1985 Takamine No. 10 - Premium Japanese Hand Built Concert Classical Guitar - Pro Set Up w Perfect frets/Action/Intonation!
Weight: 3 lbs 9 oz's
Comes in a Original Hard Case
(case is in rough shape, but the guitar is in EXCELLENT condition)
$$$ It has just been professionally set up and dialed in for optimal tone and playability. It has low action with no buzzing. The frets are in perfect condition and polished to shine like a mirror, it is truly stage or studio ready/worthy. Including New Strings, Perfect Intonation, Truss Rod Adjustment and Low Action Read Our Feedback and Rest Assured, The Dude Abides!
Here is a smooth playin GEM from the land of the rising sun. It is in EXCELLENT overall condition for its age and sounds great. It has a fresh set up and is ready to play. It is very light weight and has tremendous craftsmanship and tone woods, including a solid Ebony fretboard.
* From Victors Guitar Gallery
It was one of the higher end models in Takamine classical guitar series of that era, behind models No15 and No20. It is a concert grade instrument by far surpassing model No10 from 1997 or 2007.
Despite its age this guitar remains in overall excellent condition. Besides a couple of very light marks on its top, it has a slight scratch on one side but it is VERY clean overall. Most likely this guitar hasn’t been played much during its lifetime.
Besides its looks, this guitar has little in common with made only for export Takamine Hirade H10. It is a far superior instrument made from much higher-grade materials. It can easily compete with many brand-new “made in Spain” guitars sold in USA for $5000.
This terrific and very powerful instrument certainly deserves the title of Grand Concert Guitar. It shouldn’t be however considered as a copy of Kohno guitars. It has its own beautiful tonality, with deep, colorful and full of overtones basses and thick, round, sweet and very clear (piano-like) trebles, all well balanced, with great note clarity and separation and impressive sustain. It is a super lyrical instrument.
Specifications:
Top: Solid Spruce / Kohno style bracing / thin coat of cashew varnish
Back & sides: Solid Indian Rosewood /urethane
Fingerboard: Ebony
Mahogany Neck
Scale 650 mm
Width at Nut: 51.5 mm
Its action is set to 3.30 mm under E6 and 2.80 mm under E1 with practically no extra room on the saddle.
This guitar will be shipped in a used hard shell case in usable condition.
THE ONLY PURPOSE OF THIS CASE IS TO PROTECT THE GUITAR DURING SHIPMENT. I WILL NOT PROVIDE ITS DETAILED DESCRIPTION OR MAKE ADDITIONAL PICTURES, NOR I WILL ACCEPT ANY COMPLAINTS. IF YOU DON’T LIKE THIS CASE YOU WILL NEED TO BUY A DIFFERENT ONE.
WHEN YOU BUY A CLASSICAL GUITAR, YOU MUST ANTICIPATE TAKING IT TO YOUR LOCAL GUITAR SHOP FOR FINAL SETUP, DEPENDING ON YOUR PLAYING TECHNIQUE, THIS SETUP ON USED GUITARS MAY INCLUDE NEW CUSTOM-MADE NUT AND SADDLE.
Takamine History.
Takamine Gakki was founded in 1962 and during its first few years of operations, it wasn’t considered as leading Japanese guitar manufacture. It all changed in 1968 when Masaru Kohno took this company “under his umbrella” (most likely be became its owner or co-owner) and his pupil Mass Hirade became its director and leading Master Luthier. Until late 1970s Masaru Kohno personally supervised guitar production at Takamine Co. Right after this transition in 1968 Takamine Gakki adopted ne guitar designs launching 3 series of guitars: Elite, TG and the most precious Yamato guitars (by early 1970s renamed to Aranjuez).
Elite series had Ramirez style headstock and Ramirez style bracing. TG series guitars kept old style Takamine headstock but also had Ramirez style bracing. Aranjuez guitars had Takamine’s unique design headstock (used on Takamine guitars until today) and Kohno style bracing (which is nothing but simple lattice bracing). American luthier & guitar importer (also manufacturer of Luthier & Aranjuez strings) Juan Orozco invested and was deeply engaged in creation of Aranjuez guitar brand, even though these guitars were made only for Japanese domestic market. The truth behind Aranjuez guitars is that right from the start they were designed to satisfy less wealthy Japanese guitar enthusiasts, who couldn’t afford guitars made by Masaru Kohno or other Japanese elite luthiers. Aranjuez guitar have always offered exceptional value for the money. The bodies of all models were made by Takamine workshop. Top Aranjuez models were being finished at Kohno workshop and equipped with soundboards made by Masaru Kohno or his associates. Traditionally the very top Aranjuez model was assembled personally by Masaru Kohno. These very top Aranjuez models were nothing but Kohno guitars priced 50% down. Aranjuez 7 made in 1973 was decisively better than Kohno #10 from the same year and could easily compete with Kohno #15. Aranjuez 720 (priced 200 000 yen) made in 2000 could easily compete with Kohno model Professional R (priced 450 000 yen). Until 1976 all Aranjuez guitars had Kohno stamp on their labels. Starting in 1977 Kohno stamp was no longer used on Aranjuez guitars, even though their production was still closely supervised by Masaru Kohno’s workshop.
