MADE IN JAPAN 1977 – C.F. MOUNTAIN W500D – SUPERB – D45 STYLE – ACOUSTIC GUITAR

$2000.0 Buy It Now or Best Offer
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Seller Store victork1962
(690) 100%,

Location: Alpharetta, Georgia
Ships to: US,
Item: 205072812266

All returns accepted:ReturnsNotAccepted
Chaki:Chaki
Type:Acoustic Guitar

C.F. Mountain W500D 1977This terrific guitar was made around the year 1977 being the very top model in acoustic guitars line distributed by Weston Music Co. and made by Hayashi Gakki under personal supervision of Master Luthier Yasuo Momose. Hayashi Gakki’s luthiers were making a whole variety of steel string acoustic guitars later sold under different brand names including Mountain Rider, Canyon & Pearl (just to name a few). All these instruments were handmade under the supervision of Master Luthier Mr. Yasuo Momose. Mountain guitars appeared on the market in 1975 and were discontinued soon after Momose’s departure in late 1977. Since 1977 Momose introduced new truss rods design with access to them “hidden” behind sound hole brace. Models made in 1975-1976 had “regular” truss rods with access right underneath the edge of the sound hole. With this Momose’s design the sound hole edges were better protected from accidental damage during truss rod adjustment. By late 1977 Yasuo started his own (soon to become famous) Headway guitars workshop. Headway guitars are made until today and are very highly regarded (and priced) wherever they are distributed. Mr. Momose in Japan has the same high status as Terry Nakamoto (long time headmaster luthier at Yamaha’s Custom Shop). You can read the short chapter about Mr. Momose presented below the posting. The guitar you are looking at, although inspired by Martin blueprints, is more of Momose’s own creation. Soon after you start playing this guitar, you’ll know why Yasuo Momose, and his Headway guitars are so highly regarded in Japan, Europe, Australia, and Asia.This guitar surely deserves “Grand Concert” title. It offers immense volume and superb response. Its sound is deep yet ultra-rich. Basses are deep, rich with overtones but relatively “clean” at the same time. Trebles are steely yet sweet and colorful at the same time. All notes are clear and super well separated. When chords and arpeggios are played guitar releases plenty of overtones and harmonies. All notes are magnified by very impressive sustain. Although originally (1975) priced 50 000 yen by 1977 this model guitar was already priced 80 000 yen, yet still seriously underpriced if compared with similar grade instruments made by Japanese leading makers. It can easily beat most of Japanese models of that era priced 100000yen.In Japan of 1977 one could easily find all solid woods acoustic guitar for 80000 yen (e.g. Yamaki YW80) while solid top model for 50000 yen (e.g. Takamine Elite TW50) or perhaps even less than that. Within 80000-120000 yen price range there were many all solid woods (usually with Indian Rosewood b/s) models and many solid top models made with non-solid Brazilian Rosewood b/s. Many guitars made with non-solid BR b/s were priced higher than many all solid woods models. For the same 100 000 yen price one could chose a guitar made with non-solid BR (e.g. Yamaki F1100, Takamine Elite TW100) or with solid Indian Rosewood b/s (e.g. Matsuoka D100, Sadao Yairi YD305) or even solid BR b/s (e.g. Yamaha FG1000). In general, on Japanese market of that era certain price meant certain grade of the guitar, regardless of its construction. However, some companies (e.g. Weston Music Co.) had to accept less for their terrific instruments. If you wanted to purchase hand made in Japan brand new guitar with the same construction and looks you could possibly find one for $3500. However, if you wanted this guitar to be made from 40+ years old woods and sound like vintage one, you would need to spend at least $5000. It is not very difficult to find out current prices for acoustic guitars hand made in Japan. Despite its age, this guitar survived in excellent condition overall. One could even say “near mint” condition. In fact, it doesn’t show signs of any intensive use. Very likely it was played only occasionally and mostly stored in a safe place. Besides a few tiny marks within the finish on its top, the body of this fine instrument is free from any conspicuous cosmetic flaws. It sure doesn’t have any structural flaws. Visible from a close distance darker line on the soundboard between the bridge and pick guard, is a part of natural grain pattern, not a crack. “Miraculously” its bindings are almost as white as they were originally, while its original Grover tuning keys look like new and work fine. What is normal on such old guitars is that we can feel the edges of the (made of hard plastic) white wedge-shaped center piece placed between the side plates at the bottom of the guitar (where the end pin is mounted). In some places we can also feel the edges of side plates where they meet the purfling. It all doesn’t mean that guitar is about to disintegrate. It only means that guitar was made a several decades ago. Very importantly its neck is straight, fingerboard and frets are all in excellent shape. Specifications:Top: Solid Spruce/ Martin style bracing with non-scalloped braces/ thin coat of lacquerBack & Sides: 3-piece “non-solid” Brazilian Rosewood/urethaneFingerboard: Ebonized RosewoodNeck: MahoganyScale 645 mmWidth at Nut: 43 mmIts action is set to about 2.50 mm under E6 and 2.00 mm under E1 with very little extra room on the saddle.This guitar will be shipped in a brand new Yamaha soft-shell case. IF YOU BUY ANY GUITAR, YOU MUST ANTICIPATE TAKING IT TO YOUR LOCAL GUITAR SHOP FOR FINAL ADJUSTMENTS CALLED “SETUP”. STRING BUZZ DOESN’T MEAN THAT GUITAR IS DEFECTIVE. My posted for sale guitars are stored in climate-controlled vault already packed into shipping boxes, with loosen strings. Because the strings are loosened, they don’t pull the neck or soundboard, and the neck may relax (straighten more) and the soundboard flatten a bit, which may result with the string action being lower than my it was with my original settings and lead to buzzes and/or dead notes after guitar arrives to you. Such a change in neck curvature can also happen just because of vibrations during the shipment and/or temperature fluctuations. Therefore, you must be ready to make final action adjustment yourself and or have it done by professional. All that really needs to be done is the simple neck adjustment by using the truss rod (turning the truss rod counterclockwise will relief the neck and strings will move away from the frets). THAT IS WHY TRUSS RODS ARE INSTALLED IN THE NECKS OF ACOUSTIC GUITARS!!! Yasuo Momose and Headway Guitars StoryBefore starting his own workshop, Mr. Momose was already famous for making very fine acoustic guitars at Hayashi Gakki. Being helped by his business partner Mr. Yatsuka (current CEO of Deviser company, a distributor of Headway guitars) Momose started making Headway guitars in 1977. His guitars rather quickly won great popularity not only in Japan, but also many other countries. Although their construction was based on Martin blueprints, these guitars had their own unique characteristics and soon became a sensation. It seemed that Headway guitars were on the straight path to be highly regarded all over the world. Sadly, in 1983 their workshop and warehouse were destroyed by 2 fires. Mr. Momose lost most of his own design tools, forms, jigs and machinery, as well as lots of materials that were waiting for production. After this huge loss, the company was unable to restart production of acoustic guitars. Instead, they concentrated on making electric guitars, in 1980s branded as Riverhead and 1990s as Bacchus. They were also making many OEM electric guitars for other leading Japanese brands. However, during all these years guitar players kept asking about Headway acoustics. Thanks to contacts with guitar enthusiasts running acoustic guitar forums, Mr. Momose knew that because of their greatness and limited numbers, his Headway guitars became highly sought by players and collectors, even gaining in value. Knowing that and having recovered financially, in 1999 the company was able to re-start production of their steel string acoustics. As of today, Headway acoustics are distributed all over Asia, in Australia and Europe. You can easily find their website, see their models and prices. 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 classes. 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 wood 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.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.

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