YAMAHA LEGEND HISTORY

First of all, I would like to introduce one of the books that started the legend.
The FG-180 was produced between 1966 and 1972, and if you listen to people from the folk generation, they often think of the FG-180 as the "Red Label."
Regarding this individual, it was only a little over a year from 1966 to 1967.RecruitA bottle of "Light Green Label" that has not been labeled
This is one of those manufactured in 1967, so the top and back materials have both been changed to plywood.

When it comes to the recognition of young people like me, the strong impression is that Atsuji Iwasawa's use of "Yuzu".
Unfortunately, I wasn't able to see it being used in the video, but the ``stupid sound'' feedback that he described is something that quite a few people feel about the FG-180.

Now, what do you think of the sound of this individual?
I was in charge of the purchase, and I heard the first impressions using the settings that the previous owner had used.

One Em, including the open strings, makes a "super stupid sound".

It's not elegant, but it has a sound pressure and a sense of openness that you can't get even with modern single-panel models.
Even if you try to add dynamics, the playing techniques that have worked well on other guitars won't work on this individual, so it will be quite a pain to express the dynamics.
However, the body rumble and the pleasant feeling you get when you make a strong chord stroke are hard to beat.
Enjoy both the fun of controlling the wild beasts and the fun of letting yourself tune in to the guitar.
I found myself smiling as I played, and before I knew it, more than an hour had passed since I started playing. It's filled with such charm.

The development of Japanese acoustic guitar culture is undoubtedly due to the existence of this "one person."
During his time with YAMAHA, he designed and developed the APX, CWE, and L series.
The guitars he creates are always composed of three elements: the excitement of something new, excellent artistry, and perfection as a tool.
His handwritten signature is written on the label of the "works" he was involved with during his time with YAMAHA, and just having that signature gives the guitar its persuasive power.

After becoming independent from YAMAHA, he launched his own brand “Terry’s Terry”
(Titles omitted) Takahiko Ishikawa, Yosui Inoue, Toshio Kadomatsu, Kazuyoshi Saito, Konosuke Sakazaki, Ken Sakurai, Masashi Sada, Tsuyoshi Nagabuchi, Chiharu Matsuyama, Kosetsu Minami, Shozo Ise, Takuro Yoshida, and other great figures have used his guitar to add color to Japanese music.
There is no concept of endorsement for Terry Nakamoto's guitars, and there is almost no media exposure, yet many musicians are attracted to the quality and charm of his guitars and are buying his instruments.

I too was fascinated by the world of "Terry Nakamoto" and was so intoxicated that I ordered the TJ-100.
I would like you to take a look at such "Terry Nakamoto" world in the next chapter.

Now, as mentioned above, "YAMAHA" entered a new era in 1971.
In the same year that FG became popular, we announced a lineup of "luxury handmade FG"
Three models, FG-1500/FG-2000/FG-2500 (12 string), were released to the world, and as a result, YAMAHA Acoustic became known all over the world.
In particular, the FG-1500 is a model with special meaning due to the episode described below.

FG-1500 has a small body size similar to YAMAHA's original fork size and a slightly thinner thickness.The body width is about 380mm and the body thickness is about 105mm, giving an impression close to Martin's 000 size.
The common specifications of the three models are that the top is made of high-grade Ezo pine, the sides are made of Jacaranda, and the back is made of Jacaranda and flame maple, all of which are made of veneer, and the rosette and trim are packed with an extremely advanced technique called ``inlay'' that combines different woods to form a pattern.Inside the sound hole is the handwritten signature of "Terry Nakamoto" mentioned in the previous chapter.

Now, why does this FG-1500 have a special meaning?First, during the short manufacturing period from 1971 to 1975, the high-end handmade FG series existed in catalogs, but in actual stores.NewIt was almost impossible to see. I ask.

"YAMAHA made an amazing guitar! But I can't understand the sound..."This series had such a fantastical existence, but when an artist used it, the sound and existence of the actual machine became known to the world.

In the 1980s, when information on foreign artists became easily available in Japan, news spread around the world that Bob Dylan, a legendary figure in American music history, used a Yamaha guitar in his live performances.
During a 1986 Australian performance, Bob Dylan can be seen playing the FG-1500 with supporter Tom Petty.
As a result of this incident, YAMAHA Acoustic has received a new reputation both in Japan and overseas as a brand with an originality second only to Martin and Gibson.
YAMAHA itself seems to have realized the "special meaning", and in 1996 they reprinted the "FG-1500" in a limited edition of 30 pieces, which became a hot topic.

