The History of the YAMAHA SG and Its Lineage of Legendary Models

First, when Yamaha set out to create its original electric guitar, then-president Genichi Kawakami instructed the team, “It must be original in every respect.”

Because of this, the Yamaha SG has continued to evolve as a highly original and one-of-a-kind model. The history of Yamaha guitars dates back to 1946, when the company began manufacturing classical guitars.Fifteen years later, in 1961, the company began producing the Dynamic Guitar. (The Dynamic Guitar was a model designed to allow steel strings to be strung on a classical guitar.) The Dynamic Guitar was built incorporating the resonance theory of surface vibration plates patented by guitarist and composer Osuke Ito; although a prototype was completed in 1952, mass production did not begin until 1961.Five years later, in 1966, the company began selling the FG acoustic guitar. Coinciding with the folk music boom of the late 1960s, the FG met a high demand from the very beginning.

A year earlier, in 1965, Yamaha established an electric guitar development team. The year 1965 was also the year The Ventures made their first visit to Japan with their full lineup, sparking an electric guitar boom in the country. Utilizing the development technologies gained from previously produced classical and acoustic guitars, Yamaha released its first electric guitars (S-201/S-302)in April 1966, just one year after the team’s establishment.

Yamaha’s electric guitars gained widespread public recognition thanks to the “Blue Jeans Custom” model featured in the film *The Young Master of the Electric Guitar*, released in December 1965.Incidentally, the Blue Jeans Custom was created by a specialized team separate from Yamaha’s regular electric guitar production team, and that team disbanded once the guitar was completed. Subsequently, due to its enduring popularity, the Blue Jeans Custom was commercialized in August 1966 with the release of the SG-5 and SG-7 models.

By the 1970s, demand for electric guitars in Japan was on the rise, partly due to events like Led Zeppelin’s first visit to Japan. Around this time, companies like Greco began selling Les Paul copy models, and there was a growing demand for authentic, “real” electric guitars rather than mere imitations.

Consequently, Yamaha decided to completely redesign the SG series. As a result, the SG-40, SG-60, and SG-80 were released in April 1972. The SG-80 and its counterparts featured a single-cutaway body shape similar to the Les Paul, accented with German-curve-style binding.
SG models from this era were nicknamed “Daruma” due to their body shape. Following Led Zeppelin’s visit to Japan in 1972, domestic electric guitar brands began focusing their efforts on copy models.

Amidst this trend, Yamaha continued to pursue originality, releasing the SG-30 and SG-35 in November 1973.
These bodies featured a symmetrical double-cutaway shape, foreshadowing the body shape of today’s SG. About a year later, in November 1974, the SG-175—often called the origin of the modern SG—was released.The SG-175 incorporated many of the features that symbolize the SG, including its archtop body, shape, and arrow position markers. The SG-175 was the perfect embodiment of what users were looking for. However, Yamaha did not stop there; they pressed forward, aiming for even greater heights. Their first step was to bring the SG-175 to Carlos Santana and ask for his opinion.

Santana told them, “The SG is too light to generate sustain. It needs to be more robust.” Yamaha continued to listen earnestly to Santana’s feedback and eventually received an order from him. The result was the Buddha SG. Based on the SG-175, the Buddha SG features minor specification changes and a large Buddha inlay on the body top.Although several prototypes of the Buddha SG were produced, the final specifications included a T-cross one-piece neck, a sustain plate mounted under the bridge, and OPG-1 pickups. These specifications were later adopted for the SG-2000, which went on sale, clearly demonstrating the significance of Carlos Santana’s contributions to the history of the Yamaha SG.

Santana’s use of the Buddha SG in live performances sparked a buzz overseas, with people asking, “What is that guitar ?! ” This led to a flood of requests to Yamaha from customers wanting “the same guitar as Santana’s.” The SG-2000 was released in response to these requests.

The SG-2000 was released in July1976. Approximately ten years after the SG’s debut in 1966, the SG series was finally perfected. The SG-2000 strongly incorporated the specifications of the Buddha SG and was crafted to meet user demands.
Six months after the SG-2000 went on sale,the SG-500, SG-700, and SG-1000 were released.These three models featured a set-neck construction, distinguishing them from the SG-2000. Among them, the SG-1000 was equipped with the new Bi-Sound and Direct Circuit systems, standing shoulder-to-shoulder with the SG-2000 as a flagship model of the Yamaha SG series.

As the 1980s began, hard rock and heavy metal began to gain serious popularity. While the variety of amplifiers and Effector increased, the SG faced a major problem: feedback.
Yamaha, which had always adapted to changing times and evolving needs, underwent a process of trial and error before releasing the SG-3000 in September 1982. The SG-3000 debuted as the flagship model of the SG series. With new arrow-shaped position markers and luxurious abalone-inlaid perimeter binding, it boasts a look truly befitting a top-of-the-line model.

