body, a neck, and silk strings; the neck, in particular, incorporates a “joined neck” with a joint, designed to accommodate movement. The practice of carrying and playing stringed instruments slung over the shoulder with a strap was already well established by this time.
There is no doubt that the rapid development of domestically produced electric instruments in the 1970s was underpinned by the solid, historically grounded expertise mentioned above. It makes perfect sense that this style—featuring a pickup (a type of microphone) attached to a wooden body—was introduced from the United States and went on to become widely popular throughout Japan.
Copy models—which could be considered the origins of the Samurai Bass—are often viewed as mere imitations of the originals; however, by meticulously tracing every detail, manufacturers succeeded in improving the precision of their craftsmanship. A certain samurai once said, “The enemy’s customs may be strange, but it is important to know one’s enemy,” a statement that reflects the Japanese national character. During the dawn of the domestic electric Bass industry, this “quick adaptation” mentioned earlier was further refined, accelerating the “fine-tuning” process and enhancing the instruments’ unique character. As a result, these instruments are now celebrated as “Japan Vintage,” a legacy that continues to be talked about by future generations, with enthusiasm for them showing no signs of waning.Factories such as Fuji Stringed Instrument Manufacturing, Matsumoku Industries, and Tokai Musical Instrument Manufacturing have consistently attributed their rapid progress to the high technical proficiency of each section within their managed, specialized production processes.
Even today, manufacturers that emerged victorious from fierce domestic competition in the 1970s and 1980s—and continue to lead the industry—are releasing replica models in their lineups. While a decline in quality due to large-scale mass production is a common occurrence, these models require precise specifications since they are assembled from individual parts to form the final product, resulting in an exceptionally meticulous finish. Consequently, models from this era are regarded as “Japan Vintage,” showcasing the exceptional technical prowess of Japan.In these labor-intensive factories, high-performance machinery is used for parts requiring precision, while skilled veteran craftsmen adjust the areas where wood comes into contact with one another or with the instrument itself, thereby ensuring a high level of precision. All wood is subjected to thorough management to reduce its moisture content, ensuring the wood’s stability, strength, and durability.
From an environmental perspective, the Shinshu region—specifically Nagano and Shizuoka—is home to a high concentration of domestic musical instrument manufacturing factories. The wood used to construct Bass guitars is highly absorbent and releases moisture easily; it naturally regulates its moisture content to adapt to the surrounding environment. Consequently, areas with stable humidity year-round and a rich natural environment—such as abundant water sources and forests—are preferred. Matsumoto City, a hub for musical instrument factories known as the “Land of Water,” is rich in spring water, which was even used as “Imperial Water” for the Emperor during the Meiji era.This region boasts such a wonderful natural environment that, no matter where you are, a 30-minute drive will take you into lush, green forests. Meanwhile, the area around Hamamatsu in Shizuoka Prefecture has an average annual temperature of around 16 degrees Celsius (as of 2011) and, despite having four distinct seasons, experiences relatively small temperature fluctuations. While Hamamatsu is particularly famous as the “City of Pianos,” both cities are blessed with a rich natural environment, which has naturally led to their flourishing as musical hubs.
List Price at Time of Release: 80,000 yen
GRECO JB-800 SUPER REAL
The SUPER REAL series, introduced in the 1980s, consists of replica models designed to achieve perfection by accurately capturing the essence of the original models. It is an unparalleled masterpiece that marked a crucial milestone in the process by which Japanese manufacturers—driven by a longing for overseas brands—began producing their own instruments and gained recognition for their world-class quality.
| Body: Solid alder; Neck: Maple; Fingerboard: Rosewood |
List Price at Release: 60,000 yen
GRECO FVB-600
Based on the 1971 Gibson specifications, the FVB Medallion model—produced only for a brief period from 1974 to 1977—brought to life a model that did not exist in the original lineup. It is a truly coveted, superb Flying V Bass replica featuring that distinctive mahogany sound.
