Either brand really deserves its own article, as does Alvarez Yairi. More or less any Takamine is going to be good, and any Yamaha is going to be at least pretty playable and, at its best, world-class.
The prowess of some brands in this area is a given.
The good news is that a small number of dedicated fans have worked hard to retrieve useful information, so Google is your friend.
Compounding that, 40 years later, memories can be unreliable, and what records there were may have been lost. Where do you begin looking, when most of the published information is firmly focused on the major American acoustic makers? Well, there is information online, sometimes scrappy and sometimes contradictory, but that is something you have to get used to when researching Japanese guitars.Įven some of the distributors of the big brands were never quite sure who was making which of their models, nor quite sure what they were going to get in the next shipment. "Who made what and for whom?" is an endless pursuit-and it does matter, because a brand could suddenly produce an unexpectedly superior instrument, having bought a particular model or series from one of the better suppliers. The Japanese acoustic guitar scene of the ‘70s isn’t an easy one to follow. This sent manufacturers and brand owners (not always the same things) first to South Korea and then to China, where the learning curve had to begin all over again. In fact, Japanese guitar making had reached a peak during that decade, having perfected the mass production of quality instruments at a time when specialist tonewoods were still freely available-and just before production costs rose. Many electric guitarists have recognized the value of ‘70s Japanese-made electric guitars from the likes of Tokai, Ibanez, Yamaha, and others, but acoustic players have been slower to appreciate the riches available from the era.
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