Of course, Yamaha also focused on sound quality, equipping the guitar with pickups featuring newly developed Spinnex magnets and nickel-silver plates. The pickup covers were changed from the previous open design to a fully enclosed style, and a paraffin coating was applied to reduce the likelihood of feedback.
With various variations continuing to be released, the Yamaha SG series has undoubtedly become an indispensable part of the history of Japanese electric guitars.

April1966: S-201/S-302 ( model names changed toSG-2 and SG-3 one month afterrelease ) Released

In August 1966, the SG-5/SG-7, a commercial version of the "Blue Jeans Custom" model, was released

1972 SG-40/SG-60/SG-80

1973: A full model change was implemented, and the SG30/SG35 were released

In November 1974, the SG-175 — which could be considered the definitive model ofthe modern Yamaha SG — went on sale

1976: The SG700, SG1000, and SG2000 were released

The SG1000 Metallic Blue was produced in a limited run of 460 units in November and December 1982, and September 1983.
Metallic Blue was the first limited-edition color released for the SG1000, and it reportedly thrilled fans of Masayoshi Takano at the time of its release.

The SG1000 was released in 1976, the same year as the SG2000.While the SG2000 featured a T-Cross one-piece neck construction (commonly known as a through-neck), the SG1000 utilized a set-neck construction. Although most of the parts were the same as those used in the SG2000, it did not include a sustain plate and featured a simple construction with a two-piece maple top and mahogany back.

The SG1000 features Direct Circuit and Bi-Sound. Direct Circuit is a function that completely isolates the audio signal from ground when the Volume and Tone are set to full (10). This prevents high-frequency components from leaking to ground, resulting in a bright sound.The By-Sound feature utilizes a push/push tone pot, allowing for coil tapping. Both of these features were newly introduced with the SG1000.

Although it features a set neck, it also uses a bolt-on mounting method; however, this design ceased to be seen after mid-1983.

While continuing the lineage of the Yamaha SG, the SG1000 established itself as a distinct " set-neck SG " by clearly differentiating itself from the SG2000.

Sound Impressions

The set-neck construction and the combination of Alnico V pickups with AWG #42 wire produce a tone close to a classical guitar, but you can also sense a midrange response similar to other Japanese manufacturers of that era.

Combined with the tightness characteristic of the SG, the balance between the grit and clarity when distorted is very satisfying.Since the power output is relatively high, you won’t notice a significant drop in power when switching to the “B” sound, allowing you to use it effectively.

[SPEC]
BODY: Maple Top/Mahogany Back
NECK: Maple/Mahogany 3-Piece
FINGERBOARD: Ebony
PICKUP: OPG-I

The SG2000 Deep Purple was produced in a limited run of 600 units over a two-month period in July and August 1981.
In 1980, to commemorate the 4th anniversary of the SG2000’s release, the first limited-edition SG models—in Black and Blue—were sold, making the Deep Purple the third limited-edition model in the SG2000 lineup. Aside from the color, the specifications are identical to other SG2000 models.

The SG2000 was first released in 1976.
Carlos Santana played a major role in the creation of the SG2000. Santana, who was using an SG175 at the time, placed a custom order with Yamaha.
The result was the "Buddha SG."
The SG2000 incorporates many elements from the Buddha SG and was developed under the concept of an "electric guitar suitable for professionals."
It features a great many elements not found in previous SG models.
A representative feature is the [T-Cross One-Piece Neck Structure]. This is a through-neck design, but a separate piece of wood is laminated onto the top of the body so that it does not appear to be a through-neck when viewed from the front. The T-Cross One-Piece Neck Structure eliminates the step at the neck heel, making it easier to reach the higher frets while also aiming to achieve long sustain.

A metal plate called the "Sustain Plate" is attached beneath the bridge. This part was developed based on the theory that sustain is extended by allowing the vibration of the strings to loop as much as possible.

The unique features of the SG2000 described above were specifications already incorporated into the "Buddha SG," demonstrating just how much the SG2000 aimed to be a model that would hold its own among professionals.

Sound Impressions

Because of the sustain plate, I expected a tighter, more metallic sound compared to the SG1000, but the SG2000 actually delivers a more balanced tone across the entire frequency range, resulting in a more classic sound. You can feel the wood vibrating strongly through the tone, and with a slight sense of compression, it offers a rich character not only in distorted tones but also in clean tones.

Personally, I first became aware of the Yamaha SG when I saw Red Hot Chili Peppers’ John Frusciante holding this SG2000 Deep Purple on the cover of the May 2014 issue of Guitar Magazine. That’s why I still remember how incredibly excited I was the first time I saw the DP.

