Hiroshi Tamura P50 1972 Natural

 1972 HIROSHI TAMURA P50.

This specific guitar is in a very reasonable overall condition, easily 

playable  with enough bridgebone to even lower it (not advisable!)  

I should place the guitar "above fair" as besides some cosmetic issues,

the guitar functions very well.

The soundboard however has some dings but no cracks. On the 

lower bout left the lacquer came off but the soundboard hasn't been

damaged there. Fretwork is near 100 % . Machine heads are not original 

and as the distance between each tuner is not 35 mm, brass plates have 

been placed in between on otherwise high grade tuners. The bridge is a 

Brasilian rosewood one. Mind you, a P50 from 1972 would be a P 70 back

in 1975 as 50 stands for 50.000 Yen but the yearly salary was

growing so you always have to look at the specs of each guitar.

E.g. later P50's often have an ebonized fingerboard! Soundwise

this guitar excells! Warm nice trebles and a very good low end

and indeed comparable with a Jose Ramirez Clase 1A guitar.

This guitar came back as being not exactly described in my ad:

The buyer stated it to have to cracks alongside the fingerboard.

I checked this internally and there are  no cracks on both sides

but hairline only in the lacquer itself. So no light comes through!

A remark about a dull spot in the lacquer behind the bridge ( I

removed it in 10 minutes! ) and a transverse bar in the upper bout

that he stated I glued there! It simply has to be there after a good

check. I offered him twice the return costs if he was right: No

answer! But if you have any doubts please ask your questions before

missing and/or paying. If you look for a cosmetic 100 % instrument,

buy a new one or a mint for the double price. I have to part with it as

I have too many guitars! If some of my guitars aren't leaving, my wife

will!

Specifications:

Top: High Grade Solid cedar top

Back: Brasilian rosewood (laminated)

Sides: As the back, laminated rosewood on rosewood!

Neck: Mahogany - D - profile not chunky.

Fingerboard: Solid ebony.

Nut and Saddle: Bone

Nut Width: 52 mm

Scale: 655 (!) mm

Bridge: Brasilian rosewood.

Label:  Stamped and dated.

The sound example of a Tamura guitar added, comes 

closest to the one  I'm selling

This guitar was made in 1972 by Hiroshi Tamura, one of the best 

luthiers in Japanese history. Its sound matches the fame of its maker.

Just like many other famous Japanese luthiers of that era, Hiroshi 

and Mitsuru Tamura have learned their craft during their stay in Spain 

in late 1950s/early 1960s. Strangely enough, their oldest classical 

guitars available on the Japanese second hand market were made 

in 1966. It is quite possible that, during 1960s, both brothers shared 

the same workshop located in Kochi, Japan. Although both brothers 

were equally skilled, it was Hiroshi who has gathered more international 

and domestic rewards. Because his guitars often sounded equal to 

those made by Jose Ramirez, Hiroshi has earned a nickname “Tamirez” 

As a matter of fact, Hiroshi’s rewards outnumbered those collected by 

Masaru Kohno.

In 1972 Hiroshi was financially rewarded by Japanese Ministry of 

Technology. Soon after, he moved to another shop, but not far from 

his brother’s, hired several associates and started to make his P and 

C models in greater numbers. Mitsuru Tamura has continued to work 

as individual luthier, and with just couple of apprentices, was making 

about 15-20 guitars a month. Tamura brothers passed away in mid 

1980s. 

It was made based on Jose Ramirez blueprint, it has Ramirez style 

bracing but the 655 mm scale is exceptional! It produces a sound 

characteristic to all Hiroshi Tamura guitars, very Spanish, warm, sweet 

and ultra-lyrical sound combined with very high level of note clarity 

and separation and very impressive sustain. 

If you have any questions, feel free to ask me! I will only charge real

costs but I want to have a save transport of course.