[Table of Contents]
Why is Atlantica one of a kind?
Mr. Nobuaki Hayashi's Career
The Philosophy of Shinaki Hayashi, the Solitary Luthier
The Evolution of Atlantica Through Its Generations of Models
Representative proprietary parts
The Shop Speaks About the Instrument Called Atlantica
Afterword
Creation Continent ~ATLANSIA~
The structure provides support; the philosophy resonates.
Atlantica, the ideal realm of sound where creation and challenge never cease.
1. Why is Atlantica one of a kind?
Atlantica
Based in Matsumoto City, Nagano Prefecture, electric guitars and electricBassA high-end brand. Its unique design and mechanism set it apart from typical electric guitars.BassWe craft instruments brimming with originality through innovative designs that break away from the constraints of existing instruments.
To realize this innovative design, we develop and manufacture much of the machinery required for production in-house, and you can feel the passion and dedication we pour into every single part.
And the unique sound and playability born from its innovative design are enthusiastically embraced by aficionados.
ATLANSIA
It is a "solitary island in the vast ocean." A small island that might be swept away by the raging waves.
But we fight alone! We are the Creative Continent, constantly challenging ourselves to create something new.
Our goal is the world of grand guitar romance. N. Hayashi
(Excerpt from the website)
Hayashi Nobuaki Guitar Workshop (later Atlantica), established in 1978.
Since its founding, the brand has crafted instruments that are uniquely distinctive yet highly practical, truly embodying the phrase "one of a kind."
Compared to every domestic instrument brand, the existence of Atlantica is no exaggeration to call it "unique."
Rather than being designed to stand out, its defining characteristic is the unique beauty that emerges purely from the pursuit of functionality and rationality. This singularity applies not only to the instruments themselves but also to the Atlantica brand and the very essence and convictions of its builder, Nobuaki Hayashi.
Even considering the context of the musical instrument industry at the time Atlantica was founded, its distinctiveness stands out.
The Dawn of Electric Instruments in Japan
In the 1960s, Western culture such as rock 'n' roll, rockabilly, and surf music flowed into Japan. While expensive instruments from global brands like Fender and Gibson were imported and sold, this did not lead to the widespread adoption of electric guitars within Japan. Domestic manufacturers instead focused their efforts on producing affordable copy models.
In the 1970s, Japanese manufacturing technology advanced significantly, leading to the popularity of meticulously crafted copy models. Numerous legendary instruments, now referred to as Japan Vintage, emerged, and the copy model war continued into the 1980s.
Amidst such times, the brand Aria Pro Two, launched in 1975, sought to quickly break away from the copy model wars and released its original model, the PE-1500, in 1977. The design, engineering, and construction of that guitar were handled by Nobuaki Hayashi, who would later establish Atlantica.
Mr. Hayashi became independent in 1978 and established the Hayashi Nobuaki Guitar Workshop (later renamed Atlantica).
While boutique manufacturers are commonplace today, considering the era when Atlantica was founded in 1978, it becomes clear just how much of a first mover Atlantica was in the instrument industry.
Next, we will introduce the background of Mr. Nobuaki Hayashi, founder and builder of Atlantica.
2. Mr. Nobuaki Hayashi's Career
Founder of Atlantica and one of Japan's leading builders.
Born September 20, 1943, in Nagano Prefecture.
Raised by a father who loved classical music and a mother who played the organ at church, he joined the brass band in high school while also taking up classical guitar.
Having developed an interest in design, I enrolled in a junior college specializing in fine arts.
After graduating, he returned to his hometown of Nagano and joined Matsumoku Industries in 1963. At the time, Matsumoku was a subsidiary of Singer Sewing Machine Company, manufacturing sewing machine cabinets. Mr. Hayashi was reportedly involved in designing sewing machine cabinets.
Subsequently, an electric guitar boom arrived in Japan. Matsumoku entered the guitar industry by accepting a commission from Fujigen (formerly Fuji Stringed Instrument Manufacturing), which also had its headquarters in Matsumoto City, Nagano Prefecture. When Matsumoku began producing guitars independently, Mr. Hayashi shifted his focus to guitar design.
