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From the Forests to the Sawmill~

Kazuo Yairi imports more than twenty different kinds of wood from all over the world.  As many as ten different species may be used in the construction of one guitar.

Resilient, sensitive spruce and cedar for tops and bracing are imported from Canada; hard, smooth ebony and rosewood for fingerboards, and bridges from Africa.  Mahogany from Honduras, Africa, New Guinea and the Phillipines is used for necks, backs, sides, blocks and kerfling; jacaranda and rosewood for the backs, sides and bridges comes from India, Africa and South America and all of this wood must be of the finest quality.

Logs are shipped to Mr. Yairi’s factory where they are cut into planks, graded and then stacked for seasoning.  Buying in large quantities and processing on the premises saves tremendous cost in shipping and handling.   The large inventory assres a plentiful supply of seasoned wood on hand for production; so Mr. Yairi never has to use inferior materials in his guitars and his productin is never affected by shortages or shipping problems.

Only after four years of curing will any wood be utilized for guitar consstruction.  The planks are inspected again and rough cut to size and shape.  Some parts are kiln dried for proper moisture content; others are cured or aged further to insure stability.  Then the tedious hand work begins-cutting, shaping and sanding for accurate joints and fits.  This unusual care in selection and preparation of wood is one of the reasons that Alvarez Yairi guitars are so outstanding in beauty and sound.

Below is info gathered over the years on different woods:

Rosewood

Two types of rosewood are commonly used in classical guitars and so-called flamenco negras: Brazilian rosewood (dalberia nigra) and Indian (dalbergia latifolia) rosewood. Both woods are dense, resinous, and very handsome. Brazilian has highly figured grain, and many consider it the more beautiful of the two, but it is more brittle and difficult to work than Indian rosewood. By contrast, Indian rosewood tends to be straighter-grained, and often contains purplish streaks. Brazilian rosewood has become increasingly expensive and rare. In the mid-1960s the Brazilian government, with the aim of diverting more work to their sawmills, banned the export of logs. In 1992 dalberia nigra was declared an endangered rain forest tree, and requires a CITES license, and so is no longer being exported period. Indian rosewood, on the other hand, grows on plantation, and so remains plentiful. Indian rosewood also has the advantage of being dimensionally more stable, and of being less affected by changes in humidity and temperature than Brazilian rosewood.

Tonally the woods have slightly different characteristics. Brazilian rosewood is less fibrous, and a somewhat harder, denser wood, and so tends to reflect sound more, and thus produces a bit brighter sound than does Indian. This difference, however, can only be perceived by playing identically made instruments by the same maker. Or, to put it slightly different way, there are much greater differences in sound between makers using the same woods than between different woods by the same maker. A well made Indian rosewood guitar may be infinitely better than a fancy-expensive Brazilian rosewood guitar by a luthier of lesser talent.

Brazilian Rosewoods

Adding to the confusion, many species of dalbergia (botanically “true” rosewoods) from Brazilian and elsewhere that are marketed as Brazilian rosewood. Slab-cut, these rosewood from Brazils are very similar in appearance and character to dalbergia nigra and include dalbergia stevenonii (Honduran rosewood), dalbergia retusa (Cocobolo), dalbergia cearensis (kingwood), dalbergia frutescens (Pau rosa, Jacaranda Rosa). In this family of similar woods from Brazil, we also find Machaerium spp. (Caviuna or Fau Ferro), and Dalgberia palo-escrito (Palo escrito). In fact, there are literally hundreds of species of dalbergia worldwide. Because of this confusion and hype over Brazilian rosewood I prefer simply to call these species rosewood from Brazil, and to refer to true Brazilian rosewood as Brazilian rosewood or Dalbergia nigra.


This info is directly from Kazuo Yairi woods info, that I was able to get a Japanese friend to translate.. some wording may sound off, but that happens when translating Japanese to English.  My friend speaks English, and did the best he could with it.

Woods used for the guitar production vary widely and each has its characteristics. Here show typical ones for top and side with brief comments.

For top part: acicular trees grown in the colder region in the high latitude are chiefly used. Among them, typical ones are spruce (a kind of native spruces) and cedar (American cedars).

Most of materials are cut out from large timbers that aged over a century and have over 1 meter in diameter.

Sitka Spruce (Canada, North America): Among these kinds, this has the highest elastic coefficient and the most favorable characteristic for the top material of acoustic guitar. As times go by, the color turns into light brown and fascinates fans. High quality materials are seldom available. This is the de facto standard for the top of stringed instruments.