In the same late 1970s Takamine Gakki launched new series of guitars named simply “Guitarras Takamine”. These “new” Takamine guitars had the same construction and looks as “old” Aranjuez guitars. The lower Takamine models 20,30 and 40 had their own unique rosettes, while higher models 5, 6, 7, 8, 10 had Kohno style rosettes. The very top Takamine models 15 & 20 had Kohno style purflings and Kohno style decorated bridge. This classical guitar lineup remained unchanged until late 1980s.
Since early 1980s bodies of Aranjuez guitar were made by Ryoji Matsuoka, while the very top model still assembled at Kohno’s and later (after Masaru Kohno’s death in 1998) at Masaki Sakurai/Kohno workshop. After Matsuoka’s workshop was closed in September of 2014, bodies of Aranjuez guitars are again made by Takamine co. while the very top Aranjuez 725 is assembled personally by Masaki Sakurai who also makes its soundboard all by himself. Just like in the early days of Aranjuez guitars this model 725 (priced 250 000 yen) is of the same grade as Masaki Sakurai model Concert R (priced 420 000 yen).
Real Value of Japanese Vintage Guitars
The key to understand value of vintage Japanese guitars is to acknowledge galloping price inflation (devaluation of Japanese yen) during 1960s & 1970s. This inflation slowed down in the 1980s.
During 1960s and most of 1970s model numbers of Japanese guitars were strictly interconnected with their prices in Japanese yen. By the early 1980s and during following decades model numbers were no longer strictly associated with their prices. Some Japanese guitar makers introduced model names instead of model numbers. Others were still using model numbers with the addition of letters and/or other symbols.
It is then important to understand that two Yamaha GC10 guitars made 10 years apart are two instruments of totally different class. The same applies to any other Japanese maker/brand.
The logical way to estimate the true class of any given Japanese made instrument is to compare its price with the average annual salary of wage workers in Japanese private sectors. This salary was: 450 600 yen in 1965 - 825 900 yen in 1970 - 1 868 300 yen in 1975 - 2 689 000 yen in 1980 - 3 163 000 yen in 1985 - 3 761 000 yen in 1990 - 4 107 000 yen in 1995 - 4 082 000 yen in 2000.
Any guitar priced 100 000 yen in 1970 (labelled as No10 or No100) would be priced 200 000 yen in 1975 (relabeled to No20, No200 or 2000), 300 000 yen in 1977 (labelled as No3, No30 or 3000) and 500 000 yen by 1985 (labelled as No50 or 5000).
Starting in 1977 Masaru Kohno introduced his new models No40 priced 400 000 yen and No50 priced 500 000 yen. By the early 1980s Kohno started using model names instead of numbers and was steadily raising their prices without changing model labeling. His very top model 50 became model “Special”, and a decade later it became model “Maestro”. Naturally, all other Japanese guitar makers were doing similar pricing (labelling) upgrades.
Knowing all of that, you can bet on that Masaru Kohno No50 made in 1982 is practically the same grade instrument as Kohno No20 made in 1972, or Kohno no 30 made in 1975.
In the early 1970s the lowest Ryoji Matsuoka (all plywood) model was 10, followed by (solid top) models 15, 20, 25, 30, 40, 50, 60, 80 and (all solid woods) models 100 and 150. Models 50, 60 and 80 were made with non-solid figured Brazilian Rosewood (double) back and sides and top model 150 was the only one made with solid figured Brazilian Rosewood b/s.
In 1980 the lowest Matsuoka model was (all plywood) 20, followed by (solid top) models 30,40,50, 60 and all solid woods models 80,100,150 and 200. By 1990 the lowest Matsuoka model was M40 and the highest was M300. By 2010 the lowest Matsuoka model was M50, and the top model was M270.
You can bet that Ryoji Matsuoka model 50 from 1980 is of the same grade as model M100 from 2000, model 100 from 1980 is of the same grade as model M150 from 2000, model 150 from 1980 is of the same grade as M200 from 2000 and model 200 from 1980 is of the same grade as model M300 from 2000.
