We decide the thickness depending on the quality of wood. That is why we can keep our original sound. Body is a resonant box. Braces are not only for stay but directly affecting frequency. Braces are also processed slowly on condition. In order to pursue high quality sound, coating should be thinner. Each cell is patiently filled up with the original Yairi wedge method.
We repeat examining the work from body to tail end pin. Neck joins with the body by the dovetail groove. The work is examined by a factory head. Then basecoating and drying. Frets are embedded in the exact neck. Finishing is a thinner lacquer coating. Thick coating spoils the tone. Bridge that holds freqencies is a particular part. A finished work is finally examined by Sadao Yairi. When S. Yairi is engraved in the head, the work come to the world as alive guitar.Sadao Yairi
We produce real handmade guitars so can’t produce many. Would you like to make your own original guitar?
About the delicate adjustment for the neck. When strung right, of course depending on gauge, approx. 60 – 70 kgs are stressed on the neck. Though an adjuster can balance, if too tight, the neck becomes bent back and cause for scuffing.
The neck looks better a bit bent front. String height at 14F on 6th string might be 3 – 3.5 mm, and the same position on 1st string 2 – 2.5 mm. If lower, we replace the saddle. If higher, we grind it down. When we change strings, sometimes hear tonal discrepancies.
In such a case, we grind the surface of the saddle to make it smooth. In general, the touching point between strings and the saddle is set just on the middle. By grinding this part minutely, we can adjust harmonics too.Kazuo Yairi
Yairi luthiers say that as they acuire expertise, they use many more tools. The more tools the better they finish even a smallest part. This straightness is the solid foundation to produce perfect Yairi products. Yairi luthiers give birth to their child by dint of using approximately 50 different tools. For instance, when they cut out a part of brace, they use a tiny 4-cm sized plane with maximum care.
These tools are produced by themselves. They achieve their own expertise until they exhaust 5 to 6 commercial tools. These are handmade tools materialized over 20 years of their wisdom and hunch. In order to produce perfect beauty and tones, Yairi luthiers examine, design, and produce their own tools. Behind Yairi guitar, there are superb handmade tools. And, of all the tools, luthier’s hands are finest tool. They choose, examine, and finish materials based on hardness, and dryness. They bear in mind that an instant carelessness spoils his work. Their hand craftsmanship turns into wonderful tools.
For instance, a delicate roundness of a neck is achieved not by machine but by their expertise. In the brace production, well experienced luthier selects best material and process one by one, in four processes. They pay incredible pains and time consuming work. This is the remarkable advantage to Yairi’s craftsmanship.Craftsmenship
We wish to fill music hearts full of love! S. Yairi
To produce an instrument means to work through human spirits. We, at S. Yairi have taken that approach. Craftsman’s affection finishes Yairi’s unique clear and warm sounds.
One guitar is to be produced by one craftsman.
S. Yairi started by a man who was fascinated with guitar. "Machine can produce parts as such. Nevertheless, quality of woods or weather changes affects shaping. Machine can’t do that." Such a stubborn confidence marks S Yairi. This approach hasn’t been lost over the years. One guitar is to be produced by a craftsman who loves guitar from the selection of materials to the finishing.
S. Yairi believes that we produce guitars favored by professionals.
A finished work is marked with the Yairi label, only after a complete examination on tones, balance, and finishing. We never compromise in our love for instruments. This is the reason that professional players trust and love professional guitar artisans.
S. Yairi warrants their products unlimitedly.
Guitar seasons and matures, tones and balance as we play on. S. Yairi create with a lifelong guitar in mind. That should be an elaborately produced one. Our brand S. Yairi is only granted for those products. S. Yairi certifies unlimited warranty.
A guitar is a delicate instrument. It IS natural then, that the more delicate it stands, the more beautiful it sings. S. Yairi follows. You should maintain your instrument daily. When you don’t play except for many months, you don’t have to loosen strings. Stringing up and down affects reversely to the neck. You wipe the surface with a piece of cotton cloth and polish once a week with a particular wax. Solvent, namely, thinner, alcohol, benzene, sometimes do harm to the coating. This spoils not only its aspects but also the balance of dampness.
Care for dampness
Guitar production starts from the selection of materials. Strictly selected woods are left in the open air for approximately 3 years and then dried artificially to purge dampness. A tiny amount of moisture in woods chokes off the sound vibration. Therefore, please store your instrument in an airy dry place. Keep away from direct sunshine. You may put a drying agent or wet towel vice versa. Play everyday. It is most important to purge off any dampness in the woods. This is the knack of seasoning your instrument.Process and Care
S. Yairi instruments have enjoyed undisputed recognition as Japan’s finest since 1932. Sada(o) Yairi placed special emphasis on wood selection, hand construction, and hand-lacquering in order to create master instruments of matchless beauty and tone
I will dedicate my life to the Guitar-both classical and Steel String. My guitar will be my calling card in all lands I do not understand it, but so it must be.
SADA YAIRI, Spring of 1932 at the age of 25
SADA YAIRI instruments have enjoyed undisputed recognition as Japan’s finest guitars since 1932 – the name "S.YAIRI" has been the most revered name for master quality, hand-made instruments in Japan for decades.
SADA YAIRI’s classical and steel string guitars are found in serious guitar studies the world over and master Yairi has gained worldwide acceptance as a guitar maker of uncommon brilliance.
With the help of his son, Hiroshi Yairi, and a small staff of master luthiers, Sada continues his life work of producing instruments that will be passed on and cherished through the generations.
SADA YAIRI instruments are priced from $ 280.00 and up, and offer a choice of mahogany, maple, rosewood and Jacaranda backs and sides – All with solid spruce tops.
Sadao Yairi was born in 1908.
In 1923 he entered the employment of Suzuki Violin Mfg., Co., Ltd. He worked there making violins until 1932 when he left to start his own business. In 1935 his son Hiroshi was born, and this was the milestone in his life to become independent.
He rented two buildings, lived in one and the other became his first guitar "factory". He made only flat top steel string guitars at this time.
In 1940 he saw one foreign made "gut" guitar and heard the sound it made and was completely fascinated with it. "This is a real guitar" and he began to study the gut guitar. "I wanted to made guitars as good as the foreign ones, but in those days I did not have the money to buy the machines." "It was also difficult to control the materials." Sadao Yairi spent most of his spare time towards this "new" guitar, working day and night.
Yairi Gakki was successful and had reached the peak during the early 1940’s. He had 7 workmen and the monthly produciton of guitars were around 100. The situation did not continue due to the war in Japan,Yairi Gakki had been completely shut down and all the equipment and workers ended up working for Kasuga Gakki Mfg. Co. in Kaizugun, Gifu.
At wars end in 1945, Sadao left the Kasuga factory, and once again started out on his own. Starting from scratch it took him 5 years to get back on his feet. New workmen and tools were brought in, but they had no experience in making guitars, so he had to TRAIN them first. It was frustrating for him, in that it was easier for him to make the guitars himself than train the new workers.
Once again he concentrated on steel string flat top guitars, slowly adding in the new "gut" guitars. By 1960 production of gut guitars had increased and made up half of the total production. Only in 1965 the production of gut guitars had made it into the main line. Monthly production reached 500 guitars and the factory was at full capacity.
…. to be continued….