Engelmann Spruce (Canada, Europe): Favored for being pure white color and delicate sounds. Some manufacturers once used this as German Spruce. This is very close to German Spruce similar to elastic coefficient and outlook.

Cedar (northeast America, Canada): Used for top. This has clear wide range and balanced vibrational property. Milder than spruce tones and sings well.

Western Redcedar (northeast America, Canada): Having wide, clear, and balanced coefficient and softer tone than that of Spruce. This sings well in a new instrument. Very fine and straight vein and reddish chocolate color has a unique feeling.

Adirondack Spruce (northeast America): Before WW II, most of high-end American acoustic guitar applied this. This ranks atop with its delicate but powerful sounds. Literally, this only grows in the Adirondack Mountains. Therefore, this is very scare and valuable. (Only selectable in a custom shop)

German Spruce (around Germany): This highest top material has been used for excellent violin and guitar for long. Even in Germany, this is hardly available. Its superior acoustic property and a bit golden white vein fascinate lots of guitar fans. Direct import from Germany. (Only selectable in a custom shop)

Other wood: Materials used for back, for instance, Maple or Hawaiian Koa, can be applied to top for a unique guitar.

For side and back: Tropical broadleaf trees and high altitude acicular trees are applied. Brands vary more widely than those of top materials. Not to mention of beauty of vein, these materials are crucial to make sounds certain by virtue of transferring vibrations from the top, bouncing, and amplifying echoes.

Mahogany (meliaceous), Central America Honduras, Africa: Honduran and African mahogany are mainly used for side, back, and neck parts. Among others, Honduran one ranks a top. Its bright and light sounds are characteristic. This is good for both delicate finger picking and dynamic flat picking.

East Indian Rosewood (fabaceae), India: As Jacaranda being unavailable nowadays, this ranks atop for side and back materials. Deep bass and brilliant trebles are characteristic. This has mostly regular straight veins. Currently, its price hikes and becomes harder to obtain due to various export regulations by countries of origin.

Ovangkol (fabaceae), Africa: Similar thick and warm tones to those of Mahogany. This has beautifully greenish brown stripes.

Lacewood (plananaceae), Australia: Close to Mahogany. This has warm tones with moderate trebles and unique beautiful imbricate vein.

Jacaranda (fabaceae), Bahia region in Brazil: Alias Brazilian Rosewood. This has been main materials for acoustic guitars over ages. Brilliant mellow sounds and beautiful irregular veins have fascinated guitar fans. Currently export and import are banned under the Washington treaty. Only a small amount of lumber trimmed before the effect of the treaty is applied for guitar productions.

Black Jacaranda (fabaceae), Bahia region in Brazil: same as above.

Honduras Rosewood (fabaceae), Central America Honduras: Alias New Jacaranda. This is used as an alternative for Jacaranda for side and back. It is a bit heavier and superior in endurance with high elasticity. Clear-cut sounds are characteristic. It is sometimes difficult to distinguish in vein from real Jacaranda.

Walnut (juglandaceous), America, east Canada: Similar thick and warm tones to those of Mahogany. Rare curly vein are invaluable.

Hawaiian Koa (fabaceae), Hawaiian Islands: This has been applied for bodies of ukulele and Hawaiian guitar over ages. Now, this became a typical wood for guitar production. Crisp and clear-cut sounds are characteristic with abundant color variations. Among others, curly Koa is highly favored for its beauty and scarcity.

Bigleaf Maple, Pacific side of North American, Canada: A big leaf is designed in the Canadian national flag. Few Imbricate veins called “quilted” or curly wood. These are favored for clear-cut sounds and beautiful outlook.

German Maple, Germany: Its harness is between Bigleaf Maple and Rock Maple. This has been used for high-end violin and guitar for its superior vibrational property over ages. Pure white and curly patterns are favored by many guitar fans. Direct import from Germany. (Only selectable in custom shop)

Ebony, Southeast Asia: Used for fretboad and bridge. High quality one is dead black and hardest. Glossy by polishing. This is more endurable than Rosewood so used for high-end products.

Coral Rosewood (fabaceae), Southeast Asia: Used for side and back parts as an alternative for almost unavailable Jacaranda. Elastic and clear-cut sounds are characteristic. As for its unique and marvelous irregular veins, it is sometimes difficult to distinguish from authentic Jacaranda.

Handmade by K. Yairi

 

 

Handmade Guitars from the Mountains of Kani-

The most unique guitar factory in the world lies in Kani, a small community high in the mountains of Honshu, Japan.  Mr. Kazuo Yairi, who owns the company, has carefully chosen the finest craftsmen whose skill, knowledge and pride in their work is reflected in the guitars they produce.

