Diviser Co., Ltd., a musical instrument manufacturer based in Matsumoto City, Nagano Prefecture.
Headway is the acoustic guitar brand at its core.
The 1970s, when the folk boom was at its peak.
In 1977, amidst this era, the brand was founded under master craftsman Kyoji Momose. Through meticulous construction by skilled artisans and rigorous quality control, it has earned the deep trust of many guitar enthusiasts.
In its early days, Headway steadily increased its production volume.
However, as the 1980s began, the computerization of music rapidly advanced worldwide, and keyboards and programmed sounds became the mainstream in music.
This trend also swept into Japan, and demand for acoustic guitars gradually declined.
Yasuo Momose
~Tracing the Path of Master Craftsmen and Headway~
Foreword: To Pass on the Story of the Craftsman Kyoji Momose
To make matters worse, two fires broke out at the Headway factory in 1983, forcing production to halt due to extensive damage.
Even so, the voices calling for Headway's revival never ceased.
In response to the enduring passion of its longtime fans, Headway resumed production in 1999.
From the brand's launch to its suspension and eventual revival, none other than master builder Kyoji Momose stood at the heart of its technology.
And now, two special guitars are available at Advance Guitars.
One is "Style 45: The Rebirth Era," created by Mr. Momose shortly after Headway began moving forward again.
The other is the "all-out Style 45," crafted with the techniques honed in his later years.
I suspect that the former is driven by a passion to "respond to fans' voices and rebuild the brand once more," while the latter embodies the "matured state of craftsmanship" achieved by the artisan.
"Can I really leave these things unwritten?"
On March 19, 2024, Mr. Momose passed away.
What he left behind for us.
Standing before a guitar that embodies that design, as someone privileged to hold it in my hands, I wish to convey something and leave a legacy.
That feeling became the driving force behind creating this page.
To those who love Headway.
To those who cherish Japanese-made guitars.
And to all who honor the life's work of a single craftsman.
It would be my pleasure if this writing could serve as a small bridge connecting the journey of craftsman Yasuo Momose and the charm of the guitars his hands created to the future.
Kyoji Momose, the Craftsman—Master Craftsman of Shinshu
Yasuo Momose was born in Nagano Prefecture in 1944.
After graduating from junior high school, he enrolled in the woodworking department of a vocational training school and joined Ida Furniture Co., Ltd. in 1962.
It is evident that he possessed a clear determination and passion to pursue "craftsmanship," particularly woodworking, from an early stage.
This likely laid the foundation for the outstanding technology that followed.
In 1964, his second year as a furniture craftsman, Mr. Momose received an invitation that would shape the course of his life.
I was approached by a senior colleague and ended up changing jobs to Fuji Stringed Instrument Manufacturing Co., Ltd. (now Fujigen).
From this point onward, Mr. Momose's career as a guitar craftsman truly began to take shape.
At that time, Fuji Stringed Instruments primarily manufactured electric guitars, including semi-hollow-body models, while also producing classical and acoustic guitars.
After working for about a year, I was invited again by my senior colleague who was the head of the technical department and left Fuji Stringed Instruments.
In 1965, leveraging connections from the furniture industry, they rented a corner of Hayashi Woodworking and jointly established a company manufacturing baritone ukuleles.
However, the company's performance was disappointing, and it ended up going bankrupt after about a year—a bitter outcome.
Amidst these developments, Mr. Momose was brought in as the leader of the technical department when Hayashi Woodworking entered the guitar manufacturing business.
Hayashi Woodworking initially produced necks and bodies as a subcontractor for Fuji Stringed Instruments. Later, it handled OEM manufacturing for the export brand "KENT," and subsequently expanded into its own brands, "MOUNTAIN" and "PEARL."
Mid-1970s.
Cross Gakki, an instrument wholesaler based in Shinjuku Ward, Tokyo, commissioned Hayashi Woodworking to manufacture its own brand "Rider" under OEM terms.
At that time, the representative of Cross Instruments was Megumi Yatsuka, who would later become the chairman of Diviser.