In 1977, the PE-1500 was designed and developed, laying the foundation for the PE series that would later become Aria Pro Two's bestseller. The original PE series design, which threw down the gauntlet to domestic manufacturers popular at the time for their Fender and Gibson copies, became known as the model that demonstrated the high quality of Japanese-made guitars to the world, and its legacy continues to this day.
In 1978, he left Matsumoku Industries and established the Nobuaki Hayashi Guitar Workshop.
While working as a subcontractor for Matsumoku, I began crafting original guitars. The name of that guitar is "Atlantica."
Since then, building upon the foundation of traditional instrument making, we have consistently upheld the belief in "originality" and developed numerous original models.
In 1982, the company name was changed to "Atlantica Instrumental Technology."
As of 2025, each piece is still crafted individually by Mr. Hayashi and the Atlantica staff, from processing to assembly. The brand continues to champion innovation as one of Japan's premier high-end brands.
Source: Atlansia Guitar World (Excerpted from Guitar Graphic Vol. 1, published by Rittor Music Co., Ltd.)
3. The Philosophy of Shinaki Hayashi, the Lonely Luthier
When it comes to Atlantica's uniqueness, its proprietary parts and original body and neck shapes tend to be the focus of discussion.
However, I believe these are the result of what Atlantica has produced, and their essence lies in the philosophy of its builder, Nobuaki Hayashi.
"Philosophy" is a highly abstract term, but here we, as a used instrument dealer, discuss the Atlantica brand and Mr. Nobuaki Hayashi, the builder.TCGAKKII would like to introduce things based on what I have actually experienced.
Atlantica, where character and instrument are directly connected
When I purchase Atlantean instruments, I often get them with their original cases included. I always look forward to opening the pockets of those original cases.
There are instances where letters from Mr. Hayashi have been preserved.
Though it is a handwritten copy, this letter vividly conveys Mr. Hayashi's passion for his instruments and, through them, his deep regard for the people who use them.
While it's common to sense a builder's vision through their products, it's rare to encounter an instrument that so directly conveys the builder's very character.
From his handwriting, one can sense Mr. Hayashi's feelings of "confidence in his instrument" and "delight at being understood."
And what's particularly noteworthy is that we used instrument dealers have seen this letter many times.
This letterNewAlthough it came with the item when purchased, it's very common for it to remain intact even after passing through several owners (though it can also be a single-owner item), rather than being discarded. It's not made of thick paper like a certificate. A simple sheet of A4 paper has remained perfectly preserved for decades.
I'm sure users are deeply moved by this letter. I haven't seen anything like this from other brands.
And there are examples that clearly show the sentiment of this letter has truly reached the users.
Instruments from Atlantica that have arrived may sometimes have notes like this attached. This is Mr. Hayashi's handwritten repair history memo.
What this means is that Mr. Hayashi himself handles a significant number of repairs and maintenance tasks for instruments after they've been sold. I believe this truly embodies the spirit of his letter, where he wrote, "Please feel free to contact us."
Of course, many repair requests come through dealers, but we often hear from customers that they called Mr. Hayashi directly to have repairs and maintenance done.
In fact, we've asked Mr. Hayashi to repair instruments for us many times in the past. For the manufacturer, there's no benefit whatsoever in being accommodating to a small retailer specializing in used instruments—especially one they don't even supply wholesale. Yet, the company treats us as equals. Even in such details, you can sense Mr. Hayashi's sense of responsibility toward the instruments he creates and his consideration for the players who use them.
The fact that they advertise a 10-year warranty is the clearest proof of this.
There are likely few brands worldwide that maintain such a close relationship between the builder itself and its users, let alone one that has sustained this for nearly 50 years.
Atlantica users feel that Mr. Hayashi's personality is also a major appeal of Atlantica.
Pioneers of Their Time ~Beyond the Myth~
Next, I will introduce an interview discussing Mr. Hayashi's thoughts on musical instruments.
Ever since the days of making copy models, I've often thought, "A guitar could be like this, couldn't it?" Whether it's a Les Paul or a Strat, even when models made abroad are praised, that praise is for "this is what one person envisioned and created"—not a declaration that "this is how a guitar must be."