There is a dormitory for younger workers, and Mrs. Yairi prepares meals for them.  In the morning everyone meets for exercises to prepare for the day.

Within the factory compound, a sawmill, also owned by Mr. Yairi, processes whole logs to his exacting specifications.  This keeps material costs down and gives him complete control over the best grades of lumber.  Mr. Yairi obtains this lumber from all over the world and usually keeps a ten year supply available to avoid shortages or shipping problems.

Kazuo Yairi learned to make violins and guitars from his Father, Giichi, who achieved international recognition for making fine instruments.  Kazuo earned a reputation as a luthier of unusual talent at an early age, following in the footsteps of his Father.

In the early 1950′s, he started his own company to produce fine handmade gutiars in larger quantities.  His company produces classic and steel string dreadnought guitars.  There are no compromises in the production of Alvarez Yairi guitars.  Each instrument reflects the extreme pride, skill and craftsmanship that Mr. Yairi’s devoted workers provide.

Each has a distinct beauty and quality of sound that is rarely achieved by the machine produced factory guitars commonly found in the market today.

 

 

The tradition of making fine musical instruments in the Yairi family,
began in the late 1920′s.  Kazuo Yairi’s Father, Giichi, was an
apprentice in the Suzuki violin company in Nagoya, Japan. 
After many years he became a master luthier in the Suzuki workshop.  He
left Suzuki in 1929 and soon was producing violins, and then guitars, in
his own workshop.  He worked for himself, earning a reputation for
creating exceptional violins and guitars for concert musicians.
Kazuo Yairi and his three brothers were exposed at an early age to the
art of making fine musical instruments.  From early childhood, Kazuo
Yairi developed a keen interest in guitar building, especially concert
classic guitars.  This interest was heighened by the frequent visits to
the Yairi home by Masao Sasaki, one of Japan’s foremost classic guitar
players.  The virtuosity of Sasaki coupled with the teaching of Kazuo’s
Father provided the real impetus for Kazuo to become a guitar luthier. 
At eighteen, Kazuo Yairi started his own workshop devoted exclusively to
building classic guitars.  He was later joined by his three younger
brothers who still work with him at the Yairi Factory in Gifu, Japan.
Mr. Kazuo Yairi has many craftsmen plus his brothers who work with him
making Renaissance lutes, vihuelas, classic and dreadnought steel string
guitars.

Send e-mail to yairi_luvr@comcast.net if interested.

thank you

yl

New S. Yairi data (catalog)

Recently found a rare mid 1970′s S. Yairi catalog that includes some of his CLASSICAL models! This is a first for me, I’ve seen quite a few catalogs and ads for the 1970′s and 1980′s and this is the first one that listed any Classical models.
 
Will have to post back in regards to details, as the (surprise) catalog is in Japanese… and, so I need to first find someone that will translate it for me.
 
Check back later to see if I’ve added data on this.
 
yl
 

Here are the classicals, data is in Japanese, but I will try to add the translation soon.

Sadao Yairi 1975 Catalog page for his SY classical models

SY classical models

"You play for hours and hours.  And, it sounds like you’re just messing around, you know.  But you’re really searching.  Waiting for that moment when you make a connection to something that brings your music to a new level." 
Jerry Garcia   1994 Alvarez Yairi Catalog.
 
"When you find something you’re really good at- that’s a tremendous moment in your life.  Sort of gives you a purpose and sense of inner peace.  Working with folks at Alvarez has allowed me the opportunity to design a guitar that is truly unique in design and character." 
Bob Weir  1994 Alvarez Yairi Catalog.

 

EMPEROR DATING CODE

When was my Yairi made?

By reading the number stamped on the heel block of your Yairi, you can tell in which year it was made. The first two numbers correspond to the year of the Emperor of Japan at that time. (See chart below.) The second two numbers refer to the month of production.

A.D.

Emperor

Year


1970

Showa

45

1971

46

1972

47

1973

48

1974

49

1975

50

1976

51

1977

52

1978

53

1979

54

1980

55

1981

56

1982

57

1983

58

1984

59

1985

60

1986

61

1987

62

1988

63

1989

Heisa

1

1990

2

1991

3

1992

4

1993

5

1994

6

1995

7

1996

8

1997

9

1998

10

1999

11

2000

12

End of Emperor Date Code

2001

01

2002

02

2003

03

2004

04

2005

05

etc.


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