[ SPEC ]
BODY: Maple Top / Mahogany Back
NECK: Mahogany
FINGERBOARD: Ebony
PICKUP: OPG-I

The model on which this is based is the SG1000X.

The SG1000X was released in 1984 and was the first model in the SG1000 series to feature a tremolo unit; its neck heel also differs from the standard SG1000, featuring a seamless, heel-less design.

It was created based on an SG3000 custom-ordered by Kyoji Yamamoto of VOW WOW and sold in a limited run of 150 units in 1985.While Masayoshi Takano’s SG2000MT was the first artist model of the SG2000 series, this SG1000XY and Tsuyoshi Yajima’s SG1000XU were the first modelsYamaha officially sold bearing an artist’s name.

It is equipped with a two-point locking tremolo unit developed in 1983. A locking mechanism is also attached to the headstock, positioned above the nut. While Kyo ji Yamamoto’s SG3000 features a locking nut itself—a key difference —his original SGalso utilized a two-point locking tremolo unit.

Perhaps the most appealing feature of all is the fingerboard. While the base model, the SG1000X, uses standard arrow inlays, the SG1000XY features arrow inlays arranged upside down, just like on Kyoji Yamamoto’s own SG3000.

While abalone inlays between the arrow inlays were found primarily on high-end models like the SG3000 released in 1982, the inverted arrangement is a feature exclusive to the SG1000XY.

LikeKyoji Yamamoto’s SG3000, it features a 24-fret configuration with an extended fingerboard, so the position of the front pickup is shifted closer to the bridge than usual. As a result, the space between the front and rear pickups is narrower than on a standard SG1000.
While the standard models of this era were equipped with Spinnex pickups, the SG1000XY and SG1000XU feature pickups withAlnico V magnets.

The control layout—featuring two volume and one tone knobs—is also exclusive to the SG1000XY, and it includes a "By-Sound" feature.

Sound Impressions

Equipped with a tremolo unit, the SG1000XY takes a completely different approach from other SG models anddelivers the most powerful and hard-hitting sound among the four models featured here.Perhaps due to its high power and the tremolo unit, using the Bi-Sound mode really brings out that single-coil feel.

When distorted, it naturally retains a tight feel, but the mid-high frequencies come to the forefront, producing a tone that isn’t overly harsh on the ears.

[ SPEC ]
BODY: Agatis
NECK: Mahogany
FINGERBOARD: Rosewood
PICKUP: Alnico V Pickup

It is, of course, based on the SG2000.
It retains the SG2000’s distinctive features, such as the T-cross one-piece neck and the Bass plate under the bridge.

This model is a reissue of the Takanaka Blue SG2000 that Masayoshi Takano used starting in 1979.Released as the first artist model for the SG2000 series, the SG2000MT was sold in a limited run of 220 units in 1998.It was crafted by taking precise measurements from Mr. Takano’s original Takanaka Blue SG2000.
It also features a custom truss rod cover with "TAKANAKA" inscribed in blue lettering.

While the Yamaha SG series had previously continued to incorporate evolutionary changes and pursued " innovation ,"the SG2000MT was created from a perspective entirely opposite to that—namely, " reproduction " —specifically for its release. Consequently, one of the SG2000MT’s appeals is that it allows you to appreciate Yamaha’s dedication not merely as an artist model, but specifically in its" reproduction " aspect.

To closely match the OMG-I tuners found on the original Takana Blue, the R Type tuners are used insteadof the conventional TM-57G.

The mounting holes for the control pots, which were eliminated in the mid-1990s, have been brought back.

The SG2000MT is equipped with custom pickups designedspecifically for this model. While the double-white bobbins are a distinctive feature, the design combines the best of both worlds: it uses the same nickel-silver plate found in the Spinex pickups installed on other SG models from the same era, but employs Alnico V magnets—similar to thosein theOPG-I —for the magnets.

The SG2000MT also features a high-pass capacitor.This is a specification unique to the SG2000MT and is one of the features not found on other models.

Since this specification will be adopted in SG2000 models released after the SG2000MT, theSG2000MT is one of the models that significantly changed the direction of the Yamaha SG series.

Afterword

When it comes to limited-edition models and colors, the focus tends to be on appearance, but I was reminded once again that the YAMAHA SG takes a sound-oriented approach, designed with the actual player in mind.

Moreover, I felt that only Yamaha could achieve this while upholding its corporate philosophy of “Everything must be original.” I also felt that the SG1000, with features like its Bi-Sound system, was a pioneer among Japanese high-end instruments. The fact that so many artists use the Yamaha SG is proof of this.

In writing this article, I referred to " YAMAHA SG Graffiti " by Shigeru Terada. It is an indispensable publication for anyone seeking to understand the YAMAHA SG. As noted on the book’s cover, it is truly a collector’s item that should be preserved for future generations.

I would like to take this opportunity to express my gratitude.