Mr. Yatsuka was captivated by Mr. Momose's technical skills at the timber workshop, and above all, by his sincere character.
At that time, guitar design and manufacturing methods were not yet established, and guitars with designs that seem unnatural from today's perspective could also be found.
However, the market was booming despite limited information and knowledge about guitars, and it was a pioneering era where any reasonably priced folk guitar would sell.
Given the circumstances of that era, Mr. Yatsuka, who handled wholesale guitar sales at Cross Instruments, felt constrained by the quality level of the contract-manufactured products.
The exacting quality standards he demanded proved too demanding for the subcontractor.
As a result, we found ourselves in a situation where we were unable to create products that met our standards.
To build better guitars, we have no choice but to bring Momose into our own factory.
Convinced of this, Mr. Yatsuka spent about a month working tirelessly to recruit him.
There's an anecdote that the cost of long-distance calls between Tokyo and Matsumoto was a whopping 500,000 yen per month.
That's how much they needed Mr. Momose's skills.
So Mr. Yatsuka made a major decision.
He resolved to establish his own factory and pursue his ideal guitar to his heart's content there.
And as a result of seeking someone who could share that aspiration, the choice fell upon a man named Yasuo Momose.
And then June 1977.
Mr. Yatsuka's passion and Mr. Momose's desire to "make a good guitar" came together, leading to the establishment of Headway Co., Ltd.
The founding team consisted of just five employees. Only three of them were involved in manufacturing—a small beginning.
When establishing the brand, Mr. Yatsuka thought, "I want to do something unique that other companies aren't doing."
In response to that spirit of challenge, Mr. Momose proposed two groundbreaking ideas.
That was the "dovetail joint" for the neck joint and the "post-assembly" method, where the body and neck are painted separately before being joined.
Actually, the first project I undertook after founding the company wasn't guitar making, but rather a detailed study of the Martin HD-28, one of the top models at the time.
This work gave rise to structural concepts that would later become Headway's hallmarks: the dovetail neck joint and the "post-assembly" method, where the body and neck are painted separately and assembled afterward.
It conveys an attitude that seeks to understand the structural essence of why a masterpiece is worthy of that title, rather than merely imitating its outward appearance.
Research and equipment preparation took considerable time, and by the end of 1977, only three guitars had been completed.
It first appeared in the world in early 1978, and the first guitars made sold out immediately, marking the beginning of Headway's true history.
However, five years later in 1983.
The Headyway factory was completely destroyed by two fires.
Everything from production machinery to jigs was reduced to ashes.
Furthermore, the popularity of acoustic guitars had already begun to wane at that time, so production inevitably shifted to electric guitars.BassThe company transitioned to this new model, and for the next 16 years, acoustic guitar production ceased.
Throughout that time, calls for Headyway's revival never ceased.
In response to that passionate call, acoustic guitar production began again in 1999.
At the heart of that revival, of course, was he.
From brand launch to desperate interruption, and then to revival.
At the heart of Headway, there has always been the presence of craftsman Kyoji Momose.
I have faced sound head-on.
Moreover, he has continually pursued guitar making without ever being satisfied with the present.
The life's work of Kyoji Momose continues to breathe through the hands of many performers even today.
I wish to offer my heartfelt respect and gratitude for that great legacy.
In the next section, we will examine in detail the two pieces produced by Mr. Momose.
Early 2000s: Style-45, the Era of Revival
2001 model / Headway HD-250
This is a Style-45 dreadnought crafted by Mr. Yasuo Momose himself, shortly after Headyway Workshop resumed operations.
This instrument embodies decades of refined craftsmanship and a pure passion for acoustic guitars, poured into every detail.
The Mexican conch shell inlay encircling the body is handcrafted, with each piece individually selected for its texture, light reflection, and hue, then carved and fitted together.
Unlike the commonly seen silvery-white luster, the shell used in this piece emits a deep jade-green glow.
Considering that the inlay was selected primarily based on this color tone, I imagine they were seriously crafting a special piece—namely, "the world's finest."
