The Legend of Terry Nakamoto
YAMAHA L Four Heavenly Kings

In the history of Japanese acoustic guitars, there remains a legend that is still talked about today. The four guitars born in 1975: the L-51, L-52, L-53, and L-54.

The Four Heavenly Kings of YAMAHA L

The term "Four Heavenly Kings" carries a certain charm that tugs at the heartstrings of the young. These four overwhelmingly distinctive entities possess an aura reminiscent of legendary artifacts or treasured relics passed down through tales. Within this group, the appeal of the "L Four Heavenly Kings" lies in each embodying a distinct concept and sound, radiating a truly unique presence.This article focuses on the "L Four Heavenly Kings," delving into the background of their creation and the enduring charm that continues to captivate people to this day.

"YAMAHA"
Yamaha is a leading Japanese musical instrument manufacturer renowned worldwide not only for guitars but also for pianos, electronic instruments, wind and percussion instruments, and more. Its journey began in 1887 when founder Torakusu Yamaha repaired a broken organ in Hamamatsu, Shizuoka. Drawing on this experience, he succeeded in manufacturing a domestic organ and eventually began producing and selling pianos in 1900.During the war, the factory was converted for military production, yet the third president, Kaichi Kawakami, is said to have steadfastly preserved the piano-making techniques.

Then, in 1946, just after the war ended. It is said that around this time, YAMAHA began manufacturing acoustic guitars. They are believed to have had a classical guitar-like structure at the time, but no actual instruments or documentation survive, and the details remain shrouded in mystery.

By the 1950s, the folk revival movement that began in America spread across the ocean to Japan. Records indicate that as early as 1952, prototypes of the "Dynamic Guitar"—based on the shape of a classical guitar but strung with steel strings—were being developed.

Time passed, and in the early 1960s, the "Dynamic Guitar" finally appeared on the market as a commercial product. This experience would later lead to the development of the folk guitar.

YAMAHA / 1960s Dynamic Guitars No. 80
While there are other models in the Dynamic Guitar lineup, this instrument stands as the most luxurious. Its sound offers a resonant body tone absent in modern guitars, along with deep sustain and beautiful, bell-like high notes. It's a masterpiece that acoustic guitar enthusiasts should experience at least once.

Then, in October 1966. The FG-150 and FG-180 folk guitars, featuring original domestic designs, made their debut. This marked the birth of the FG series—the foundation of Japanese-made folk guitars and the beginning of a legend.

YAMAHA / 1966–1967 FG-180 "Light Green Label"
This FG-180 features a light green label, known as the "light green label," which was used on a very small number of instruments produced during the earliest period of the FG series, from 1966 to 1967.The top, sides, and back are constructed with very thin wood. While Martin guitars typically have a top thickness of just under 4mm, the FG-180 has a top thickness of only 2.8mm. This results in overwhelming sound pressure, a sense of openness, and sparkling, bell-like high tones.

In 1968, the Japanese folk boom surged forward with the million-selling hit "The Drifter Returns" and the influx of overseas folk music, leading FG to gain significant popularity as well. However, the core of its popularity remained its reasonably priced models.

The then-president (fourth-generation president Genichi Kawakami) reportedly issued a rallying cry: "Why are our guitars cheaper (compared to overseas models)? Is it because we lack confidence?" He demanded, "Create high-end models that can compete with overseas manufacturers." Yamaha embarked on development, aiming to create "world-class acoustic guitars."

Thus, when discussing domestic Japanese folk guitars, one cannot avoid mentioning the legendary guitar designer Terry Nakamoto, who spearheaded the creation of the new high-end models: the FG-1500, FG-2000, and FG-2500.

※From left: "FG-1500," "FG-2000," "FG-2500"

For these models, Mr. Kawakami's directive at the time was to achieve a "distinctively Japanese feel." During development, they apparently experimented repeatedly, comparing them to Martin and Gibson acoustic guitars and altering body styles and finishes. However, since they couldn't achieve the desired tonal changes, they arrived at the idea that "perhaps we should change the customer's perception instead." That was the first step toward the birth of the L Series.

It is also worth noting that during this period, Takahiko Ishikawa, a leading figure in the acoustic guitar world, participated as an advisor. Originally, Terry Nakamoto would take guitars to musicians to solicit their impressions, conducting his guitar research while receiving their advice.For the development of the L Series, it appears he consulted the advice of five studio musicians who were actively using guitars, possessed keen ears, and had solid technique. One of these was Takahiko Ishikawa, who was said to be able to discern differences in finish by ear alone. Based on his feedback—such as "too much bass" and "weak tension"—further improvements were made, and development progressed toward the "FG-3000."

