Diviser Co., Ltd., a musical instrument manufacturer based in Matsumoto City, Nagano Prefecture.
Headway is the acoustic guitar brand at the core of the company.
The 1970s, when the folk music boom was at its peak.
Founded in 1977—right in the midst of that boom—by master craftsman Yasuo Momose, the brand has earned the deep trust of many guitar fans through the meticulous craftsmanship of skilled artisans and rigorous quality control.
In its early days, Headway steadily increased its production volume.
However, as the 1980s began, the computerization of music advanced rapidly worldwide, and keyboards and synthesized sounds became the mainstream in music.
This trend swept through Japan as well, and demand for acoustic guitars gradually declined.
Yasuo Momose
~Tracing the Journey of a Master Craftsman and Headway~
Foreword — To Preserve the Legacy of Craftsman Yasuo Momose —
To make matters worse, two fires broke out at the Headway factory in 1983, and the extensive damage forced the company to suspend production.
Even so, calls for Headway’s revival never ceased.
In response to the enduring enthusiasm of its long-time fans, Headway resumed production in 1999.
From the brand’s
launch through its hiatus and eventual
revival, the driving force behind its craftsmanship was none other than master builder Yasuo Momose.
I surmise that the former embodies the passion to “respond to fans’ voices and rebuild the brand,” while the latter breathes the “peak of mastery he reached as a craftsman.”
“How could I possibly not put these down in writing?”
On March 19, 2024, Mr. Momose passed away.
What he left behind for us.
Standing before a guitar that embodies his design—and as someone fortunate enough to hold it in my hands—I want to convey something and leave a legacy.
That desire was the driving force behind the creation of this page.
To those who love Headway.
To those who revere Japanese-made guitars.
And to everyone who pays tribute to the life’s work of a single artisan.
I hope this text will help, even in a small way, to pass on to the future the journey of the artisan Yasuo Momose and the charm of the guitars his hands created.
The Craftsman Yasuo Momose—A Master Craftsman of Shinshu
Yasuo Momose was born in Nagano Prefecture in 1944.
After graduating from junior high school, he enrolled in the woodworking program at a vocational training school and joined Ida Furniture Co., Ltd. in 1962.
It is evident that he had a clear determination and passion to pursue “craftsmanship”—particularly woodworking—from an early stage.
This likely laid the foundation for his later technical excellence.
In 1964, during his second year as a furniture craftsman, Mr. Momose received an offer that would change the course of his life.
Approached by a senior colleague, he switched jobs to Fuji Stringed Instrument Manufacturing Co., Ltd. (now Fujigen).
From this point on, Mr. Momose’s career as a guitar craftsman truly took off.
At that time, Fuji Stringed Instrument Manufacturing primarily produced electric guitars, including semi-acoustic models, as well as classical and acoustic guitars.
After working there for about a year, he was approached again by his senior colleague—who headed the technical department—and left Fuji Stringed Instrument Manufacturing.
In 1965, drawing on connections from his days in the furniture business, he rented a corner of Hayashi Woodworking Shop and co-founded a company to manufacture baritone ukuleles.
However, business performance was poor, and the company went bankrupt after about a year—a bitter outcome.
Amidst this, when Hayashi Woodworking Shop decided to enter the guitar manufacturing business, Mr. Momose was brought on board as the leader of the technical department.
Initially, Hayashi Woodworking manufactured necks and bodies as a subcontractor for Fuji Stringed Instruments, but later began OEM production for the export brand “KENT,” and eventually expanded into its own brands, “MOUNTAIN” and “PEARL.”
Mid-1970s.
Cross Gakki, a musical instrument wholesaler based in Shinjuku Ward, Tokyo, commissioned Hayashi Woodworking to manufacture its own brand, “Rider,” on an OEM basis.
The representative of Cross Gakki at the time was Megumi Yatsuka, who would later become the chairman of Diviser.
Mr. Yatsuka was deeply impressed by Mr. Momose’s technical skills and, above all, his sincere character while he was working at Hayashi Woodworking.
At that time, methods for designing and crafting guitars had not yet been standardized, and some guitars featured designs that seem unnatural from today’s perspective.
However, it was the dawn of the industry—a time when information and knowledge about guitars were scarce, yet the market was booming, and any affordable folk guitar would sell.
