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IMMACULATE Vintage Yamaha Classical guitar, low action, AMAZING SOUND - $350 (170 Grady Ave)

IMMACULATE Vintage Yamaha Classical guitar, low action, AMAZING SOUND - $350 (170 Grady Ave)

  IMMACULATE Vintage Yamaha Classical guitar, low action, AMAZING SOUND - $350 170 Grady Ave

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THE SHORT OF IT (The Long of It is a more interesting read, but The Short of It will get you where you need a lot quicker):

Late '70s Yamaha CG 170S classical guitar, solid top, Ebony fretboard, Indian Rosewood body, EXQUISITE details, IMMACULATE condition, minor signs of wear, EASY PLAYER/low action (3mm on low E at 12th), standard 650mm scale, bone saddle, new strings/pro set up, tuners work great, AMAZING SOUND--terrific volume, rich, complex sustain.

With a little luck and a lot of patience, you can find similar models of this vintage for less, but you will never find one that sounds as good as this one--trust me, I've played them all. Having been hooked up to a ToneRite 3 for 100+ hours may have something to do with it, but, really, I think it may just be one of those when Venus was lined with Mars when they cut the Spruce. (I also have a similar vintage CG150CA, also Ebony fb, with a solid Cedar top, for somewhat less; stars were lined up good for that one too.)


Between (roughly) 1977 and 1984, Yamaha produced 11 classical models, all with solid Spruce tops and Ebony fretboards, four of which are highly sought after, all 11 of which should be: the CG150SA; 170S; G240S; 245S; 250S; and 255S (and the ii 650 scale versions of the last four) are the very best values among the many great Japanese classicals built during the Golden Era of Japanese luthiery. Takamine and Alvarez Yairi built some great stuff too (and still do), but these particular Yamahas offer WAY the most bang for WAY the least bucks of anything out there.

Having played a great variety of these guitars, I've concluded that the reason these offer such great value (over, for example, Cordoba guitars above the C5 level, or for that matter today's guitars built by Takamine, Alvarez and Yamaha) is simple: wood. Almost all the guitars of that era by all the major Japanese builders were well built, well designed and well-appointed. But the great majority of the guitar Takamine and Alvarez produced were Cedar toppers and Yamaha produced a lot of both, Spruce and Cedar.

And not just Spruce, but GREAT Spruce. I'd be willing to bet anything that, brand new, straight up mano y mano, the Yamaha models with Cedar tops sounded at least as good (if not somewhat different) from their Spruce iterations. But Spruce rewards age way more than Cedar--and great Spruce all the more so. And if you are able to inspect the older Yamaha Spruce toppers closely, you'll see what I mean: There's Spruce and there's Spruce. The old Yamaha's had the latter. (GREAT thesis on this by Yahoobuckaroo's Blog--see the one on G-250S; he gets it exactly right.)

No case; cash only. In addition to this and the less expensive CG150CA (also in great condition), I've got an obscenely nice, extremely rare, 1982 Imai short scale Concert Classical (for a lot more money, but still a couple grand less than it went for in 1982); call soon: .

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Last Updated on: February 24, 2018
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