Japan’s leading craftsmen, closest to the front lines
T.S. Factory
What is T.S. Factory? The dedication of artisans carrying on Leo Fender’s legacy
Profile of Mr. Tsunoda, Representative of T.S. Factory
Worked at the Dyna Musical Instruments factory, where he was in charge of body inspection for well-known brands such as Fender and Gibson.Later, after serving as an instructor in ESP’s Guitar Craft Department, he established his own workshop, “T.S. Factory,” in Adachi Ward, Tokyo—where he was born and raised. For over 20 years since then, he has been crafting original guitars while also providing instrument care and repairs for many renowned manufacturers and popular musicians. His uncompromising work ethic—characteristic of a stubborn artisan who cut his teeth in a factory—has earned him the deep trust of countless top musicians and instrument manufacturers.
The “Forbidden Workshop” That Doesn’t Accept the General Public
T.S. Factory generally does not accept repair requests from the general public. Access to the workshop is limited to a select few authorized individuals. Why is that? Is there some secret? We attempted to go undercover to find out.“Well, it’s not that I’m trying to be mysterious or anything… But if someone who knows what they’re looking at sees an instrument under repair, they’d instantly recognize whose it is, right?” When he said that, I looked around the workshop—and wow! “Wait, is that so-and-so’s guitar?” or “That’s the one I saw on TV!” Even the cases of instruments waiting for repair were labeled with the names of some truly illustrious figures. Since he maintains these instruments based on a relationship of trust, he prefers not to disclose the clients’ names—and it’s truly a shame that I can’t share them.I catch myself thinking a rather crass thought: “He could become super famous if he just revealed their names,” but that apparently goes against his principles. However, perhaps it’s precisely those principles that have earned him such deep trust from top-tier musicians. Without any exaggeration, I just want to convey that this is a workshop where an astonishing number of top artists secretly gather.
T.S. Factory’s Commitment
to Guitars and Basses
Why He Doesn’t Insist on Carefully Selected Premium Wood
“All the wood used in T.S. Factory guitars is sourced from Aichi Lumber. We don’t go out to select it ourselves. Don’t the lumber dealers, who purchase and sort logs day in and day out, have a far more discerning eye? Even if a guitar craftsman went out on a whim to pick some wood, there’s no guarantee he’d find something good. It’s far more reasonable to leave matters of wood to the professionals—and that leads to better results.”
Why We Don’t Insist on an Ultra-Thin Lacquer Finish
“After all, even Fender started out using leftover car paint from a side business. It just so happened that it was nitrocellulose lacquer. There’s no secret to the paint itself. Besides, what exactly is the ‘natural resonance’ of wood? Even if a board resonates on its own, the sound changes depending on the combination of woods and the manufacturing process. What’s important is applying the finish that’s best suited to that specific guitar. If you get fixated on the paint, you can’t think freely.”
Why I Don’t Focus on a Precise, High-Precision Finish
“Do guitars really require that much precision? Well, a certain degree of precision is necessary, of course. But that’s not the most important thing. Take the finish, for example—a mirror-smooth finish looks great, sure. But sometimes leaving a bit of texture actually produces a better tone. Joints that are perfectly aligned can sometimes hinder the sound. I think precision beyond what’s necessary is just the builder’s self-indulgence. Would you really want to use such a precision instrument on a stage covered in sweat?”
Why I Don’t Insist on Active Circuits
“I’m basically a passive guy. Well, if someone asked me to make an active one, I could probably do it. But with active circuits, it ultimately comes down to the sound of the circuit itself, and they all end up sounding the same. It’s just not interesting.Also, a lot of modern circuits are pretty extreme, aren’t they? Where on earth are you supposed to use those? For example, if you seriously boost the bass in a venue the size of a live house, it’s no longer sound—it’s just vibration. Do you really need that kind of sound? As long as it produces the sound necessary for playing music, that’s enough. Nothing more, nothing less.”
What I’m Making Are “Tools”
“They’re not ornaments or works of art. They’re strictly tools for musicians to play music. That’s why I’m obsessed with making them as stress-free to use as possible. I put particular effort into the neck’s feel. Even though it’s New, the moment you grip it, it should feel like a guitar you’ve played for years. You might intend to just play it a little, but then you’ll lose track of time and keep playing. That’s the kind of guitar I aim to build. Please don’t just hang it on the wall.”
