TAKAMINE'S SECOND BEST - MODEL No15 1992- KOHNO STYLE CLASSICAL CONCERT GUITAR

An important message for Australian buyers is located at very bottom of this page.

Takamine No15 1992

The guitar was made in 1992 being the second-best model in Takamine regular line, bettered only by model No20 (made with solid Spruce top and solid Brazilian Rosewood b/s).

In these early 1990s the 3rd from the top model was No10 and 4th from the top was model No8, both made with solid Spruce tops and solid Indian Rosewood b/s. Lower models were No7, No6, No5 all made with solid Cedar tops and non-solid IR b/s. Those high-end models 15 and 20 were introduced in early/mid 1980s. In the late 1970s there was another Takamine model No20 however that one was the lowest in the lineup, made with solid Spruce top and laminated IR b/s. So, when the high end No20 appeared on the market the lowest end No20 was no longer made. In the early/mid 1980s lowest end Takamine models were solid top No30 and No40.

This mid 1980s lineup remained unchanged until the end of 1990s, except for discontinuation of model 30 and 40 and changing in 1996 specifications of model 8 to solid Cedar top.

Also, in 1996 the serial number system for domestic Takamine models changed. Until 1995 the first 2 digits of serial number meant year guitar was made, while since 1996 first 2 digits meant the number of years that passed since launching of Takamine co. in 1962

Since the early/mid 1980s all 3 highest Takamine models have always been made exclusively with Spruce tops, never with Cedar tops. In some years they were, however, finished with dark amber colored cashew lacquer, making their soundboards appear relatively dark. Under the same darker finish Cedar tops had a dark brick color.  

On this occasion I must mention my bad experience with “experts” who are using flashlights to determine the identity of the wood used for the soundboard of the guitar. This is a totally erroneous method yet deeply rooted among some players and/or guitar sellers. If you are one of them, I am asking you to buy guitars from someone else, not me. The soundboard of this guitar is not penetrated by light because the wood is relatively thick, and the finish is dark enough.

Currently top Takamine models are No37 (Spruce/IR) and No39 (Spruce/Madagascar R.). No37 looks the same and has the same specification as model 15 from 1980s or 1990s, yet tonally these older guitars are far superior.      

This terrific instrument is of higher grade than Takamine models distributed in the West. Takamine Hirade models made exclusively for export are no match to guitars made for Japanese domestic market.

This guitar is quite loud, very responsive and produces sweet and lyrical tone, with some warmth to it, with clear and colorful trebles and relatively deep resonating full of overtones basses, all notes with high level of clarity, and all magnified by very impressive sustain.

This guitar not only has Kohno style rosette, bridge decoration and purfling but can easily compete with Kohno’s model Concert sold at much higher price.

Despite its age this guitar remains in excellent condition. While one can find a couple tiny marks within the finish on its top this guitar looks “barely used”.

Specifications:

Top: Solid Spruce/Kohno style bracing/dark amber lacquer

Back & sides: Solid Indian Rosewood/ dark amber lacquer

Fingerboard: Ebony

Neck: Mahogany without the truss rod

Scale 650 mm

Width at Nut: 51.50 mm

Factory action is set to 4.00 mm under E6 and 3.50 with only some extra room on the saddle allowing to lower its action to about 3.50mm under E6 and about 3.30mm under E1.  

This guitar will be shipped in original hard shell case in very good condition. 

Takamine Guitars 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).

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 50+ years old soundboard of this guitar alone is worth $2500USD. 

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 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. 

Important message for Australian buyers:

USPS International Priority Mail packages destined for Australia have quite restricted size (max. length is 42” and max. length + girth is 97”). For these reasons I must use the case that is no longer than 41” and therefore it may be different than the one you see on the pictures. You should ask me for any other details prior to making a purchase.