I wanted to build a guitar that embodied the idea I was truly satisfied with. To do that, I often found that off-the-shelf parts just weren't enough to bring that vision to life. ROCK'N ROLL NEWSMAKER October 1989 Issue VICTOR MUSIC INDUSTRY Co.
And on the topic of "tradition," comparing it to the violin—which has a far longer history than the guitar—he responded to the interviewer who remarked, "If Mr. Hayashi were to make a violin, it would likely be something highly original," as follows.
When it comes to violins, names like Amati and Stradivarius immediately come to mind, don't they?Their fame extends to the present day, and today's violin makers strive to be as faithful as possible to the original models, even mimicking the construction methods of that era, like using animal glue. Well, I suppose that's one approach. But if the craftsmen from Cremona, Italy, three hundred years ago were alive today, I think they'd probably make full use of the latest cutting-edge machine tools to create even better instruments.With materials, techniques, and so many things in the world advancing, I can't help but think it's a missed opportunity not to use them. ROCK'N ROLL NEWSMAKER October 1989 Issue VICTOR MUSIC INDUSTRY
This interview reveals that Atlantica's uniquely original instruments were not developed from a desire to "make something different from others," but rather evolved through a thoroughly rational, industrial approach: "This makes more sense. This should be more convenient."
Furthermore, Mr. Hayashi continues as follows.
"Things that are somewhat similar yet somehow different" seem to be selling well even in cars. Perhaps completely new ideas face too much resistance, making them hard to buy? But for me, there's always this feeling that "somewhere out there, someone might understand what I've created." ROCK'N ROLL NEWSMAKER October 1989 Issue VICTOR MUSIC INDUSTRY
In an interview several years later, he also spoke in this manner.
When building original guitars, I believe there are two paths. One is to analyze market needs and design based on that.The other is to contemplate and analyze what a guitar truly is, then design based on the conviction of how it should be. While I've done some of the former, I believe I've done more of the latter. This approach doesn't align with market demands, so its marketability is uncertain. However, I think the world of guitars becomes more interesting precisely because of progress, and it also leads to users leveling up. If that happens, it would be wonderful, and I also believe it's necessary.
We will continue to uphold the belief that originality is the foremost consideration for Atlansia brand guitars. Atlansia Guitar World (Excerpt from Guitar Graphic Vol. 1, published by Rittor Music Co., Ltd.)
Modern electric guitars and electricBassMost guitars today still largely follow the styles established by Fender, Gibson, and others seventy years ago. To put it bluntly, this represents the overwhelming majority of market demand, and there exists a certain "myth" that "traditional guitars are the ultimate."
Amidst this, Atlantica does not disregard its traditions entirely to create novel, eccentric things, but rather builds upon tradition as its foundation, pursuing sculptural beauty with rational functionality.
Beyond the myths of "this is how a guitar should be" and "classics sell" lies the very essence of Atlantica.
To create beautiful instruments with superb tone and exceptional playability, we never cease to think beyond established methods. That is the philosophy of Atlantica's Nobuaki Hayashi.
4. The Evolution of ATLANSIA Through Its Generations of Models
We present several models based on specimens received by our store, as well as specimens and materials borrowed from our staff, Atlantica, and our customers.
GARLAND
Garland, the debut album by Atlantica released around 1978.
The conical neck, arguably Atlantica's most distinctive feature, was already present at this time, suggesting that Atlantica stood out as a unique entity even then.
'86 GARLAND DELUXE BASS
'82 GARLAND Bass
CONCORD
The Concord, the second model in the Atlantica series released in 1982.
The large cutaway is named the "Parabola Cut."
'91 Concord Super Model Active 3EQ
'89 Concord
Victoria
Victoria, introduced in 1985.
Acoustic design featuring an F-hole. Available in various configurations including ARS pickup type, humbucker type, and piezo pickup type.
2004 Victoria Special
'89 Victoria
Solitaire
Released in 1986, during a time when multi-string instruments were gaining popularity,BassThe young string player who made waves in the worldBassSolitaire.