The Sound Is Up to the Musician
“I don’t want to say things like, ‘This model sounds like this.’ Of course, there are certain sounds we’re aiming for, but that’s not for the maker to say. Even with a Strat, Jimi Hendrix and Jeff Beck—they all produce their own unique sounds, don’t they?It’s the musician, and only the musician, who stands in the spotlight and receives the applause. I want people to say, ‘That person’s sound is great,’ not ‘That guitar sounds great.’ All we can do is our best to ensure those musicians can focus on their performance with ease. I believe an instrument isn’t something that makes a statement on its own—it’s a tool designed to faithfully convey the message the musician wants to express. That’s what an instrument is all about.”
The Rational Approach to Craftsmanship Passed Down at “Leo of the Downtown”
What do you think? This contrarian attitude. I’ve interacted with many guitar makers over the years, and usually, builders speak passionately about their own obsessions and convictions. But he isn’t fixated on anything. Or rather, perhaps I should say he’s fixated on not being fixated. As a result, this takes the most direct path to the instrument’s sound. You could call it thorough rationalism.
Yes, he is truly “Leo of the Downtown District.” One could say that the rationality of Leo Fender—whom he deeply admires—and the innovative frontier spirit born of it have been passed down here.
And it is precisely this rational approach—taking the shortest path to the sound—that is a major selling point, not only in terms of sound but also in terms of price. Just imagine how much it would cost to have a guitar of this caliber handmade in a workshop in Tokyo. It is this rational mindset, which eliminates unnecessary elements, that makes it possible to create instruments that are “player-friendly” in so many ways.
A Behind-the-Scenes Look at T.S. Factory
T.S. Factory is located in Tokyo’s Shitamachi district. It’s quite spacious for a workshop in the city, with a wide array of specialized tools lined up. Even for me, having visited numerous workshops, the space and its level of equipment are surprising—I’ve seen tools here that you simply wouldn’t find anywhere else. Some of them even made me wonder, “What on earth is this used for!?”
A remarkably wide variety of wood is also stacked everywhere, filling every available space.In addition to rare woods, there are also some quite old pieces. “I bought them a long time ago and just left them sitting here,” he says, but he almost never uses new wood directly in his guitars; instead, he lets it age for at least a few years before using it. While T.S. Factory’s guitars are supposedly made by “just using whatever wood is lying around,” the “whatever wood” has a completely different level of maturity. He pretends not to be particular about anything, but you can tell he’s actually very particular.
Guitars currently being assembled and others waiting their turn.
Here is a body that has just been assembled. A common feature across most models is the laminated top, created by layering multiple pieces of wood—a technique said to produce the ideal tone. He says he “doesn’t care about anything,” but clearly, he does care quite a bit.
There are also set-neck and semi-hollow models. The body with the red binding really catches my eye.
The semi-hollow bodies after finishing. The model with the red binding has a unique color scheme. I’m looking forward to seeing the final result.
This is another very unique body. Believe it or not, it was carved out of a tree stump. The growth rings around the position of the rear pickup are what make it distinctive. But they’ll be hidden once the parts are installed. Paying attention to details that no one will even notice—is that the aesthetic of T.S. Factory?
From another angle. Beneath the top wood, you can glimpse the three-dimensional growth rings unique to a tree stump. His challenging approach—incorporating various types of wood without being bound by conventional wisdom—and his talent for crafting a cohesive sound from them—I can’t help but sense Leo’s spirit in it.
When I visited the next time, the finishing had been completed. Once the finish is applied, you can no longer tell it’s a tree stump… But I’m really looking forward to hearing what kind of sound it will produce.
Mirror Finish
Another innovation from T.S. Factory is the mirror finish. By using a special paint, they’ve achieved a mirror-like, metallic texture. The unique texture, distinct from standard metallic colors, is truly captivating. They’re enthusiastically exploring new possibilities not only in wood and manufacturing methods but also in paints and other materials.
Author: Matsui (Store Manager, TCGAKKI)
After serving as store manager at Kyōritsu Gakki’s Shinjuku branch, he joined TCGAKKI. As a store manager, he has overseen a wide range of categories, including the vintage guitar floor, electric basses, amplifiers, and parts. He is one of the industry’s leading experts in electric guitar sales and enjoys the deep trust of renowned musicians. His favorite band is B’z. His hobbies include horse racing and golf.
Qualifications and Achievements: 20 years as a musical instrument appraiser; has contributed as a writer and supervisor to publications such as *Guitar Magazine*
▶︎Articles Written
: “Real Closet Classics” — An Unused
1961 Stratocaster; “1951 Fender Nocaster ‘PROTO’”; “A Journey Through
the History of Tuners with Famous Brands”; “The History of
Pickups and the Trajectories of Great Musicians” Column
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