The head features the vertical "Headway" logo adopted starting with this model.
Needless to say, this vertical logo is a symbol of Martin's premium models and also serves as a visual sign to us guitar fans that it is a "special one."
The fingerboard is ebony with hexagonal inlays.
A traditional motif that appeared around 1939, it is a luxurious design symbolizing Martin's higher-end models.
Overlaid with the deep, rich texture of ebony, it seems to visually convey the depth of the tone.
Furthermore, the bridge features a long saddle.
This specification was standard at Martin until 1965 and is now carried only by a very limited number of premium lines, such as the Authentic Series.
If one were to focus solely on these external characteristics, it would be natural to think, "Could this be based on the D-45 from 1939–42?"
However, upon closer inspection, it becomes clear this is not a reproduction or imitation, but rather a piece that embodies Mr. Momose's vision of the ultimate Style-45.
Next, let's examine the internal structure.
The truss rod employs Headway's proprietary mechanism known as the "aluminum channel truss rod."
Later, a truss rod known as a "barrel-shaped iron core" was adopted as a material that minimizes its impact on the sound of the wood. However, I feel that the aluminum channel truss rod also possessed its own unique sound.
Additionally, the number of crack-prevention strips applied inside the body and the crossing positions of the X-bracing differ when compared to our in-stock Martin D-45s from the 1980s to 1990s.
Looking closely at the details, one comes to the conclusion that this is not a reproduction or imitation, but rather the one gun that embodies Mr. Momose's vision of the ultimate Style-45.
So, how about the all-important sound?
To be honest, I had a preconceived notion that domestic acoustic guitars had a somewhat hard, sometimes unruly sound.
But when faced with this guitar's presence, such an impression seems out of place.
The moment I played the chord while thinking that, that preconception vanished completely.
The deep resonance of rosewood and the luminous overtones that seem to illuminate the ceiling.
The characteristic Style-45 tone: brilliant and dense.
That sound possesses the same level of class as its elegant appearance.
Appearance, structure, and sound.
No matter which one you take, it cannot be explained simply as an imitation of a D-45 from a specific era.
I strongly feel this is a piece that embodies the "special" that Kyoji Momose was able to create at Headway after its relaunch.
Style 45 in Its Later Years—The Pinnacle of Craftsmanship
2018 model / Headway HD-450 Custom
This instrument is one of Kyoji Momose's late-career masterpieces, crafted from Brazilian rosewood he treasured for many years and carefully selected German spruce.
The production concept is clearly based on the 1968 Martin D-45.
The year 1945 marked the monumental revival of the D-45, "a legend brought back to life" through a reproduction project spearheaded by Mike Longworth. Only 67 were crafted that year.
The sides and back feature now-rare Brazilian rosewood, and while the bracing structure and fine details differ from pre-war models, it was enthusiastically welcomed as the "flagship of a new era."
Note that due to material supply issues, the use of Brazilian rosewood ceased in 1969. Consequently, the D-45 with Brazilian rosewood sides and back was effectively produced only during the two-year period of 1968 and 1969. A total of 229 were made.
Needless to say, it's rare.
This instrument is a model that deeply understands the philosophy of the "68 D-45" and reconstructs it using modern technology.
The pickguard employs a thick black material, meticulously crafted with beveled edges and layered finishes to skillfully recreate the texture of vintage "painted-in guards."
The head shape features the rounded "maru head" characteristic of the 1960s, paired with gold Grover milk bottle tuners to evoke the distinctive elegance of 1968.
The headplate features a beautifully gleaming torch inlay symbolizing the special.
It is also thoroughly implemented in terms of structure.
The bridge plate features small-sized Brazilian rosewood.
This specification aligns with Martin's historical shift from maple to rosewood-based materials in 1968.
Furthermore, it can be confirmed that the crossing positions of the X-bracing also follow the design of that time.
And then, there is sound.
A solemn, resplendent resonance reminiscent of church bells.