| Body: Mahogany, Neck: Mahogany, Fingerboard: Rosewood |
List Price at Release: 37,000 yen
YAMAHA SB-2
The first-generation YAMAHA electric bass, a landmark model manufactured during the heyday of “group sounds” from ’66 to ’67. After undergoing minor changes, it was discontinued in ’82. This foundational model evokes the nostalgic Showa-era vibe of what could be called YAMAHA’s “holy ground.”
| Body: Katsura; Neck: Maple; Fingerboard: Rosewood; Weight: Approx. 4 kg |
List Price at Release: 120,000 yen
YAMAHA Broad Bass 1200
From the SB series—which embodies the weight of history and has long been a mainstay since the revolution in body shapes—the newly added Broad Bass series was introduced with the intention of diverging from the SB series’ consistent Jazz Bass-inspired design. Instead, it was modeled after the BB series, which was released around the late 1970s and focused on the Precision Bass sound. It would go on to make its mark in history as Yamaha’s flagship model, succeeding the SB Bass.
| Body: Alder; Neck: Maple/Mahogany through-neck Fingerboard: Rosewood; Weight: Approx. 4.5 kg |
List Price at Release: 110,000 yen (Pearl White)
Ibanez MC924
The Musician Series propelled Ibanez to become a world-renowned brand. Created to match the crossover style of the late ’70s and incorporating the input of musicians of the era, it remains a timeless, outstanding model that has never lost its luster. Its unique EQ tone system would go on to set the standard for the future of active sound.
The model subsequently featured only active controls and remained in production until the early ’90s, before being reissued for a very brief period in 1995 as part of the Legend Series.
| Body: Ash (wing section) Neck: 5-ply maple/mahogany through-neck Fingerboard: Rosewood |
List Price at Release: 150,000 yen
Aria Pro II SB-R150
Born from a powerful partnership between Matsumoku Industries—a master craftsman in Matsumoto City and one of the top domestic manufacturers at the time—and Arai Trading, the Super Bass series would go on to expand its lineup. The SB-R150 was the top-of-the-line model in the series, available for a brief period from ’83 to ’84.
| Body: Zebrawood/Chestnut; Neck: Maple; Fingerboard: Rosewood |
List Price at Release: 80,000 yen
TOKAI PB-80
The “HARD PUNCHER” is Tokai Gakki’s flagship model. What makes the company so fascinating is its meticulous attention to detail in faithfully reproducing Fender’s ’60s specifications, focusing on specific model years. The company is credited with significantly boosting domestic production through its pricing strategy and high-quality craftsmanship, and its in-house factory—which employs a logical manufacturing process incorporating modern engineering and craftsmanship—is also well-known.
| Body: Alder; Neck: Maple; Fingerboard: Rosewood |
List Price at Release: 98,000 yen
Fender Japan PB62-98
From the JV serial period produced by Fuji Stringed Instruments Manufacturing. The Japan Vintage series proved that Fender’s signature feel and tone could be achieved through domestic production in Japan. The approach of using U.S. parts while manufacturing domestically became a model that numerous other Japanese manufacturers would later emulate.
| Body: Alder, Neck: Maple, Fingerboard: Rosewood |
List Price at Release: 110,000 yen
FERNANDES MHB-110
The MHB model—a faithful recreation of the Alembic Series 1 circuit from the highly popular “FERNANDES Stone Logo” era—is an example of successful cost reduction achieved by focusing solely on circuit replication, even though the materials used differ. Additionally, its short production run makes this a rare model.
| Body: Sen, Neck: Maple, Fingerboard: Rosewood, Weight: Approx. 4 kg |
In the Samurai Bass column, we’ve chronicled the brand’s journey—from its romantic beginnings inspired by the United States to its growth into one of Japan’s leading Samurai Bass brands.
I believe that unwavering coolness is the true essence of Samurai Bass. I hope that even if you’re thinking, “Is there really an instrument like this?”, you’ll pick one up and experience the charm of its sound for yourself.
At THE Used Instrument Shop, we will continue to carry a wide selection of Samurai Vintage models. We are committed to further expanding our inventory to better 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.