It is important to mention that if modern era luthiers are using 40+ years old woods to make an “all solid” wood classical guitar, its price is minimum $8000.
All vintage guitars made with Brazilian Rosewood are especially precious, including those made straight grain varieties and those with non-solid b/s.
Because response and tonal properties of Spruce soundboards are improving over time, long seasoned Spruces are far more precious than long seasoned Cedars.
It is not very difficult to find out what are current prices of such guitars made by the world’s leading luthiers.
This guitar is professionally set up and dialed in for optimal tone and playability. It has low action with no buzzing or dead spots and is an absolute joy to play. It has been deep cleaned and detailed. All guitars will arrive looking and playing great. The frets have been leveled / dressed / polished and the fingerboard was cleaned. (Unfinished Rosewood and Ebony boards get treated with Fret Doctor - a proprietary all natural oil that is the best on the market) It has brand new strings, the action was adjusted, the intonation is spot on and it plays excellent. All the electronics work flawlessly.
**** We stand behind every guitar we sell and have consistently delivered quality that beats most people expectations, earning us a reputation for quality that is unrivaled. Simply put “good enough” is not good enough for The Guitar Dude’s standards. We try and make every guitar be at its absolute BEST to deliver on our promise. We take great pride in what we do and we are always trying our best.
* Neck is perfectly straight and the truss rod works with no issues
* Intonation is spot-on
* It has been professionally set up with nice low action & new American made strings.
* If needed, the frets will be dressed leveled & crowned
* All frets are polished prior to shipping when they are set up - They will shine like new!
* All Guitars Are Professionally and Safely Packed and Fully Insured. We Normally Ship Via UPS
***Please note that international shipping prices listed are minimum quotes in some cases. Certain countries are more expensive and will require additional shipping costs. Express services such as UPS, DHL & FedEx are also available, Please contact me for a personalized quote.
About Us
The Guitar Dude is a THREE time NAMM Top 100 Dealer in the world who has been selling some of the best guitars on the planet since 2009. Known for the most Killer Flame Top Gibson 1959 Les Pauls Reissues and classic Fender guitars of all eras. I make beautiful guitar porn, please follow me on Facebook, Instagram, & Twitter. @TheGuitarDude
Search for The Guitar Dude
Often copied & imitated, but never duplicated.
Like what you see? Let me go to work for you.
I offer the best consignment sales on the planet! Find me online, just look for The Guitar Dude
For in-hand description, to propose a consignment sale or anything else please contact us
954-448-2413
I offer a super relaxed layaway plan on certain guitars, that can be custom built to fit your budget and needs. It can be extended beyond 45 days in certain situations. If you are interested in a layaway plan, please contact me for full details.
Terms For Returns & Re-Stocking Fee’s
We recognize and accept a 7 day return policy as per Reverb guidelines, BUT intentions of the return must be communicated in writing within 3 day of receiving the guitar as indicated by the tracking. Unless the guitar is not as described, ORIGINAL & RETURN SHIPPING COSTS WILL NOT BE REFUNDED. There is a 10% Re-stocking fee for ALL guitars that are returned for ANY reason outside of damage from shipping or it arrives significantly not as described. Please note that we record demo videos to make sure our guitars go out exactly as we describe them with zero issues. We understand that feeling comfortable is vital to the purchase of a guitar/bass so in any case, additional measurements or in hand descriptions are available prior to purchase/shipping. Thats said, guitars travel a great distance some times and in transit things can happen. Also guitars acclimate to new environments and this can cause a need for a new set up or minor adjustment. It is acceptable and normal if there is for instance a tiny bit of buzzing or the need to adjust a truss rod. We are in south Florida and if you are in a colder or less humid environment it is almost to be expected. Please read our feedback and see what our customers say. The guitar MUST BE RETURNED IN THE EXACT CONDITION it was advertised/received or it is subject to additional costs & or repair fees. We are not a big chain shop, I hope you understand. If you are uncomfortable with these terms please do not purchase. There are plenty big chain shops that can absorb free trials and shipping.
Payment - Shipping - International orders - Import Duties
ALL ITEMS CAN BE SHIPPED INTERNATIONALLY. - BUYER IS RESPONSIBLE FOR ALL IMPORT DUTIES.
I accept many forms of payment including PayPal Credit & Affirm. I always pack extremely well and ship within the USA via UPS or Fedex, all packages are fully insured with tracking & signature confirmation.