"If it's a slow piece, couldn't you play it on the first string?" That's a perspective unique to Mr. Hayashi, who isn't a performer. As a result, this model has evolved to be used in diverse ways by users, including as a percussion instrument.
00s Solitaire 1st Floor
Stealth
The Stealth first appeared in 1987.
A thumb pocket is carved near the pickup side and fingerboard end for easy thumb placement. Furthermore, the headstock shape, stripped down to the absolute essentials, delivers excellent body balance.
'90 Stealth Deluxe
2009 Stealth 2st
GALAXY
This Galaxy also debuted in 1987.
The body design, pursuing functional beauty, features a novel shape that trims away the horn on the first string side to enhance playability in high positions.
'93 GALAXY BASS
JUPITER
Jupiter, introduced in 1989.
Atlantica features a rare traditional JB style. While the body shape is close to the JB style, it incorporates unique ideas throughout.
Jupiter Special Freted Mod
PEGASUS
Body shape, wood selection, color schemes, bold armrests—we've introduced so many one-of-a-kind models already, yet here comes another design so groundbreaking it makes you wonder if there's anything left to surprise us. Atlantica never stops evolving.
2006 Pegasus
PENTAGON
Pentagon released around 1993.
This model embodies the essence of the Atlantica concept, incorporating features from previous models—such as armrests, parabolic cutouts, and thumb pockets—into a new body shape.
'94 Pentagon 5st ACTIVE 2EQ
'01 Pentagone Guitar
5. Representative Original Parts
When discussing Atlantica, one cannot overlook the fact that most parts are custom-made, produced in-house at their own factory. Furthermore, they even build the machinery used to create those parts themselves.
Many of the structural features now considered industry standards were adopted by Atlantica long before major manufacturers began producing them. While we've highlighted its "uniqueness" and "one-of-a-kind" qualities, it has in fact led the world in numerous areas. The impact this brand, founded by a single Japanese individual, has had on the world is immeasurable.
When asked in interviews how he comes up with such unique parts, he answers, "I often think of them not while playing an instrument, but while building one." It seems the pattern is often that while building or adjusting, he notices an inconvenience and thinks, "Then why not incorporate an adjustable part from the start?"
I know I'm repeating myself, but I believe these parts are born precisely because we constantly pursue rationality and functionality, always thinking.
Then, AtlanticaBassWe'll introduce the representative parts installed in it.
Peg
SLANTED WINDER
The distinctive pegs mounted at an angle feature an ergonomic design.
Nowadays, manyBassThis structure was incorporated into the design, but it had been adopted in Atlantica since the first Garland appeared in 1978.
It is said that they were also pioneers in adopting lock pegs.
Nobu
Slanted Volume Knob
Besides pegs, knobs are also mounted at an angle.
As Mr. Hayashi commented, "I believe the quality of design lies in its functionality," it is evident that the pursuit of user-friendliness for the player is a priority.
Tension pin
ROLLER TENSIONER
Atlantica's website features a "PATENT PAGE" listing 170 ideas, including those for which patents have actually been obtained. The roller-type tension pin is the very first part introduced on this page.
By using a roller-style design where the strings make contact, tuning drift is minimized, string damage is reduced, and height adjustment is possible, allowing for fine-tuning of tension.
Nut
Adjustable String Nut
The string-seating section features a screw mechanism, allowing height adjustment without tools. Additionally, the V-shaped slots eliminate the need to cut grooves for strings of any gauge.
Tailpiece/Bridge
ATB-01
The saddle features an adjustable screw with a V-shaped groove, allowing height adjustment by hand without tools.
ATB-06 W/N "WILY/NOBLE"
This part is touted as "the quintessential embodiment of Atlanta Bass philosophy: an independent tailpiece for each string."
This bridge is a Wilkinson/N. Hayashi co-developed tuner-equipped bridge tailpiece, bearing the inscription "WILKINSON/N.HAYASHI." It is said that when Mr. Hayashi visited Wilkinson directly to discuss solutions for string twist, it led to this collaborative effort.
