RARE – YUKINOBU CHAI No20 1976 – SANTOS HERNANDEZ CLASS CLASSICAL CONCERT GUITAR

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Seller Store victork1962
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Location: Alpharetta, Georgia
Ships to: US,
Item: 196763635452

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Yukinobu Chai:Yukinobu Chai
Type:Classical Guitar

Yukinobu Chai Classical Concert Guitar No20 1976This guitar was made in 1976 by Master Luthier Yukinobu Chai. Although he was originally a violin maker, Yukinobu Chai started making guitars in late 1960s and over the years he became one of the highest respected luthiers in Japan. Most likely the major reason for that were very moderate prices for his truly wonderful instruments. Yukinobu never apprenticed at any other workshop. In the 1950s he learned violin making based on books the real violins. He was also making other string instruments, before in the early 1960s he became seriously interested in making guitars. He naturally was looking at guitars made by many famous European luthiers, but was especially inspired by Antonio de Torres, Herman Hauser and Santos Hernandez. While he was constantly adding his own innovations, his guitars made from the late 1960s through early 1980s were mostly inspired by Santos Hernadez’s blueprints, which (on the outside) was manifested by Santos’s headstock design. Because I have already sold several Yukinobu’s guitars from that era, I dare to say that they are of equal class with those made Santos Hernandez. In the early 1980s Yukinobu became the major supplier for Niibori School of Guitar Ensemble, making not only whole range of prime (regular size and scale) models but also many alto, soprano, bass, and contrabass guitars. Since Yukinobu’s passing in 2011, his workshop is managed by his son Yukihiro, who is a great luthier on his own. Yukinobu’s most famous pupils are Ichizo Kobayashi, Tatsuro Kobayashi, Sakae Ishi and Kuniyoshi Matsui. To my ears, Yukinobu Chai was one of the best Japanese luthiers ever and remains my favorite Japanese luthier since I encountered his guitars made in 1970s. I am totally not bothered by discolorations of finishes on his guitars from that era. After selling several of his guitars I know that truly experienced guitarists looking for a “truly special” instrument are not bothered by these cosmetic imperfections either. I deeply understand why Hiroki Niibori has decided to offer Yukinobu such lucrative contract. In the early/mid 1970’s Yukinobu was still a relatively unknown luthier and his prices were lower than those proposed by Tamura brothers for similar grade guitars. Until 1974 Yukinobu’s model 10 was made with solid figured Brazilian Rosewood b/s. Until early 1976 his model 10 was still made with straight-grain Brazilian Rosewood b/s. During the same era (1975/76) Yukinobu’s models 6 and 8 were made with solid Indian Rosewood b/s. In 1976 model No20 was Yukinobu’s second best, behind model 30. Yet in 1979 the same grade guitar would be labelled as model 30, and by 1983 as model 50. Made with figured Brazilian Rosewood b/s model 30 was the top of Yukinobu’s line until 1982, and only his custom-made guitars were priced higher. Since 1983 the same class guitar was sold as No 50, being the only model made with figured Brazilian Rosewood b/s until 1995. This guitar was priced 200 000 yen in 1976. By the year 1979 the same class guitar would be labelled as No30 and priced 300 000yen and by 1983 it would be labelled as model 50 and sold for 500 000 yen. Just like many other less prominent Japanese luthiers of that era, Yukinobu Chai simply had to deliver much more for the same price in comparison with Masaru Kohno models. In fact, you will never find Masaru Kohno No30 1976 (top of the line of that year) that would sound even close to the guitar you are looking at. Masaru Kohno No50 1977 is not an equal contender either.This guitar offers immense volume and super response, combined with simply breathtaking tonality: sweet, colorful, ringing, and glassy (piano like) trebles, deep somewhat metallic and full of overtones (cello like or piano like) basses, all well balanced, with superb note clarity and separation, and all with very impressive sustain. When chords are played this guitar behaves like a Symphony Orchestra, when individual notes are played, they closely resemble grand piano keys. It is simply a gorgeous instrument to play.If you wanted to purchase similar class brand new guitar made by leading Japanese luthier, you would have to pay no less than $15000. If you ordered such guitar made with old stock solid figured BR, 50 years old Yezo Spruce top and shellac finish it would be priced at least $18000.This guitar remains in “excellent for its age” overall condition, even though it comes with some visual imperfections.On the soundboard there is about 3 inches long crack in the finish, running about 1mm to the right from the center seam. It was sealed by glue applied from the top. It doesn’t