Weight: 3 lbs 9 oz's
Comes in a Original Hard Case
(case is in rough shape, but the guitar is in EXCELLENT condition)
$$$ It has just been professionally set up and dialed in for optimal tone and playability. It has low action with no buzzing. The frets are in perfect condition and polished to shine like a mirror, it is truly stage or studio ready/worthy. Including New Strings, Perfect Intonation, Truss Rod Adjustment and Low Action Read Our Feedback and Rest Assured, The Dude Abides!
Here is a smooth playin GEM from the land of the rising sun. It is in EXCELLENT overall condition for its age and sounds great. It has a fresh set up and is ready to play. It is very light weight and has tremendous craftsmanship and tone woods, including a solid Ebony fretboard.
* From Victors Guitar Gallery
It was one of the higher end models in Takamine classical guitar series of that era, behind models No15 and No20. It is a concert grade instrument by far surpassing model No10 from 1997 or 2007.
Despite its age this guitar remains in overall excellent condition. Besides a couple of very light marks on its top, it has a slight scratch on one side but it is VERY clean overall. Most likely this guitar hasn’t been played much during its lifetime.
Besides its looks, this guitar has little in common with made only for export Takamine Hirade H10. It is a far superior instrument made from much higher-grade materials. It can easily compete with many brand-new “made in Spain” guitars sold in USA for $5000.
This terrific and very powerful instrument certainly deserves the title of Grand Concert Guitar. It shouldn’t be however considered as a copy of Kohno guitars. It has its own beautiful tonality, with deep, colorful and full of overtones basses and thick, round, sweet and very clear (piano-like) trebles, all well balanced, with great note clarity and separation and impressive sustain. It is a super lyrical instrument.
Specifications:
Top: Solid Spruce / Kohno style bracing / thin coat of cashew varnish
Back & sides: Solid Indian Rosewood /urethane
Fingerboard: Ebony
Mahogany Neck
Scale 650 mm
Width at Nut: 51.5 mm
Its action is set to 3.30 mm under E6 and 2.80 mm under E1 with practically no extra room on the saddle.
This guitar will be shipped in a used hard shell case in usable condition.
THE ONLY PURPOSE OF THIS CASE IS TO PROTECT THE GUITAR DURING SHIPMENT. I WILL NOT PROVIDE ITS DETAILED DESCRIPTION OR MAKE ADDITIONAL PICTURES, NOR I WILL ACCEPT ANY COMPLAINTS. IF YOU DON’T LIKE THIS CASE YOU WILL NEED TO BUY A DIFFERENT ONE.
WHEN YOU BUY A CLASSICAL GUITAR, YOU MUST ANTICIPATE TAKING IT TO YOUR LOCAL GUITAR SHOP FOR FINAL SETUP, DEPENDING ON YOUR PLAYING TECHNIQUE, THIS SETUP ON USED GUITARS MAY INCLUDE NEW CUSTOM-MADE NUT AND SADDLE.
Takamine History.
Takamine Gakki was founded in 1962 and during its first few years of operations, it wasn’t considered as leading Japanese guitar manufacture. It all changed in 1968 when Masaru Kohno took this company “under his umbrella” (most likely be became its owner or co-owner) and his pupil Mass Hirade became its director and leading Master Luthier. Until late 1970s Masaru Kohno personally supervised guitar production at Takamine Co. Right after this transition in 1968 Takamine Gakki adopted ne guitar designs launching 3 series of guitars: Elite, TG and the most precious Yamato guitars (by early 1970s renamed to Aranjuez).
Elite series had Ramirez style headstock and Ramirez style bracing. TG series guitars kept old style Takamine headstock but also had Ramirez style bracing. Aranjuez guitars had Takamine’s unique design headstock (used on Takamine guitars until today) and Kohno style bracing (which is nothing but simple lattice bracing). American luthier & guitar importer (also manufacturer of Luthier & Aranjuez strings) Juan Orozco invested and was deeply engaged in creation of Aranjuez guitar brand, even though these guitars were made only for Japanese domestic market. The truth behind Aranjuez guitars is that right from the start they were designed to satisfy less wealthy Japanese guitar enthusiasts, who couldn’t afford guitars made by Masaru Kohno or other Japanese elite luthiers. Aranjuez guitar have always offered exceptional value for the money. The bodies of all models were made by Takamine workshop. Top Aranjuez models were being finished at Kohno workshop and equipped with soundboards made by Masaru Kohno or his associates. Traditionally the very top Aranjuez model was assembled personally by Masaru Kohno. These very top Aranjuez models were nothing but Kohno guitars priced 50% down. Aranjuez 7 made in 1973 was decisively better than Kohno #10 from the same year and could easily compete with Kohno #15. Aranjuez 720 (priced 200 000 yen) made in 2000 could easily compete with Kohno model Professional R (priced 450 000 yen). Until 1976 all Aranjuez guitars had Kohno stamp on their labels. Starting in 1977 Kohno stamp was no longer used on Aranjuez guitars, even though their production was still closely supervised by Masaru Kohno’s workshop.
