Thank you Leo for the signatures of the Yamaha GC luthiers. I have added a better picture of the GC-10D label, and another one of the GC-6D label. I think the signatures of both guitars are from the same person. They have some similarities with the signature of Kato but I'm not 100% sure.Leo Apray wrote:If you post the label, I might be able to tell you the name of the luthier.
Yes, both signatures read Kato Toshio.andreas777 wrote:Thank you Leo for the signatures of the Yamaha GC luthiers. I have added a better picture of the GC-10D label, and another one of the GC-6D label. I think the signatures of both guitars are from the same person. They have some similarities with the signature of Kato but I'm not 100% sure.Leo Apray wrote:If you post the label, I might be able to tell you the name of the luthier.
Hi Jon,rinneby wrote: I'm afraid I can't answer that for you, but today I got myself a GC-3D from 1972 and it's signed by the mysterious "The Butterfly".
I only have two, GC-3D (1972) and a GC-7A (1979) - I'm a huge fan of Japanese classical guitars. I have a big collection of guitars now, I've lost the countandreas777 wrote:How many guitars (Yamahas?) do you have, and do you have a picture of your new GC-3D?
Actually I was wrong, my label reads: 金子 隆英 (Takahide Kaneko) - The confusion came from another site and their GC3D. Sorry about thatLeo Apray wrote:Hi Jon,
I have never heard of "the Butterfly".
I'd love to see the label, if you don't mind, of course.
I used to have a GC-3D, but it has signature from Takahide Kaneko.
I played quite a few Yamaha's, some of them good, others not so. They tend to be on the warm side, at least the older ones, sometimes a little "boxy" sounding. But my GC3D from 1972 is very sweet for example.Gary Macleod wrote:I don't get it, I played the 3 top end Yamaha go guitars last month . The gc82 cost £10 k ! It sounded worse than a Paco Castillo 204.
In the interview he looks like he is (at most) 60 years old today, probably less, so in 1984 he would have been in his 20s, at most. Unlikely to have such a young person signing Yamaha guitars.Julian wrote:Guys, any idea about this Akio Naniki? Although I have not touched my Yamaha GC 71 circa 1984, I was told that this gentleman Akio Naniki has his signature of my GC 71. Normally the high end Yamaha guitars were then built by Toshioa Kato or Hideyuki Ezaki.
Anymore information about Mr. Naniki?
I also have a GC42S that I got last fall and have been playing a lot lately. Its a really nice guitar, the craftsmanship is impeccable. The woods are top notch and it has a very nice tone. I've given up playing around with strings and just use EJ45 or 46's for my guitars.Francisco wrote:I ended up buying the GC42S after a lot of hesitation and going back to try it. I’ve had it for about 3 months now, I didn’t want to post anything on it until I saw how the sound unfolded. I kept the original strings for about 6 weeks, and am now using a set of Galli carbonio. I intend to try out different strings. So far I am extremely happy with the guitar. Words are blunt instruments to describe de subtleties of sound. I find the sound extremely pleasant, warm and sweet, with the usual variations that guitars offer from day to day for no apparent reason, plus the variations dependent on the state of one’s nails etc. The sound is remarkably even throughout the guitar, with the right amount of resonance and sustain, with none of those unpleasant surprises of notes that stick out for no reason here and there. Unless some misfortune occurs, I intend for this to be my main guitar, practically my only guitar, for the rest of my life.
One thing worth mentioning. Before buying it I checked the accuracy of every note, fret by fret, measuring the frequency with a PitchLab application on my phone. I can say without hesitation that the intonation of this guitar is the closest to perfection I’ve ever seen. I was astonished by this. Most of the notes were within 2 cents of perfect, and the maximum deviations I saw didn't exceed 5 cents. This is something I had never seen before (granted I had never tested this on a guitar as pricey as this one).
I found an interview with the luthier whose signature appears on the label, Mr Akio Naniki. The interviewer makes the introduction in Thai, and then the interview is conducted in English, though Mr Naniki’s English is rather limited and difficult to understand. He says the wood (for the top) comes from Europe. He says his apprenticeship took place under Mr Kato.
I don’t know how much exactly Mr Naniki participated in the making of my particular instrument, but I am very very happy with this guitar.