TS Factory

Profile of Mr. Tsunoda, Representative of TS factory

He worked at the Dyna Musical Instruments factory, where he was in charge of the body inspection department for famous brands including F/J. After that, he became an instructor in the ESP Guitar Craft Department, and then established his own workshop, "TS factory," in Adachi Ward, Tokyo, where he was born and raised. For over 20 years since then, he has been taking care of and repairing instruments for many famous manufacturers and popular musicians, while also creating original guitars. His uncompromising work ethic, befitting a stubborn craftsman who rose through the ranks of the factory, has earned him the deep trust of many top musicians and instrument manufacturers.

A forbidden workshop that does not allow general customers.

TS Factory generally does not accept repairs from the general public. Access to the workshop is also limited to a select few. What is the reason? Is there some secret? We attempted to infiltrate the workshop. "Well, I don't mean to be coy, but if someone who knows about repairs sees the instruments being repaired, they'll know whose they are, right?" As we looked around the workshop after he said that, we were shocked! Is this perhaps that person's guitar? Or, this is the one I saw on TV! The cases of instruments waiting to be repaired had the names of many famous people written on them. He doesn't want to reveal the names of the clients because he maintains them based on trust, and it's truly a shame that we can't tell you. I thought to myself, "He could become super famous if he revealed the names," but apparently that goes against his aesthetic. However, perhaps that very aesthetic is the reason why he has earned the deep trust of top musicians. Without any exaggeration, I just want to convey that this is a workshop where an astonishing number of top artists secretly gather.

The builder doesn't personally select and use only the finest, most carefully chosen timber!

"All the wood used in TS factory guitars is sourced from Aichi Lumber. We don't go to select the wood ourselves. Lumberyards that receive logs and select wood every day have a much better eye for quality. A guitar maker going to select wood on a whim doesn't guarantee they'll find something good. It's much more rational and leads to better results to leave wood matters to wood professionals."

We're particular about using an ultra-thin lacquer finish and prioritizing the natural resonance of the wood...but we're not!

"Even Fender initially used leftover paint from their side business of making cars. It just so happened that it was nitrocellulose lacquer. There's no secret in the paint itself. What exactly is the natural resonance of wood anyway? Even if the wood resonates in its raw state, the sound changes depending on the combination of materials and the processing method. The important thing is to use the paint that is best suited to that. You can't have free thinking if you're fixated on the paint."

I'm not confident about achieving a precise and high-quality finish.

"Do guitars really need that much precision? Well, a certain level of precision is necessary, but that's not the most important thing. For example, a painted surface that's as smooth as a mirror looks good, but sometimes leaving a certain amount of unevenness can actually improve the sound. A joint that's perfectly aligned can sometimes hinder the sound. I think excessive precision is just the builder's self-satisfaction. Would you want to use such a precision instrument on a sweaty stage?"

With an active circuit, creating a wide range of sounds is... impossible.

"Basically, I prefer passive. Well, I could do active if asked, but with active circuits, it's all just the sound of the circuitry, and they all end up sounding the same. It's not interesting. Also, a lot of the circuits these days are extreme. Where would you even use that? For example, if you seriously boost the bass in a venue the size of a live music club, that's no longer sound, it's vibration. Do you really need that kind of sound? As long as it produces the sounds necessary for playing music, that's enough. Nothing more, nothing less."

What I make are tools.

"These aren't decorative items or works of art. They're simply tools for musicians to play music. That's why we focus on making them as stress-free to use as possible. We put particular effort into the grip of the neck."NewBut the moment you pick it up, it should feel like a guitar you've played for years. You might only intend to play it for a bit, but you'll find yourself playing it for hours without realizing it. That's the kind of guitar I aim to create. Please don't just display it on the wall.

The sound is determined by the musician.

"I don't want to say things like, 'This model sounds like this.' Of course, there are things we're aiming for, but that's not something the manufacturer should say. Even with a Stratocaster, Jimi Hendrix and Jeff Beck all produced their own unique sounds, right? It's the musicians who are in the spotlight and receive applause. I want people to say that the sound of the person playing is good, not that the guitar sounds good. As for us, we just do our best to allow those musicians to concentrate on their performance comfortably. I believe that instruments are not for the instrument to make a statement, but rather are tools to faithfully deliver the message that the musician wants to convey."