Now, how does this individual sound in 1974?
First, just like with the FG-180, I played an Em that included a lot of open strings.To be honest, I feel something is missing.
One could say this is because the FG-180 was extremely outstanding in terms of openness and sound pressure.As I continued to play for 5 minutes...10 minutes, I learned something about this model and its individuality.
This is nothing more than delusion and speculation, but isn't this a model that has the meaning of being FG and not FG?
In terms of range, while other FGs have explosive low/high range, "1500" has a lot of mid range components.
What's great about this is that it's suitable for playing the role of solo guitar and melody.It has a solid core, and Jacaranda's sex appeal is reflected in the sound, so it's hard to change it to anything else.This is a book that makes me very curious about what characteristics other individuals have.

Well, this is another one made in 1974.
In fact, even high-quality handmade FGs have had some specifications changes since the first model in 1971.The 1971 specifications had a wide head shape like the Red Label FG, and the bridge was also the same shape as the Red Label.
This individual in stock at our store is a later specification, with a thinner head shape and a contoured bridge.It is an original jumbo body with a body width of approximately 416mm and a body thickness of 127mm.

Speaking of the main artists who use it, "James Taylor" can be mentioned.You can hear his sound on the album "Walking Man" released in 1974.

Now, how does this individual sound?The body size, which is slightly larger than the FG-180, gives you a sense of anticipation and historical weight when you hold it.

First, hit Em in the same way.
“Ah, FG.”

First impressions are as mentioned above.However, there is no impression that he is a violent person.While having a sense of openness and sound pressure, you can feel the mellow low range and unity of the sound.
Similarly, after playing it for about 5 to 10 minutes, you will feel that it has a completely different character than the FG-1500.Of course, this is natural since the body shapes are different, but it is also wonderful that despite such a large body size, there is no feeling of congestion due to sound amplification inside the sound hole.
This may be due to the fact that Jacaranda is one of the harder woods, but the fact that the extra parts are spoiled and only the delicious parts are output is not just the wood itself, but the design of the guitar in the first place is excellent.If you want to play and sing without using a microphone, you need some tips for vocalizing.I got in the mood and tried playing it while singing, but no matter how hard I tried, I couldn't beat the guitar.The feeling may be similar to driving a ZEEP.

Introducing the last lineup of high-quality handmade FG.
This is an original jumbo body with the same body size as 2000.
It was lined up as a 12-string version of the FG-2000.However, this FG-2500 is unique among high-quality handmade FGs.
When I ask people from the folk generation at the time, the responses I get are things like, ``Did such a model exist? Was it even in the catalog?''Of course, compared to 6-string guitars, 12-string guitars were probably less in demand and produced in fewer numbers.
The unique point is also in terms of specs; looking at YAMAHA's previous 12-string lineup, they all had solid heads, but the FG-2500 had a slotted head.RecruitI am doing it.

Let's listen to the sound of the FG-2500, which has some unique features.
As with all 12-string guitars, tuning is a very laborious task.With a 6-string guitar, you only need to tune it about 3 times to get it from a relaxed state to a playable state, but a 12-string guitar requires 5 to 6 times. Moreover, it has double the pegs as a 6-string string, and the pegs are close together, making it difficult to turn and taking a long time to turn.

Finally, the hard-fought tuning was over and I fired the Em in the same way.
This evaluation is not because I am writing a column or have any intention of selling it, but it is my sincere opinion.

""""""The best 12 string guitar I've ever played."""""

The feeling of openness and the core of each string that can be felt inside.What's most noteworthy is that a 12-string guitar has a wider neck than a 6-string guitar, so normally you wouldn't expect it to sound like a 6-string guitar, but this one sounds just like a 6-string guitar, with the addition of a natural chorus.
If you can get this sound, the trouble of tuning is a small problem.To be honest, compared to the 6-string model, the value on the market is low.However, if you are willing to evaluate the price based on the sound, even if you spend 1 million yen, you can't call it expensive.This is a book that makes you feel that kind of euphoria.

From here, Terry Nakamoto's world becomes even more intense.
In 1974, YAMAHA announced the "L Series" lineup, which had a stronger focus on luxury.
The first model announced was "L-31"
This model was a luxury version of the FG-2000, and led to the Custom series released in 1975.
The L in the series name stands for "Luxury", and it is the highest grade model among the 3 series of FG/N/L that were available at the time.