This instrument possesses a refined elegance and depth born from Mr. Momose's profound understanding of the significance of the '68 D-45, which he reconstructed through his own technical skill and artistic sensibility.
The 2001 HD-250 and the 2018 HD-450 Custom.
Though both are "Style-45," I'll jot down my impressions when actually comparing these two.
First, what strikes me about the HD-250 is the energy and sincerity of a new beginning.
At that time, Headway's workshop had just resumed operations after a long hiatus.
It is evident that he approached his craft with a sense of mission to "perfect the ideal guitar."
The HD-250 seems to embody the fighting spirit of that era.
The atmosphere emanating from this guitar's appearance, the sound it produces.
You can really feel the strong determination behind the desire to create this kind of guitar.
Wasn't that the presentation of "Kyoichi Momose's vision of the 45-shaped guitar = the ultimate guitar," rather than mere imitation?
Drawing inspiration from pre-war 45s and vintage pieces, this piece radiates pride and challenge—a testament to what can be achieved through personal experience and skill.
On the other hand, the 2018 HD-450 Custom stands in a completely different league.
Here, respect and skill coexist in perfect harmony.
Clearly inspired by the 1968 D-45, every detail—from wood selection and bracing placement to the bridge plate material, headstock shape, and the recreation of the inlaid pickguard—meticulously reflects both respect for Martin and the craftsmanship honed over a lifetime of experience.
But that's not the surprising part.
No matter how closely it adheres to the original's structure and specifications, I feel that Mr. Momose's signature sound remains unmistakably present.
If I were to describe it in a single phrase, it is beautifully refined in both sound and construction.
It seems as though the very image of a craftsman meticulously approaching his work has been transformed into sound.
The HD-450 Custom is a model that "balances respect and individuality," while the HD-250 is a model that embodies "ideal and will."
Nearly twenty years later, the same creator has chosen a completely different approach under the same Style-45 theme.
This contrast even gives one the feeling of peering into the life journey of a single craftsman.
And as I play, I truly feel it.
"Neither is mere imitation; both are infused with the creator's lifeblood."
I feel his philosophy—that an instrument's value lies in its longevity—resides there.
The more you compare the two,
"I want to experience more works."
"I want to know how they changed from their early years to their later years, and what they continued to hold onto."
That feeling grows stronger.
Afterword
"Kyoji Momose"
He threw himself into guitar making, and throughout his long journey with Fuji Stringed Instruments, Hayashi Guitars, and Headway, he became one of the figures who shaped the very history of Japanese acoustic guitars.
Picking up the guitar he left behind, one is first captivated by the orderly beauty of its sound.
Not only the two acoustic guitars introduced this time, but all of them are united by a single conviction.
The more you touch the guitars crafted by Mr. Momose, the more you realize how consistent his convictions have been.
The HD-250 from 2001 and the HD-450 Custom made in his later years in 2018.
Listening to these two recordings side by side reveals the deepening of "Momose's sound" over time.
HD-250 embodied the powerful momentum of experience and passion surging toward their peak.
Meanwhile, the HD-450 Custom possessed a mature sound born of years of exploration and quiet confidence.
Neither is imitation; both have his own blood pulsing through them.
To be able to sense that evolution is, as someone who handles guitars, nothing short of the greatest happiness.
And Momose's legacy lives on today through his disciples—Masato Yasui, Shin Furihata, and others who honed their craft alongside him—who have faithfully inherited his philosophy and techniques while infusing them with their own artistic expression.
Touching their guitars, one can clearly sense that each maker's story continues to unfold upon the foundation built by Momose.
The guitar is a mysterious thing.
An instrument, yet also history, a work of art, and a vessel that embodies the maker's philosophy and soul.
The guitars crafted by Mr. Momose serve as a testament to this fact and will undoubtedly be passed down to future generations.
And we at Advance Guitars wish to continue playing our part in that movement.
Honoring the dedication and craftsmanship of artisans while faithfully passing on their value to the next generation.
I believe this is a small token of gratitude to the master craftsman named Momose and to the guitar-making he dedicated his life to.