Against this backdrop, Mr. Yatsuka, who was in charge of guitar wholesale at Cross Gakki, felt that the quality of the consignment-manufactured products had reached its limit.
The rigorous quality standards he demanded were simply too strict for the consignment manufacturers.
As a result, he found himself in a persistent situation where he could not produce products that met his standards.
“To make 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 is even an anecdote that the cost of long-distance calls between Tokyo and Matsumoto amounted to a staggering 500,000 yen per month.
That’s how desperately he needed Mr. Momose’s skills.
So, Mr. Yatsuka made a momentous decision.
He resolved, “Let’s establish our own factory and pursue the ideal guitar to our heart’s content.”
After searching for someone who shared that vision, the choice fell on a man named Yasuo Momose.
Then, in June 1977.
Mr. Yatsuka’s enthusiasm and Mr. Momose’s desire to “make great guitars” came together, and Headway Co., Ltd. was established.
The company got off to a modest start with just five employees in its early days, only three of whom were involved in manufacturing.
When the brand was founded, Mr. Yatsuka wanted to “do something unique that other companies weren’t doing.”
In response to that spirit of challenge, Mr. Momose proposed two groundbreaking ideas.
These were the “dovetail joint” for the neck and the “post-assembly” process, in which the body and neck are painted separately before being joined.
In fact, the first project they undertook after the company’s founding was not guitar production, but rather the disassembly and study of the Martin HD-28—one of the top-of-the-line models at the time.
This work gave rise to the structural concepts that would later become emblematic of Headway: the “dovetail neck joint” and the “post-assembly” method, in which the body and neck are painted separately and then joined later.
Rather than simply imitating the exterior, this approach conveys a commitment to understanding the structural essence of why a legendary instrument is truly legendary.
Research
and equipment preparation took time, and by the end of 1977, only three guitars had been completed.
They first appeared on the market shortly after the New Year in 1978; the first guitars produced sold out immediately, and this marked the beginning of Headway’s official history. The Headyway factory was completely destroyed by two fires five years later
, in 1983.
It is said that everything—from production machinery to jigs—was reduced to ashes.
Compounding
this was the fact that the popularity of acoustic guitars was already waning at the time, so the company was forced to shift production to electric guitars and basses; as a result, acoustic guitar production ceased for the next 16 years.
Even during that time, calls for the revival of Headyway never ceased.
In response to that passionate demand, production of acoustic guitars resumed in 1999.
Of course, he was at the center of that revival.
From the brand’s launch, through a desperate hiatus, and on to its rebirth.
At the heart of Headyway has always been the craftsman “Yasuo Momose.”
He has always approached sound with unwavering dedication.
Furthermore, he never settled for the status quo but continued to explore the art of guitar making.
The life’s work of Yasuo Momose continues to breathe life in the hands of many musicians to this day.
We would like to offer our heartfelt respect and gratitude for his great legacy.
In the next section, we will take a closer look at two guitars crafted by Mr. Momose.
Early 2000s: The Style-45 from an Era of Revival
Made in 2001 / Headway HD-250
This is a Style-45-spec Dreadnought crafted by Mr. Yasuo Momose himself shortly after the Headway workshop resumed operations.
It is an instrument into which his technical skills, honed over many years, and his pure passion for acoustic guitars have been poured into every detail.
The Mexican mother-of-pearl inlays encircling the body are handcrafted—each piece was carefully selected for its texture, light reflection, and color, then carved and fitted by hand.
Unlike the silvery sheen commonly seen, the mother-of-pearl used on this instrument emits a deep, jade-like luster.
Considering that the inlays were selected specifically for this color, one can’t help but imagine that he was truly committed to crafting a special instrument—namely, “the world’s finest.”
The headstock features the vertical “Headway” logo, which was first adopted on this model.
Needless to say, this vertical logo is a symbol of Martin’s high-end models and serves as a visual sign to us guitar enthusiasts that this is indeed a “special instrument.”
The fingerboard features hexagonal inlays on an ebony background.
This traditional motif, which first appeared around 1939, is a luxurious design that symbolizes Martin’s high-end models.
Combined with the deep, rich texture of the ebony, it seems to visually convey the depth of the instrument’s tone.