In the same late 1970s Takamine Gakki launched new series of guitars named simply “Guitarras Takamine”. These “new” Takamine guitars had the same construction and looks as “old” Aranjuez guitars. The lower Takamine models 20,30 and 40 had their own unique rosettes, while higher models 5, 6, 7, 8, 10 had Kohno style rosettes. The very top Takamine models 15 & 20 had Kohno style purflings and Kohno style decorated bridge. This classical guitar lineup remained unchanged until late 1980s.
Since early 1980s bodies of Aranjuez guitar were made by Ryoji Matsuoka, while the very top model still assembled at Kohno’s and later (after Masaru Kohno’s death in 1998) at Masaki Sakurai/Kohno workshop. After Matsuoka’s workshop was closed in September of 2014, bodies of Aranjuez guitars are again made by Takamine co. while the very top Aranjuez 725 is assembled personally by Masaki Sakurai who also makes its soundboard all by himself. Just like in the early days of Aranjuez guitars this model 725 (priced 250 000 yen) is of the same grade as Masaki Sakurai model Concert R (priced 420 000 yen).
Real Value of Japanese Vintage Guitars
The key to understand value of vintage Japanese guitars is to acknowledge galloping price inflation (devaluation of Japanese yen) during 1960s & 1970s. This inflation slowed down in the 1980s.
During 1960s and most of 1970s model numbers of Japanese guitars were strictly interconnected with their prices in Japanese yen. By the early 1980s and during following decades model numbers were no longer strictly associated with their prices. Some Japanese guitar makers introduced model names instead of model numbers. Others were still using model numbers with the addition of letters and/or other symbols.
It is then important to understand that two Yamaha GC10 guitars made 10 years apart are two instruments of totally different class. The same applies to any other Japanese maker/brand.
The logical way to estimate the true class of any given Japanese made instrument is to compare its price with the average annual salary of wage workers in Japanese private sectors. This salary was: 450 600 yen in 1965 - 825 900 yen in 1970 - 1 868 300 yen in 1975 - 2 689 000 yen in 1980 - 3 163 000 yen in 1985 - 3 761 000 yen in 1990 - 4 107 000 yen in 1995 - 4 082 000 yen in 2000.
Any guitar priced 100 000 yen in 1970 (labelled as No10 or No100) would be priced 200 000 yen in 1975 (relabeled to No20, No200 or 2000), 300 000 yen in 1977 (labelled as No3, No30 or 3000) and 500 000 yen by 1985 (labelled as No50 or 5000).
Starting in 1977 Masaru Kohno introduced his new models No40 priced 400 000 yen and No50 priced 500 000 yen. By the early 1980s Kohno started using model names instead of numbers and was steadily raising their prices without changing model labeling. His very top model 50 became model “Special”, and a decade later it became model “Maestro”. Naturally, all other Japanese guitar makers were doing similar pricing (labelling) upgrades.
Knowing all of that, you can bet on that Masaru Kohno No50 made in 1982 is practically the same grade instrument as Kohno No20 made in 1972, or Kohno no 30 made in 1975.
In the early 1970s the lowest Ryoji Matsuoka (all plywood) model was 10, followed by (solid top) models 15, 20, 25, 30, 40, 50, 60, 80 and (all solid woods) models 100 and 150. Models 50, 60 and 80 were made with non-solid figured Brazilian Rosewood (double) back and sides and top model 150 was the only one made with solid figured Brazilian Rosewood b/s.
In 1980 the lowest Matsuoka model was (all plywood) 20, followed by (solid top) models 30,40,50, 60 and all solid woods models 80,100,150 and 200. By 1990 the lowest Matsuoka model was M40 and the highest was M300. By 2010 the lowest Matsuoka model was M50, and the top model was M270.
You can bet that Ryoji Matsuoka model 50 from 1980 is of the same grade as model M100 from 2000, model 100 from 1980 is of the same grade as model M150 from 2000, model 150 from 1980 is of the same grade as M200 from 2000 and model 200 from 1980 is of the same grade as model M300 from 2000.
It is important to mention that if modern era luthiers are using 40+ years old woods to make an “all solid” wood classical guitar, its price is minimum $8000.
All vintage guitars made with Brazilian Rosewood are especially precious, including those made straight grain varieties and those with non-solid b/s.
