MADE IN JAPAN 1982 - TARREGA TGE - AMAZING TORRES STYLE CLASSICAL CONCERT GUITAR

Description: Tarrega TG-E 1982 This guitar was ordered by Zen On Music co. and made in 1982 under supervision of legendary Japanese luthier Saburo Nogami. The names of actual makers were never published. TGE was highest end limited edition model within Tarrega guitars line. Founded in early 1930s Zen-On is a highly reputable Japanese music score and musical instruments distributor. Zen-On had its own guitar manufacture until 1968. In later years Zen-On instruments were made by independent workshops led by great luthiers Toshihiko Hogawa, Shoichi Yanagisawa, Hiro Tamura and Saburo Nogami. There have been countless guitar models and brands sold under Zen-On umbrella, from beginner level to highest end ones. Tarrega guitars line was one of many sold under Zen-On umbrella. Although made with somewhat different style headstock the shape and construction of this guitar are based on Torres blueprints. Besides Saburo, Kazuo Yairi was the only other Japanese manufacturer making similar Torres style guitars. Both luthiers were friends and frequently cooperated on various projects, with Saburo designing and supervising production of several models sold with Kazuo's label. Saburo Nogami was the first ever apprentice at Masaru Kohno workshop. He joined Kothe in 1959 and left his workshop in the early 1970s. Saburo Nogami's level of craftsmanship was at least equal to Kohno’s, and he became a luthier legend on his own. During his long career besides making regular classical guitars, he was also making alto, bass & contrabass guitars, lutes, vihuelas, and many traditional Japanese string instruments. Many of these "exotic" instruments were greatly decorated with carvings and paintings and made as "only one of its kind". Saburo Nogami's guitars and other instruments were and still are highly priced not only in Japan. Saburo Nogami however was deeply engaged in making guitars for average "boy and girl". In mid 1970s Saburo supervised production of several guitar models made for Zen-On Music Co, Niibori School of Guitar Ensemble and Nishin Kogyo Co. Great majority of these guitars were made with "laminated" b/s. Laminated is quite "unfortunate" term regarding Japanese made guitars. These "laminates" were made from 2 layers of solid wood glued together with natural resins. They were made so well that they performed as good as solid woods while being far less expensive in guitar production. Since late 1970s through late 1990s Saburo Nogami was also closely cooperating with Kazuo Yairi, supervising production of many Kazuo Yairi's models at Yairi's Gifu factory. Yet again most of these absolutely wonderful instruments were made with "laminated" b/s. Despite having repaired crack on the soundboard (below the bridge) this guitar remains in "excellent for its age" overall condition. Its body bears only few other very minor cosmetic imperfections, while the condition of its fingerboard and frets proves that this is practically unused instrument. The crack on the soundboard must have occurred during storage. This guitar being made in Torres style has slightly smaller & somewhat narrower than average body, hence looks little "elongated". Despite its smaller size the body of this guitar delivers great volume combined with truly breathtaking tonality, very clear, glassy, yet very colorful trebles, somewhat metallic basses, all very well separated, and all with impressive sustain. Being priced 150 000 yen in 1982 it was quite expensive instrument. Masaru Kohno model Concert was sold at the same price. The same grade brand new guitars currently made by Japanese luthiers are priced at least $3500. Regarding the sound alone, this guitar is very competitive to $5000+ Torres style guitars currently made by leading European or American guitar makers.Specifications:Top: AAA Grade Solid Spruce/shellacBack & Sides: Solid Indian Rosewood/lacquerNeck: Mahogany with Ebony insert Fingerboard: Ebony Scale: 650 mmNut width: 50 mmIts current action is set to 3.30 mm under E6 and 2.80 mm under E1, with still extra room on the saddle.This guitar will be shipped in used original hard case in still good 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 ANY GUITAR, YOU MUST ANTICIPATE TAKING IT TO YOUR LOCAL GUITAR SHOP FOR FINAL ADJUSTMENTS CALLED “SETUP”. DEPENIDNG ON YOUR PLAYING TECHNIQUE, THIS SETUP ON USED GUITARS MAY INCLUDE NEW CUSTOM-MADE NUT AND SADDLE. IF YOU HEAR STRING BUZZ IT DOESN’T MEAN THAT GUITAR IS DEFECTIVE. IF YOU PLAY HARD ENOUGH ALL BASS STRINGS WILL BUZZ OVER THE FRETS, UNLESS THEY ARE SUSPENDED VERY FAR FROM THE FINGERBOARD. UNLESS YOU PLAY QUITE GENTLY, YOU CAN’T HAVE LOW ACTION AND NO BUZZES. KEEP IN MIND THAT CELLO-LIKE BASSES ON HIGH GRADE CLASSICAL GUITARS HAVE THEIR NATURAL “BUZZ”. Real Value of Japanese Vintage GuitarsThe 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 1980s.During 1960s and most of 1970s model numbers of Japanese guitars were strictly interconnected with their prices in Japanese yen. By 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 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 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 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 world’s leading luthiers. Return Policy Buyer has the right to return purchased guitar within 2 days from receipt. General TermsItems must be returned in original, as-shipped condition with all original packaging and no signs of use. Buyer assumes responsibility for all return shipping costs unless the item was not received as described.Fees and ChargesBuyer receives full refund in their original payment method, less any shipping costs.Special conditionsYou have 48 hours of trial after receiving the guitar. 48 hours is enough time to inspect the guitar. 1 hour is usually enough to evaluate the guitar’s tonality and if you don’t like it right away you won’t like it a week later. If you realize that you don’t like the guitar enough to keep it, you have the right to return it. If you find a real problem not disclosed in my description, you are covered by eBay’s Money Back Guarantee. If that problem is damage that likely occurred during the shipment I will file an insurance claim with eBay’s Ship Cover Program. If you decide to return the guitar you must notify me within 48 hours after delivery, pack it and ship it back within 24 hours after "return notification". If you expect to receive a full refund, the guitar must be returned in the same condition as I have shipped it to you. If it arrives back to me damaged, I will not issue any refund but cooperate with you on your insurance claim. It is therefore very important that you ship the guitar fully insured. Victor K.

Price: 2125 USD

Location: Alpharetta, Georgia

End Time: 2024-11-15T15:52:31.000Z

Shipping Cost: N/A USD