Furthermore, the bridge features a long saddle.
This was a standard specification at Martin until 1965 and is now carried on only by a very limited number of high-end lines, such as the Authentic Series.
If one were to consider only these exterior features, it would be natural to think, “Is this modeled after the D-45 from 1939–42?”
However, upon closer inspection of the details, it becomes clear that this is not a reissue or imitation, but rather a guitar in which Mr. Momose has given form to “his own 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 the “solid steel core”—which has virtually no effect on the natural sound of the wood—was adopted, but I feel that the aluminum channel truss rod also produced a sound unique to itself.
Furthermore, the number of crack-prevention strips affixed inside the body and the intersection points of the X-bracing differ from the Martin D-45s from the 1980s and 1990s in our store’s inventory.
Looking at these details, I’ve come to believe that this isn’t a reissue or imitation, but rather a guitar that Mr. Momose created to embody “his own vision of the ultimate Style-45.”
So, how does the all-important sound hold up?
To be honest, I had a preconception that Japanese-made acoustic guitars tended to have a somewhat hard, sometimes unruly tone.
However, standing before this guitar, that impression seemed entirely out of place.
The moment I played a chord with that thought in mind, that preconception was completely blown away.
The deep richness of the rosewood and the transparent overtones that seemed to illuminate the ceiling.
A brilliant, dense tone characteristic of the Style-45.
That sound possesses the same “class” as the elegance of its appearance.
The appearance, the construction, and the sound.
No matter which aspect you consider, it cannot be explained simply as an imitation of a D-45 from a specific era.
I strongly feel that this is “a guitar packed with the ‘special’ elements that Yasuo Momose was able to create at Headway after its relaunch.”
Style 45 from His Later Years—The Crystalization of Craftsmanship
Made in 2018 / Headway HD-450 Custom
This instrument is one of Kyoji Momose’s masterpieces from his later years, crafted using Brazilian rosewood that he had carefully preserved for many years and meticulously selected German spruce.
The design concept was clearly inspired by the 1968 Martin D-45.
That year marked a monumental milestone in the postwar revival of the D-45—a “legend brought back to life” through a reissue project led by Mike Longworth. Only 67 instruments were produced that year.
The sides and back feature Brazilian rosewood, which is now difficult to obtain. Although the bracing structure and fine details differ from the pre-war models, it was enthusiastically welcomed as the “flagship of a new era.”
Note that the use of Brazilian rosewood ended in 1969 (due to material supply issues, among other factors), so the D-45 with Brazilian rosewood sides and back was effectively produced for only two years: 1968 and 1969. A total of 229 were made.
Its rarity goes without saying.
This instrument is a model that deeply understands the philosophy behind the “’68 D-45” and reconstructs it using modern technology.
The pickguard features a thick black finish; by applying multiple coats of paint over beveled edges, it skillfully recreates the texture of the “filled-in pickguard” from that era.
The headstock shape is a rounded “round head,” characteristic of the 1960s, and when paired with gold Grover milk bottle tuners, it exudes the distinctive elegance of 1968.
A torch inlay, symbolizing its special status, shines beautifully on the headplate.
The construction is also meticulously executed. A small-sized Brazilian rosewood bridge plate is used.
This specification aligns with Martin’s historical shift from maple to rosewood in 1968.
Furthermore, the intersection points of the X-bracing clearly follow the original design from that era.
And then there is the sound.
A majestic, resplendent tone that is somehow reminiscent of church bells.
This is an instrument imbued with elegance and depth, born from Mr. Momose’s deep understanding of the significance of the “’68 D-45” and his reconstruction of it using his own technical skill and artistic sensibility.
A 2001 HD-250 and a 2018 HD-450 Custom.
Although both are “Style-45” models, I’d like to jot down my impressions after actually comparing these two guitars.
First, what I sense about the HD-250 is the energy and sincerity of the revival period.
At that time, Headway’s workshop was just getting back up and running after a long hiatus.
You can tell they were approaching the crafting process with a sense of mission: “to bring the ideal guitar to its highest form.”
It feels as though the HD-250 embodies the fighting spirit of that era.
The atmosphere that emanates from this guitar’s appearance, and the sound it produces.