Because response and tonal properties of Spruce soundboards are improving over time, long seasoned Spruces are far more precious than long seasoned Cedars.
It is not very difficult to find out what are current prices of such guitars made by the world’s leading luthiers.
This guitar is professionally set up and dialed in for optimal tone and playability. It has low action with no buzzing or dead spots and is an absolute joy to play. It has been deep cleaned and detailed. All guitars will arrive looking and playing great. The frets have been leveled / dressed / polished and the fingerboard was cleaned. (Unfinished Rosewood and Ebony boards get treated with Fret Doctor - a proprietary all natural oil that is the best on the market) It has brand new strings, the action was adjusted, the intonation is spot on and it plays excellent. All the electronics work flawlessly.
**** We stand behind every guitar we sell and have consistently delivered quality that beats most people expectations, earning us a reputation for quality that is unrivaled. Simply put “good enough” is not good enough for The Guitar Dude’s standards. We try and make every guitar be at its absolute BEST to deliver on our promise. We take great pride in what we do and we are always trying our best.
* Neck is perfectly straight and the truss rod works with no issues
* Intonation is spot-on
* It has been professionally set up with nice low action & new American made strings.
* If needed, the frets will be dressed leveled & crowned
* All frets are polished prior to shipping when they are set up - They will shine like new!
* All Guitars Are Professionally and Safely Packed and Fully Insured. We Normally Ship Via UPS
***Please note that international shipping prices listed are minimum quotes in some cases. Certain countries are more expensive and will require additional shipping costs. Express services such as UPS, DHL & FedEx are also available, Please contact me for a personalized quote.
About Us
The Guitar Dude is a THREE time NAMM Top 100 Dealer in the world who has been selling some of the best guitars on the planet since 2009. Known for the most Killer Flame Top Gibson 1959 Les Pauls Reissues and classic Fender guitars of all eras. I make beautiful guitar porn, please follow me on Facebook, Instagram, & Twitter. @TheGuitarDude
Search for The Guitar Dude
Often copied & imitated, but never duplicated.
Like what you see? Let me go to work for you.
I offer the best consignment sales on the planet! Find me online, just look for The Guitar Dude
For in-hand description, to propose a consignment sale or anything else please contact us
954-448-2413
I offer a super relaxed layaway plan on certain guitars, that can be custom built to fit your budget and needs. It can be extended beyond 45 days in certain situations. If you are interested in a layaway plan, please contact me for full details.
Terms For Returns & Re-Stocking Fee’s
We recognize and accept a 7 day return policy as per Reverb guidelines, BUT intentions of the return must be communicated in writing within 3 day of receiving the guitar as indicated by the tracking. Unless the guitar is not as described, ORIGINAL & RETURN SHIPPING COSTS WILL NOT BE REFUNDED. There is a 10% Re-stocking fee for ALL guitars that are returned for ANY reason outside of damage from shipping or it arrives significantly not as described. Please note that we record demo videos to make sure our guitars go out exactly as we describe them with zero issues. We understand that feeling comfortable is vital to the purchase of a guitar/bass so in any case, additional measurements or in hand descriptions are available prior to purchase/shipping. Thats said, guitars travel a great distance some times and in transit things can happen. Also guitars acclimate to new environments and this can cause a need for a new set up or minor adjustment. It is acceptable and normal if there is for instance a tiny bit of buzzing or the need to adjust a truss rod. We are in south Florida and if you are in a colder or less humid environment it is almost to be expected. Please read our feedback and see what our customers say. The guitar MUST BE RETURNED IN THE EXACT CONDITION it was advertised/received or it is subject to additional costs & or repair fees. We are not a big chain shop, I hope you understand. If you are uncomfortable with these terms please do not purchase. There are plenty big chain shops that can absorb free trials and shipping.
Payment - Shipping - International orders - Import Duties
ALL ITEMS CAN BE SHIPPED INTERNATIONALLY. - BUYER IS RESPONSIBLE FOR ALL IMPORT DUTIES.
I accept many forms of payment including PayPal Credit & Affirm. I always pack extremely well and ship within the USA via UPS or Fedex, all packages are fully insured with tracking & signature confirmation.
Weight: 3 lbs 9 oz's
Comes in a Original Hard Case
(case is in rough shape, but the guitar is in EXCELLENT condition)
$$$ It has just been professionally set up and dialed in for optimal tone and playability. It has low action with no buzzing. The frets are in perfect condition and polished to shine like a mirror, it is truly stage or studio ready/worthy. Including New Strings, Perfect Intonation, Truss Rod Adjustment and Low Action Read Our Feedback and Rest Assured, The Dude Abides!