seem to be a crack through the wood. Because it sits right over the brace underneath it is hard to be sure. Nevertheless, it would be repaired the same way as the finish crack.At the base of the neck, you will see a crack in the finish and yellow discolorations running along its edges on both sides. From very close distance this yellowed finish looks dry. It certainly is not structural damage, not a sign of upcoming damage nor the sign of previous repair. Such features are quite common among (not only) Japanese vintage guitars. They are mostly associated with long time storage, not intense playing. When I received this guitar, the ends of its frets were exposed along both sides of the fingerboard. I have then filed them all rounding all their edges. During such a procedure it is very hard to avoid hitting the edges of the fingerboard binding. So, you can see traces of that but from rather close distance. Most importantly you will not feel any discomfort while playing this gorgeous instrument. The body of this guitar doesn’t bear any conspicuous dents or scratches. Its relatively slim neck is straight, fingerboard and leveled frets remain in excellent condition, while action is very “player friendly”. The action can be set ultra-low, making this guitar a very rare individual among vintage guitars.Tuners are brand new Gotoh set that are matching the original ones.What is visible to the naked eye (and greatly exaggerated in the pictures) are “fingerprint-like” discolorations, mostly on its back. Such discolorations are quite common on Japanese guitars of that era, not only on those made by Yukinobu and most pronounced on guitars made with Brazilian Rosewood b/s. These “fingerprints” certainly don’t affect the tonality or playability of this very precious guitar. Finish cloudiness occurs only within the finish while the wood itself doesn’t lose its natural color. It is a result of mixing finishes, like covering shellac with cashew lacquer. After cashew lacquer dries it is harder, more durable and scratch resistant than shellac. As the shellac ages it often becomes “cloudy”. The intensity of this cloudiness depends on what shellac formula was used. Sometimes instead of uniform cloudiness, there are only a few or several “fingerprints” visible. These “fingerprints” are traces of shellac pads. French polishing is the application of shellac with the use of shellac pads. Shellac finish on guitars is always applied by “French Polishing”. On other wooden items and furniture shellac is usually applied by paint brush.The great majority of Japanese luthiers while finishing their high-end models, were using very thin coat of cashew lacquer as the last layer over the shellac usually only on the back and sides. Some luthiers (like Masaru Kohno, Ryoji Matsuoka, Hiroshi Tamura) were using this approach also on the soundboards. Cashew lacquer is more durable and resistant to wear and scratches etc. and that is why Japanese were using this method. Therefore, when there is Cashew lacquer on the surface, it is very likely there is a shellac underneath. ALL YUKINOBU CHAI GUITARS MADE IN 1970s OFFER FEW HUGE ADVATAGES OVER GREAT MAJORITY OF VINTAGE CLASSICAL GUITARS: THEIR NECKS ARE SLIMMER THAN NECKS OF MOST VINTAGE GUITARS, THEIR ACTION CAN BE SET VERY LOW (IF DESIRED), THEIR GREAT RASPY RESPONSE TO RASQUEADOS AND BRILIANTLY CRISPY RESPONSE TO PICADOS MAKES THEM EXCEPTIONALY GREAT CHOICE FOR FLAMENCO PLAYERS. Specifications:Top: Very Tight Grain Solid Yezo Spruce/ Cashew lacquer (over shellac)Back & Sides: Highest Grade Solid Figured Brazilian Rosewood/Cashew lacquer (over shellac) Neck: MahoganyFingerboard: EbonyScale: 650 mmNut width: 51.00 mmIts action is currently set to 2.25 mm under E6 and 2.00 mm under E1, just because it was possible (with still some extra room on the saddle). Since this action is way below standard for classical guitars, some players will find it very attractive. I have made a second higher saddle that raises the action to 4.00mm E6 and 3.50mm E1 (for players who prefer traditional action and automatically higher volume and deeper sound). You can set it your way.Strings: Savarez Cantiga Premium Tension ForteThis guitar will be shipped in a used hard-shell case in still very 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”. When contemporary Japanese luthiers are using 40+ years old soundboards to make “all solid woods” guitar it is priced at least $5000USD. Guitars with artificially aged (“baked”) soundboards are priced at least $4500USD. Solid top models with 40+ years old soundboards are priced at least $3500USD. American, Australian and European luthiers usually charge 50% more.It is a matter of basic education (not beliefs) to realize that a 50+ years old soundboard of this guitar alone is worth $2500USD. 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 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 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.

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