You can really feel the strong determination behind the statement, “This is the kind of guitar I want to make.”
Rather than being an imitation, wasn’t this a presentation of “Kyoji Momose’s vision of the 45—the ultimate guitar”?
While drawing inspiration from pre-war 45s and vintage models, this instrument conveys a sense of pride and challenge—a declaration that “this is what I can achieve with my own experience and craftsmanship.”
On
the other hand, the 2018 HD-450 Custom stands in an entirely different dimension.
Here, respect and craftsmanship coexist masterfully.
With the 1968 D-45 as its clear inspiration, respect for Martin and the technical skills honed over a career are meticulously reflected in every detail—from the selection of woods and bracing positions to the bridgeplate material, headstock shape, and reproduction of the inlaid guard.
But that’s not what’s truly astonishing.
No matter how closely it adheres to the original’s structure and specifications, I feel that Mr. Momose’s distinctive touch is unmistakably present in the sound.
If I had to describe it in a single phrase, I’d say both the sound and the craftsmanship are beautifully refined and harmonious.
It’s as if the image of a craftsman approaching his work with meticulous care has been directly translated into sound.
The HD-450
Custom is an instrument that “harmonizes respect and individuality,” while the HD-250 is one that condenses “ideal and determination.”
After nearly twenty years, the same luthier has chosen completely different approaches while working under the same “Style-45” theme.
This contrast even gives the sensation of peering into the life journey of a single craftsman.
And as I play, I realize:
“Neither is an imitation; both are imbued with the maker’s very soul.”
I feel that his philosophy—that “an instrument’s value lies in its enduring sound”—lives within
them.
The more I compare the two,
the stronger my desire grows: “I want to experience more of his work,”
“I want to know how he evolved from his early days to his later years, and what he continued to uphold.”
Afterword
“Yasuo Momose”
Having devoted himself to guitar making and journeyed through Fuji Stringed Instruments, Hayashi Guitars, and Headway, he is one of the figures who has shaped the very history of Japanese acoustic guitars.
When you pick up one of the guitars he left behind, you are first captivated by the orderly beauty of its sound.
Not limited to the two acoustic guitars introduced here, a single conviction runs through all of them.
The more you experience the guitars crafted by Mr. Momose, the more you’ll likely realize just how consistent that conviction was.
The 2001 HD-250 and the 2018 HD-450 Custom, crafted in his later years.
When you listen to these two side by side, you can hear “Momose’s sound” deepening with the passage of time.
The HD-250 embodied a powerful energy driven by experience and passion reaching their peak.
The HD-450 Custom, on the other hand, possessed a mature resonance born of years of exploration and quiet confidence.
Neither is an imitation; both are imbued with his own very blood.
I even consider it the greatest joy as a guitarist to be able to sense this evolution.
And Momose’s legacy lives on today through his disciples—such as Masato Yasui and Arata Furihata, who honed their skills at his side—who have faithfully inherited his philosophy and techniques while adding their own artistic expressions.
When you hold one of their guitars, it becomes clear that, building upon the foundation laid by Momose, each luthier’s own story continues to unfold.
A guitar is a mysterious entity.
While it is an instrument, it is also history, a work of art, and a “medium” that embodies the maker’s philosophy and soul.
The guitars crafted by Mr. Momose serve as a reaffirmation of this truth, and they will undoubtedly be passed down to future generations.
And we at Advance Guitars also wish to continue playing our part in this legacy.
While paying respect to the passion and craftsmanship poured into these instruments by the artisans, we aim to faithfully pass on their value to the next generation.
We believe this will serve as a modest way of giving back to the master craftsman Momose and the art of guitar-making to which he dedicated his life.
Advance Guitars
Yasuo Momose ~Tracing the Journey of a Master Craftsman and Headway~
Author: Inoue, Store Manager at Advance Guitars – Vintage Guitar Researcher
An expert who has been involved with musical instruments since childhood and has appraised and sold over several thousand vintage guitars. He maintains strong connections with collectors and dealers overseas. Guided by the belief that “the history of a guitar can change with a single color or stamp,” he strives to provide detailed and passionate commentary.
Qualifications and Achievements: 8 years as a musical instrument appraiser; contributor and supervising editor for Guitar Magazine and other publications
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