Here is a smooth playin GEM from the land of the rising sun. It is in EXCELLENT overall condition for its age and sounds great. It has a fresh set up and is ready to play. It is very light weight and has tremendous craftsmanship and tone woods, including a solid Ebony fretboard.
* From Victors Guitar Gallery
It was one of the higher end models in Takamine classical guitar series of that era, behind models No15 and No20. It is a concert grade instrument by far surpassing model No10 from 1997 or 2007.
Despite its age this guitar remains in overall excellent condition. Besides a couple of very light marks on its top, it has a slight scratch on one side but it is VERY clean overall. Most likely this guitar hasn’t been played much during its lifetime.
Besides its looks, this guitar has little in common with made only for export Takamine Hirade H10. It is a far superior instrument made from much higher-grade materials. It can easily compete with many brand-new “made in Spain” guitars sold in USA for $5000.
This terrific and very powerful instrument certainly deserves the title of Grand Concert Guitar. It shouldn’t be however considered as a copy of Kohno guitars. It has its own beautiful tonality, with deep, colorful and full of overtones basses and thick, round, sweet and very clear (piano-like) trebles, all well balanced, with great note clarity and separation and impressive sustain. It is a super lyrical instrument.
Specifications:
Top: Solid Spruce / Kohno style bracing / thin coat of cashew varnish
Back & sides: Solid Indian Rosewood /urethane
Fingerboard: Ebony
Mahogany Neck
Scale 650 mm
Width at Nut: 51.5 mm
Its action is set to 3.30 mm under E6 and 2.80 mm under E1 with practically no extra room on the saddle.
This guitar will be shipped in a used hard shell case in usable condition.
THE ONLY PURPOSE OF THIS CASE IS TO PROTECT THE GUITAR DURING SHIPMENT. I WILL NOT PROVIDE ITS DETAILED DESCRIPTION OR MAKE ADDITIONAL PICTURES, NOR I WILL ACCEPT ANY COMPLAINTS. IF YOU DON’T LIKE THIS CASE YOU WILL NEED TO BUY A DIFFERENT ONE.
WHEN YOU BUY A CLASSICAL GUITAR, YOU MUST ANTICIPATE TAKING IT TO YOUR LOCAL GUITAR SHOP FOR FINAL SETUP, DEPENDING ON YOUR PLAYING TECHNIQUE, THIS SETUP ON USED GUITARS MAY INCLUDE NEW CUSTOM-MADE NUT AND SADDLE.
Takamine History.
Takamine Gakki was founded in 1962 and during its first few years of operations, it wasn’t considered as leading Japanese guitar manufacture. It all changed in 1968 when Masaru Kohno took this company “under his umbrella” (most likely be became its owner or co-owner) and his pupil Mass Hirade became its director and leading Master Luthier. Until late 1970s Masaru Kohno personally supervised guitar production at Takamine Co. Right after this transition in 1968 Takamine Gakki adopted ne guitar designs launching 3 series of guitars: Elite, TG and the most precious Yamato guitars (by early 1970s renamed to Aranjuez).
Elite series had Ramirez style headstock and Ramirez style bracing. TG series guitars kept old style Takamine headstock but also had Ramirez style bracing. Aranjuez guitars had Takamine’s unique design headstock (used on Takamine guitars until today) and Kohno style bracing (which is nothing but simple lattice bracing). American luthier & guitar importer (also manufacturer of Luthier & Aranjuez strings) Juan Orozco invested and was deeply engaged in creation of Aranjuez guitar brand, even though these guitars were made only for Japanese domestic market. The truth behind Aranjuez guitars is that right from the start they were designed to satisfy less wealthy Japanese guitar enthusiasts, who couldn’t afford guitars made by Masaru Kohno or other Japanese elite luthiers. Aranjuez guitar have always offered exceptional value for the money. The bodies of all models were made by Takamine workshop. Top Aranjuez models were being finished at Kohno workshop and equipped with soundboards made by Masaru Kohno or his associates. Traditionally the very top Aranjuez model was assembled personally by Masaru Kohno. These very top Aranjuez models were nothing but Kohno guitars priced 50% down. Aranjuez 7 made in 1973 was decisively better than Kohno #10 from the same year and could easily compete with Kohno #15. Aranjuez 720 (priced 200 000 yen) made in 2000 could easily compete with Kohno model Professional R (priced 450 000 yen). Until 1976 all Aranjuez guitars had Kohno stamp on their labels. Starting in 1977 Kohno stamp was no longer used on Aranjuez guitars, even though their production was still closely supervised by Masaru Kohno’s workshop.