However, based on a business strategy decision, that model would be newly announced as the "L Series." This marked the birth of the first-generation model, the "L-31," in 1974.

YAMAHA / 1976 L-31
This model was the first in the L Series. Rosewood was used for the sides and back, and abalone was used not only for the inlays but also for the body purfling and back strip.

The "L" in the L Series name stands for "Luxury."

True to its name, the top plate features meticulously selected Ezo spruce, its white, refined grain accentuating its premium feel. Furthermore, the scale length has been extended from the 637mm used in the FG series to 651mm, accompanied by changes to the internal body structure and the size of the neck joint. These specification updates have established the L Series as a distinct entity separate from the FG Series.

The sound, born from the meticulous assembly by skilled craftsmen and the precise pursuit of acoustic design, captivated artists both domestically and internationally, spreading the name "YAMAHA" across the world through countless stages.

This is the story of how the "YAMAHA L Series" came to be.

Yamaha's finest handcrafted guitars, the legendary "L Four Heavenly Kings" that are still talked about today.
These L Four Heavenly Kings refer to "L-51," "L-52," "L-53," and "L-54," which were also devised by Terry Nakamoto.

※From a YAMAHA catalog circa 1980

The four custom models are designed with distinct concepts, dividing the sound into four distinct tendencies.

Each model was based on four different designs, with custom specifications applied to a total of 23 areas, including the design of each guitar component and playability.
This is a premium folk guitar crafted entirely by hand, one by one, by master guitar makers utilizing YAMAHA's cultivated guitar-making techniques.

Yamaha is said to have pioneered the custom order culture in Japan, and one of Terry Nakamoto's achievements was establishing that culture.

As mentioned earlier, Terry Nakamoto was designing a new guitar based on feedback from studio musicians. However, he believed this alone wouldn't translate to sales, so he actively visited concert venues hoping to get frontmen—the lead artists—to use his guitar. Even so, the center of the stage was still dominated by overseas brands like Martin and Gibson.

Thus, they switched to a groundbreaking custom-order system for the time: "not using existing models, but creating the sound the artist demands." Although the pioneering custom model, the "L-31," was already complete by then, Terry Nakamoto felt it "lacked the impact needed to impress them." Consequently, four distinct samples were crafted, each featuring entirely different "sound and design." These four instruments became the concepts for what would later be known as the "L Four Heavenly Kings."

From then on, whenever Terry Nakamoto visited an artist, he would anticipate their preferences beforehand and bring several selections from among the four options.

His proactive approach, visiting numerous artists himself and consistently listening to the voices on the ground. His character, beloved by many musicians and guitar fans alike. Terry Nakamoto continues to command deep respect to this day. Had Terry Nakamoto not existed, the history of the acoustic guitar in Japan would not have taken its current form.

Among the "L Four Heavenly Kings," the L-51 Custom is known as a unique presence.

The headstock, pickguard, and bridge shapes are also highly unique, but the body shape deserves special mention. This model actually features an asymmetrical design. The right half is a slightly smaller, more compact fork-style shape, while the left half is based on the original jumbo.BassThe body features a plump shape. As a result, the design delivers a loose, weighty bass response on the bass-string side and a taut, transparent high-end on the treble-string side. When creating the L Custom prototype, Terry Nakamoto thought, "Wouldn't it be great to have a model specifically tailored for recording?" This led him to devise this innovative asymmetrical body, centered around sound shaping.

Compared to the other three models, the L-51 Custom gives a more restrained impression in terms of decoration. However, it employs the traditional Japanese technique of wood inlay (mokuzogan). This technique creates designs by combining the natural colors and textures of the wood itself. While less flashy than decorations using mother-of-pearl or Mexican shell, it conveys a sense of dignity and warmth. Contrary to its bold appearance, the decoration feels subdued thanks to the wood inlay.Considering aspects like "the body is asymmetrical, and upon closer inspection, the impression and decoration are asymmetrical," this is a truly fascinating model.

While it has since become a model that captivates many fans, it is said that at the time, its eccentricity made it the least popular among the "L Four Heavenly Kings." As if to prove this fact, it rarely appeared on the market and is now truly worthy of being called a "phantom guitar."