Atlantica formally obtained permission to incorporate the idea originally held by Wilkinson into their product.
Pickup
ARC
The ARC pickup, an iconic pickup for Atlantica, is independent for each string. It features a mechanism that can be rotated, allowing you to adjust the tone by turning it by hand. It is also possible to expand each pickup with features like dedicated EQ and tone controls.
ARS
The ARS pickup features a more compact design. While it cannot rotate like the ARC, it allows for narrower string spacing and the installation of more pickups.
This special model features 12 ARS units—three for each string.
6. The Shop Speaks: The Instrument Called Atlantica
From the perspective of our used instrument shop, which handles thousands of instruments annually, Atlantica stands apart.
The first thing you notice when you hold it is the meticulous craftsmanship. While designed with the efficiency demanded of industrial products, it retains the careful attention to detail characteristic of handmade goods, not mass-produced items.
Beyond the inherent robustness of the instruments themselves, as mentioned earlier, a significant number of them benefit from Mr. Hayashi's meticulous aftercare. Some may wonder, "With so many unique parts, does that mean the setup is unusual?" However, just like standard musical instruments, they can undergo "ordinary adjustments." Mechanisms often perceived as unusual are all logically designed structures intended to enhance usability. These are instruments where the user can "understand the maker's intent," not merely embodying Mr. Hayashi's artistic vision.
Mr. Hayashi's design philosophy consistently prioritizes player comfort, making his instruments feel perfectly at home alongside renowned brands like Fender, Gibson, PRS, and Spector. What's truly astonishing is that he was giving shape to structures and concepts on par with these giants over 40 years ago.
Due to our small-scale production system, the high scarcity of our products is a given, but currently,NewNot only that, but prices are soaring in the secondhand market as well. Though the brand was established in 1978, you could say the times have finally caught up with it.
BassWhen it comes to the "standard" of the world, Fender undoubtedly comes to mind. Yet Atlantica delivers a sound utterly unlike Fender. Its sound is remarkably crisp and hard-edged, yet the low end really comes through, offering a reassuring sense of reliability that responds precisely to the player's intent. High-end models costing more than twice as much...BassCompared to even the latest high-end models, it holds its own—in fact, it's on par with them.BassA weightiness that makes lightness seem trivial.
When you first pick it up, you'll probably think, "What's with this neck?!" But after trying out just one phrase, almost every customer says, "Huh, it's surprisingly easy to play."
The feel that makes you want to play only Atlantica, the sound only Atlantica can produce. No other brand can match it—truly one of a kind.
7. Afterword
Reading Mr. Hayashi's interview, I was deeply impressed by his honest admission of guilt over producing counterfeit goods during his time at Matsumoku, and his concern for Japan's status as a guitar-making backwater.
Given that Mr. Hayashi himself was in such a position, it's not hard to imagine that this very circumstance gave rise to the pride that led him to create instruments like the PE-1500 and the Atlantica—instruments that are essentially blocks of originality.
Japan Vintage—the numerous copies that became legendary instruments—while carrying a sense of guilt, undoubtedly served as one factor that elevated Japanese instrument-making technology.
And it was precisely because of that background that Atlantica was born, I'm sure.
During his time at Matsumoku, Mr. Hayashi recounts how, despite being a designer, he would personally prototype products on the shop floor. Precisely because he was such a craftsman, he would develop unique parts during the manufacturing process, thinking, "This approach is more rational," and even go so far as to invent his own machinery and software for production—truly embodying the spirit of an inventor.
As someone who loves musical instruments, I felt deeply grateful that Japan had someone like Nobuaki Hayashi—a luthier, designer, and inventor.
The newly arrived Atlantica, which inspired this column, can be viewed via the link below. Be sure to check it out!
For product inquiries, please contact us via email, chat, or phone. We also welcome trade-ins!
Source:
Atlansia Guitar World (Excerpt from Guitar Graphic Vol. 1, published by Rittor Music Co., Ltd.)
ROCK'N ROLL NEWSMAKER October 1989 Issue VICTOR MUSIC INDUSTRY Co., Ltd.
Atlanta Official Website (https://www.atlansia.jp/)