MADE IN 1985 - HAKUSUI IMAI No50 - AMAZING TORRES STYLE CLASSICAL CONCERT GUITAR

Description: Hakusui Imai No50 1985The guitar you are looking at was made in 1985 by luthier Hakusui Imai based on Antonio de Torres blueprints. With its smaller size “elongated” body, 645 mm scale, 49 mm nut, quite thin soundboard supported by asymmetrical fan of 5 braces, it closely resembles Torres’s guitars from his first epoch. Hakusui Imai apprenticed in 1960s at Mitsuru Tamura’s workshop and established his own workshop sometime in early 1970s. He was highly regarded for his classical and flamenco guitars alike. He was on the path to far greater recognition but unfortunately passed away at relatively young (for Japanese standards) age. Therefore, his guitars are not very easy to find on secondhand markets. Priced 500 000 yen in 1985 this guitar was among the most expensive Japanese models of that era. It was priced the same as Masaru Kohno model “Special” (No50) or Yamaha GC50. Only Masaru Kohno, Sakazo Nakade and Yamaha had higher priced models in 1985. For the great majority of Japanese elite luthiers 500 000 yen was the price ceiling. Ryoji Matsuoka’s top models were priced 300 000 yen, while Takamine’s and Kazuo Yairi’s highest models were priced 200 00 yen. If today you wanted to order the same class Torres style instrument made by Japanese elite luthier using 40+ old woods, with solid Brazilian Rosewood b/s you’d need to pay at least $12000 for it. Despite its age this guitar remains in overall “excellent for its age” cosmetic and structural condition. Its body doesn’t bear noticeable dents or scratches, and its fingerboard doesn’t show the signs of intense use. The only cosmetic imperfections are the tiny chip of lacquer located on the back plate binding and repaired crack on the back plate. This was a regular crack, that stretched between the kerf wood strip and the back brace. It has been stabilized by the glue applied from the top. It is hardly visible, even from a close distance. Finish cloudiness is a result of aging of shellac layers underneath the outer coat of Cashew varnish. This finish grayness is greatly exaggerated in my pictures, because of camera’s flashlight illuminating that finish. I believe that the back plates have never been uniformly dark brown, while it is obvious that side plates were originally lighter in color. What is important mentioning is that the soundboard looks like it was purposely finished to look “well aged” with some artificial “stains” under the finish. Seeing the dark brownish color of that original finish (best visible over the originally whitish bindings), I believe that the top was made from Spruce, not Cedar. Under that finish, any Cedar would have looked much darker. Even though this guitar doesn’t sound bright, I still believe that it has Spruce top. Despite its smaller than average dimensions, this guitar offers impressive volume & super response, sweet and colorful ultra-clear trebles, colorful & resonant and full of overtones basses, all notes well balanced and with impressive sustain. It is a very lyrical instrument, with moderately warm and mellow tonality, not too bright and not too dark either. SpecificationsEntire length: 965mmBody length: 465mmBody depth: 92mmWidth at upper bout: 245mmWidth at lower bout: 320mmWidth at waist: 200mmTop: Solid Spruce with 5 braces fan /ultra-thin coat of cashew varnishBack & Sides: Solid Brazilian Rosewood/cashew varnishNeck: MahoganyFingerboard: EbonyScale 645 mmNut width 49 mmstring spacing at the nut: 40mmstring spacing at the saddle: 56mmFelipe Conde Concert Nylon Low TensionIts current action is set to 3.30 mm under E6 and 2.80 mm under E1 with still a bit of extra room on the saddle. Its original saddle sets the action at 4.00 mm E6 and 3.30 mm E1.It will be shipped in an original fitted hard shell case in still decent 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 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 the 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 the 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 the world’s leading luthiers.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 40+ years old soundboard of this guitar alone is worth at least $2500USD. 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: 5500 USD

Location: Alpharetta, Georgia

End Time: 2024-11-30T12:20:01.000Z

Shipping Cost: N/A USD