The L-52 Custom, featuring a jumbo body inspired by the Gibson J-200.

A jet-black body with a white double pickguard... reminiscent of Gibson's Everly Brothers.

This black color is designed to appear dark brown depending on the light, and upon closer inspection of the head, the wood grain subtly shows through, allowing you to appreciate its lacquerware-like beauty.

White double pickguard. Upon closer inspection, its asymmetrical size creates a unique design. Why this design was chosen remains a mystery unless you ask the maker, but considering the L-51's design mentioned earlier, it's intriguing to speculate: "Perhaps the placement area of the pickguard and body controls the resonance on the bass and treble sides, just like the L-51."

According to Terry Nakamoto, the sound design was consciously tailored to Japanese tastes, aiming for a subdued feel rather than flashiness.
Featuring a Tune-O-Matic bridge, it delivers a crisp, clean sound while still allowing the jumbo body's rich resonance to shine through.

The L Custom Series, starting with the L-52, is sometimes described as having "a distinctly Japanese sound," but the L-52 is also known for being highly regarded by top artists overseas.

Paul Simon fell in love with its sound, placed an order for a smaller body size, and has been using it to his satisfaction. John Lennon took a liking to this model after playing his guitar and ordered his own custom model.

The L-53 Custom, the most brilliantly shining model among the L Four Heavenly Kings.

As it was a model in the L series diameter range, it differentiates itself from other models by generously using shell material.

The soundhole and body binding incorporate rope-shaped patterns of abalone and ebony, uniting seemingly contradictory design elements of "boldness" and "delicacy."

Regarding the sound, it was designed to achieve a clear, well-defined tone and is said to have been the most popular among the L Four Heavenly Kings. However, it is by no means a harsh, piercing sound. Instead, it features deep, rich bass and high frequencies with a sparkling brilliance, as if fine grains of sound were caressing the ear. Its tone is so captivating that it makes one think, "This must be what they mean by the beautiful sound of an acoustic guitar."

The body back features a three-piece construction, initially using Brazilian rosewood/ebony, later changed to three-piece Brazilian rosewood. Regarding this three-piece design, it is said that the Martin D-35 was not considered at all; it was conceived purely for visual design purposes.

This model has also been used by numerous artists, and it's well known that John Denver, a leading figure of 1970s country pop, was so enamored with the L-53 that he called it "the ideal guitar I had been searching for."

Last but not least, we present the L-54 Custom, featuring an elegant pickguard carving.

The body shape adopts Yamaha's "Western" form. When considering the L Custom model lineup, it is based on the Dreadnought.BassThis model was created with the idea that "we probably need a model like this too." Since simplifying the design with this shape would make it look too much like a Martin, they consciously aimed for a Gibson-esque style reminiscent of the Hummingbird or Dove. This finish—where "the sound is Martin, the design is Gibson"—was reportedly a classic arrangement favored by Terry Nakamoto.

Next, let's focus on the design. The cuckoo, which serves as the motif for the pickguard's carving, is deeply rooted in Japanese culture and frequently appears in waka poetry, paintings, and craft designs.The cuckoo is cherished as a bird heralding summer and as a seasonal word for summer. With this in mind, observing the pickguard reveals a color scheme of blue, white, orange, and green—colors reminiscent of summer. At first glance, it evokes Gibson's Hummingbird or Dove models, yet it stands as a piece that masterfully expresses the essence and beauty of Japan.

The headstock and body of the L-54 feature the same rope-like inlay pattern of abalone and ebony as the L-53.
Looking at the headstock, it feels more like I'm viewing mother-of-pearl inlay than guitar decoration.
It can now be called a work of art.

The "L Four Heavenly Kings": Their Individual Personalities, Sound Characteristics, and Design.This column has traced their journey to creation, explored their design philosophy, and unraveled the appeal of each model. Terry Nakamoto's spirit of inquiry and drive, dialogues with studio musicians and artists, the meticulous handiwork of skilled craftsmen. And the musicians who used them as their tools, the acoustic guitar fans who passed on their stories. All these elements shaped the value of the L Four Heavenly Kings, continuing to captivate countless people to this day.

Each time we encounter the stories embedded within every single guitar, we are reminded anew of the profound depth of this instrument and the rich history of the acoustic guitar. At Advance Guitars, we don't merely observe these stories—we strive to weave them into the future. So that even guitarists a century from now may experience the brilliance of the "L Four Heavenly Kings" without its luster ever fading.