This guitar was made in 1967 by Yamaha Corporation. It was made by one of their best luthiers ever, Hiroshi Harada.
Hiroshi Harada, along with Hideyuki Ezaki and Toshio Kato, in mid 1960s was delegated by Yamaha corp. to learn the art of guitar making directly from Spanish luthiers. These 3 luthiers were trained by highly regarded at that time Spanish luthier Eduardo Ferrer. Between years 1964-1967 Eudaro Ferrer frequently travelled to Japan just for this reason. As the result of this cooperation Yamaha was able to revolutionize it's classical guitar line and soon establish itself as one of the best guitar making company in the world.
Guitar factory (Gakki) as company name can be quite misleading for many unaware guitar enthusiasts. These Japanese workshops were no different from any other luthier’s workshops. The difference was that instead of being led by one Master Luthier (owner) they employed a team of equally skilled luthiers, working together and supporting each other in order to produce a “perfect” product. These luthiers (often times not known by their individual name), represented their company (the label), were totally loyal to the bosses (owners) and had to put their egos aside. Only the best of the best were allowed to put their signatures on the labels.
Thanks to Eduardo Ferrer and his great students (Hiroshi Harada, Toshihiro Kato & Hideyuki Ezaki) in 1967 Yamaha Corp. introduced their new guitar lineup. Their concert models were: GC3(Spruce/Indian Rosewood), GC5(Spruce/Brazilian Rosewood), GC7(Spruce/Brazilian Rosewood), GC10(Spruce/Brazilian Rosewood).
At the same time Yamaha introduced 3 superb flamenco models: GC5F, GC7F and GC10F. These guitars opened international markets for Yamaha corp. guitars. They were of absolutely highest imaginable grade of craftsmanship & materials and were also very expensive, not only to Japanese players.
Yamaha's classical guitar lineup was dramatically changed by the end of 1970. One reason was that at that time these "spanish blueprint" Yamaha guitars were already played and highly valued by many great professional guitar players around the world. Second reason was very rapid devaluation of Japanese currency. Another reason was that Masaru Kohno and other Japanese elite luthiers were selling very similar quality guitars at much higher prices. So it was the time for Yamaha to start making decent profits from making their wonderful guitars.
Starting by the end of 1970 Yamaha had new classical guitar lineup. Models GC3D, GC5, GC7, GC10 were all made with solid Indian Rosewood b/s. Models GC12 and GC15 were made with solid Brazilian Rosewood b/s. Yamaha's guitar linep was being "upgraded" quite frequently over the years.
SO IT IS VERY IMPORTANT TO UNDERSTAND THAT LOW MODEL NUMBER ON THE LABEL DOESN'T MEAN LOW GRADE OF THE GUITAR. In early 1980s YAMAHA's top model made with solid Indian Rosewood b/s was GC 30. This guitar is absolutely no match for YAMAHA GC made in late 1960s.
Model GC3 was priced 30 000. Yearly salary of Japanese college graduate in 1967 was 25 200 yen, in 1968 - 29 300 yen, in 1969 - 34 600 yen and in 1970 - 39 200 yen. Exactly the same grade guitar would be labelled as GC5 in 1970, as GC8 by 1972, as GC10 by 1974 and as GC15 by 1976.
In 1967 Japanese made guitars of similar grade were offered for sale in USA for at least $800. The purchase power of $1000 in 1967 equals to a purchase power of $5000 today.
Starting by the end of 1970 Yamaha had new classical guitar lineup. Models GC3D, GC5, GC7, GC10 were all made with solid Indian Rosewood b/s. Models GC12 and GC15 were made with solid Brazilian Rosewood b/s. Yamaha's guitar linep was being "upgraded" quite frequently over the years.
SO IT IS VERY IMPORTANT TO UNDERSTAND THAT LOW MODEL NUMBER ON THE LABEL DOESN'T MEAN LOW GRADE OF THE GUITAR. In early 1980s YAMAHA's top model made with solid Indian Rosewood b/s was GC 30. This guitar is absolutely no match for YAMAHA GC made in late 1960s.
Model GC3 was priced 30 000. Yearly salary of Japanese college graduate in 1967 was 25 200 yen, in 1968 - 29 300 yen, in 1969 - 34 600 yen and in 1970 - 39 200 yen. Exactly the same grade guitar would be labelled as GC5 in 1970, as GC8 by 1972, as GC10 by 1974 and as GC15 by 1976.
In 1967 Japanese made guitars of similar grade were offered for sale in USA for at least $800. The purchase power of $1000 in 1967 equals to a purchase power of $5000 today.
发表于 2019-9-20 15:38:18
楼主
因为从几年前开始我的兴趣点在中小琴体啊，，，目前我对大琴体没兴趣（除非特殊情况）。大琴体，相较于中小琴体，除了抱弹不太舒适自由之外，中频和高频弱，另外出声速度也慢一拍。