Now, the four models of the L series that have been lined up since 1975 have the ostentatious title of "Four Heavenly Kings." All four models have a distinctive and eye-catching design.
As with high-end handmade FGs, it is almost impossible to see the actual product in a physical store, and young people would look at catalogs and imagine things like, ``What kind of sound will it make?What kind of customization should I order?''
I was miraculously able to obtain two models from the Four Heavenly Kings, so I would like to take this opportunity to introduce them to you.

All-black jumbo body reminiscent of Gibson's Everly Brothers.
The body width is approximately 435mm and the body thickness is just under 120mm, making it wider than the FG-2000.
If you look closely, the white pickguard is asymmetrical in size and has a unique design.
Paul Simon and John Lennon own the CJ-52, the successor to the L-52.BassIt was custom ordered by , and both seem to have fallen in love with the sound.
Personally, I think the L-52's looks are the best among the Four Heavenly Kings.

Let's listen to the sound of this model that was loved by these two legends.

Similarly, one shot of Em
Interesting. It has the crisp, crunchy sound characteristic of maple wood, but you can also feel the solid YAMAHA rumble.This characteristic becomes especially noticeable when you play the 1st and 2nd strings strongly on the upstroke, and the sound resonates loudly.
The most unique point I found was that when you play a single note from the 7th fret onward on the 3rd string, you get an archtop-like nuance.
I think it's more suited to jazz and blues that use a 4-beat, rather than folk songs.
This is my favorite model, including the difference in appearance.

It looks flashy at first glance.
Of course there's the abalone inlay on the rosette and trim, but the first thing you'll notice is the head.The veneer is made of 3 pieces of Avalon and Jacaranda, and I was surprised to see that the fragile Avalon material was used on the left and right sides of the peg bushings, and I was just impressed by the creativity and technology.
This L-53 has different wood specifications between the early model and the later model, and the 3P back has been changed to Jacaranda/Ebony in the early model and Jacaranda 3P in the later model.The body width is approximately 415mm and the body thickness is approximately 120mm, making it the closest body shape to a dreadnought among the L series.
It is the most popular model among the Four Heavenly Kings, and many artists own this L-53.BassIt was ordered by.
In 2012, it was reprinted in a limited edition of 20 pieces, priced at around 2,000,000 yen, but sold out immediately. Considering this background, it can be seen that many people have a strong admiration for this model.

Before playing the sound, try imagining the sound based on its appearance.
It has a solid weight when you hold it in your hand, and it weighs about 2.55 kg when measured with a measuring device.The fingerboard also has an inlay colored with Avalon, which seems to produce a crisp sound with less body rumble.

One shot with the familiar Em

"Big sound!!!"
It's a naive expression, but this is my first impression.However, it is not crispy/finish.
A sparkling high range has been added to the FG-2000, and yet you can feel the low range without the harshness typical of Jacaranda.
I wouldn't say it's exactly the same, but I felt it had a similar nuance to the 1968-1969 reprint D-45.
If you pick as hard as you can, the sound will sound like the high range is compressed, but it's very easy to add dynamics when playing arpeggios, and it will bring rich expression to ballads and folk songs.It was one that convinced me why it was the most popular in terms of sound.

Among the L series, this is a slightly smaller LS with an original shape similar to the FG-1500.
Compared to other LL/LD/LA, there are far fewer of them on the market, so you can rarely come across them. From the rosette, purfling, headstock, and fingerboard, you can enjoy the extremely intricate and beautiful sculptural beauty. The shape is closest to Terry's Terry's regular lineup "TJ", and it is a model that gives you a strong sense of Terry Nakamoto's worldview.

This model was mainly distributed in the 1990s, but this one was made in 1987.
Of course, Terry Nakamoto's autograph is included.

Rather than talking about it in words, you should experience the sound first.

As for the sound, you may be a little surprised as it differs from the image of Yamaha from the 1960s to the early 1980s. Although the volume is high, it is very elegantly put together. Although it does not have a lack of overtones, it has more of a chiming sound than the sharp impression of the L-53.
In particular, when I play a chord, I hardly notice any muddiness in the sound; for example, when I play an open G chord, the third note corresponds to the B of the 5th and 2nd strings, and if the overtone structure is disrupted even a little, it tends to sound muddy here.
However, this LS-50 conveys a straight sound image as if there were no unnecessary things.
The lack of extra features may feel unsatisfactory to some people, but it achieves a very high level of sound for a Japanese instrument.