In the same late 1970s Takamine Gakki launched new series of guitars named simply “Guitarras Takamine”. These “new” Takamine guitars had the same construction and looks as “old” Aranjuez guitars. The lower Takamine models 20,30 and 40 had their own unique rosettes, while higher models 5, 6, 7, 8, 10 had Kohno style rosettes. The very top Takamine models 15 & 20 had Kohno style purflings and Kohno style decorated bridge. This classical guitar lineup remained unchanged until late 1980s.
Since early 1980s bodies of Aranjuez guitar were made by Ryoji Matsuoka, while the very top model still assembled at Kohno’s and later (after Masaru Kohno’s death in 1998) at Masaki Sakurai/Kohno workshop. After Matsuoka’s workshop was closed in September of 2014, bodies of Aranjuez guitars are again made by Takamine co. while the very top Aranjuez 725 is assembled personally by Masaki Sakurai who also makes its soundboard all by himself. Just like in the early days of Aranjuez guitars this model 725 (priced 250 000 yen) is of the same grade as Masaki Sakurai model Concert R (priced 420 000 yen).
Real Value of Japanese Vintage Guitars
The key to understand value of vintage Japanese guitars is to acknowledge galloping price inflation (devaluation of Japanese yen) during 1960s & 1970s. This inflation slowed down in the 1980s.
During 1960s and most of 1970s model numbers of Japanese guitars were strictly interconnected with their prices in Japanese yen. By the early 1980s and during following decades model numbers were no longer strictly associated with their prices. Some Japanese guitar makers introduced model names instead of model numbers. Others were still using model numbers with the addition of letters and/or other symbols.
It is then important to understand that two Yamaha GC10 guitars made 10 years apart are two instruments of totally different class. The same applies to any other Japanese maker/brand.
The logical way to estimate the true class of any given Japanese made instrument is to compare its price with the average annual salary of wage workers in Japanese private sectors. This salary was: 450 600 yen in 1965 - 825 900 yen in 1970 - 1 868 300 yen in 1975 - 2 689 000 yen in 1980 - 3 163 000 yen in 1985 - 3 761 000 yen in 1990 - 4 107 000 yen in 1995 - 4 082 000 yen in 2000.
Any guitar priced 100 000 yen in 1970 (labelled as No10 or No100) would be priced 200 000 yen in 1975 (relabeled to No20, No200 or 2000), 300 000 yen in 1977 (labelled as No3, No30 or 3000) and 500 000 yen by 1985 (labelled as No50 or 5000).
Starting in 1977 Masaru Kohno introduced his new models No40 priced 400 000 yen and No50 priced 500 000 yen. By the early 1980s Kohno started using model names instead of numbers and was steadily raising their prices without changing model labeling. His very top model 50 became model “Special”, and a decade later it became model “Maestro”. Naturally, all other Japanese guitar makers were doing similar pricing (labelling) upgrades.
Knowing all of that, you can bet on that Masaru Kohno No50 made in 1982 is practically the same grade instrument as Kohno No20 made in 1972, or Kohno no 30 made in 1975.
In the early 1970s the lowest Ryoji Matsuoka (all plywood) model was 10, followed by (solid top) models 15, 20, 25, 30, 40, 50, 60, 80 and (all solid woods) models 100 and 150. Models 50, 60 and 80 were made with non-solid figured Brazilian Rosewood (double) back and sides and top model 150 was the only one made with solid figured Brazilian Rosewood b/s.
In 1980 the lowest Matsuoka model was (all plywood) 20, followed by (solid top) models 30,40,50, 60 and all solid woods models 80,100,150 and 200. By 1990 the lowest Matsuoka model was M40 and the highest was M300. By 2010 the lowest Matsuoka model was M50, and the top model was M270.
You can bet that Ryoji Matsuoka model 50 from 1980 is of the same grade as model M100 from 2000, model 100 from 1980 is of the same grade as model M150 from 2000, model 150 from 1980 is of the same grade as M200 from 2000 and model 200 from 1980 is of the same grade as model M300 from 2000.
It is important to mention that if modern era luthiers are using 40+ years old woods to make an “all solid” wood classical guitar, its price is minimum $8000.
All vintage guitars made with Brazilian Rosewood are especially precious, including those made straight grain varieties and those with non-solid b/s.
Because response and tonal properties of Spruce soundboards are improving over time, long seasoned Spruces are far more precious than long seasoned Cedars.
It is not very difficult to find out what are current prices of such guitars made by the world’s leading luthiers.
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