This is a 1980 F360S Takamine copy of the Martin D28
though critical viewers will conclude that the binding
alongside the neck doesn't belong there. And of course
there are more differences. Rosewood fingerboard and
an ebonized rosewood bridge. Interesting to read my ideas
upon the recently reintroduced Takamine EF360GF.
At the end of this story. Glenn Frey used this model
partly because of the less pronounced lower end as
say compared to a Martin D28. It has very clear soun-
ding low mids to highs. Also the recently produced
guitars produce these sounds.
Anyway nice woodwork from this Japanese manufacturer.
The prefix "S" stands for a solid soundboard. A must to
my believe. Sides and back are laminated but rosewood
on rosewood and keep in mind that even the concert in-
struments from a luthier as Jose Ramirez have laminated
sides as it simply gives a more stable result.
The tuners on this guitar are a bit of a copy from the
Grovers mounted on a genuine Martin. But the 1:18
ratio as opposed to the 1:12 ratio the Grovers have,
makes tuning easier.
The fretwork on this one needed to be replaced. This
guitar has been played a lot and the damage to the
fingerboard still is a witness of that.
A nice neck and good construction details are present
on these guitars. Inner woodwork is very neatly done.
Besides the truss rod, Takamine adds two maple strips
on each side of the truss rod where the neck joints the
body. This prevents a necessary neck reset during the
lifetime of a Takamine guitar. This construction makes
the whole Neck to body area more sturdy.
Not a too high bridge which results in a loud and vibrant
guitar though the deeper frquencies are not present the
way they are on a genuine Martin. The sound with
the pick up mounted gives more than enough low end!
Funny enough Takamine still uses the same under saddle
pick up construction as it still sounds very natural up
to these days. Not just one strip for all strings but 6
individual pieces for each string. The electrified
sound was what made this guitar so remarkable for
me and probably for Glenn Frey (Eagles) as well.
And even in stamping their guitars they copied Martin.
In fact this guitar has been recently reintroduced as Glenn
Frey played this model in the "he" days of the Eagles. The
model has been upgraded a bit and is a Japan produced
instrument under the type number: EF360GF. The sound
examples are already on the Thomann site and I must
say, the sound is very similar to the guitar here above.
Differences are there as the newer Takamine has no
Martin shaped head and apparently solid rosewood
sides and back. The Takamine guitar Glenn Frey picked
up in the eighties had laminated sides and back.The
sound with the pick up stays close to the non amplified
sound. On my Takamine the pick up sound has much
richer lows. Not always an advantage but very nice
to listen to in this case! Check for more information
around their construction the Takamine factory tour
on YouTube where you see very skilled workmen.
Terada FW 504
This Japanese company is still in business but not under
their own brandname. At present they are producing
the Gretch guitars among others. This fine example of
the mid seventies (1974) is based upon the Gibson
Dove model. Even the adjustable bridge has been
carefully copied but the doves are gone and probably
never were there....
The back is a stunning piece of woodwork: Though not solid
it really has an attractive look. One must remember that back in
the nineteenth century luthiers often laminated the back of their
instruments at least the french luthiers did.
It had a musical purpose as the inner layer was a
softwood in order to obtain a sweeter voice.
The sides as well as the top are solid.
We must assume the laminating is a cost saving
move on these guitars.
The abalone inlay of the brandname has been done with care
The other inlay isn't, but anyway a Gibson style headstock.
In those times more companies copied the Americain
topmodels, Martin, Fender and Gibson to name a few.
Terada made great copies soundwise. This guitar can be compared
with a genuine Gibson though the inner bracing isn't of topquality.
A bit strange to me is the use of these open tuners.
A sign of some cheapiness but they still work fine.
The numbers used by Terada were 5 digit numbers
being the first digit to be the last of the production
year (seventies) and the second one the model name.
This number can be found stamped on the back
in the upper bout. Guitars to look for!
This number can be found stamped on the back
in the upper bout. Guitars to look for!
Theress Guitar
Recently I obtained this guitar at an auction in England
I was captured by its' sound and the high degree of work-
manship. Already in playable and restored condition.
Opposed to many 19th century guitars the sides and
back haven't been veneered on the inside so solid
pieces of rosewood are used here along with a fine
grained table. The neck has been veneered with
an ebony layer while inlay work is meticulous.
Special attention for these well working tuners as these
can also be found on some Antonio de Torres guitars.
It is no surprise that the builder although French had his
shop in London and was a successor of Jerome Gerard.
Theress also had a shop in Paris so French after all.
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