O-hisashiburi

It has been a long Corona year, and there really is no good reason to stop posting guitar photos and occasional thoughts about all things related to Japanese instruments. Today I'm just going to add a few photos of some amazing Grecos. 

A rare pair of EGF-1800 Super Real Grecos

EG57-60 from 1982

52 Blackguard-style TL-800

The one that should have stayed: 1981 Greco SS-800

Lighting and Wood: Tokai LS-80

Old Tokai LS-80s are a real pleasure to play and photograph. This particular one is an early one from 1978 with mother of pearl fretboard inlays and chrome plated hardware.

It was a sunny winter day here in Tokyo with the sun coming in hard through the windows. The top of the LS really caught flame and revealed the fine figuring of the old maple.   

A very clean headstock with the early pearloid tuning pegs.

A more subdued look in the shade.

Not your typical back grain here on the 1-piece mahogany.

Get your Ace Frehley on! Greco EG-600PR

Ace Frehley and Kiss have been big in Japan since the 70s and still make waves today. The current Ace-less KISS incarnation just finished played the Japan shows on their latest farewell tour.

Back in the 70's when Gibson's glory days were behind it and Japanese guitar makers were building on years of experience to produce excellent handmade Gibson models even Ace had to see what all the fuss was about. There are photos of him playing the Mick Ralphs model and a special AK-1400 flying V model during live shows in Japan.

Ace with Greco AK-1400 Flying V model -  Key Music Limited

Ace with a 1977 Greco MR-1000

There have been many Greco homages to Ace's famous three-pickup "Budokan" 1974 Gibson Custom over the years starting in the mid 70's with a few Greco models. I just acquired the very clean 1981 EG600PR below from everyone's favorite music store Ishibashi. It is a fairly light one at 4.2 kg and has a nicely matched 3-piece top. The U-1000 pickups are ceramic and work very nicely as open pickups. While the 1980 Super Real catalog has this model listed as having an ebony fretboard ("エボニー") it does not, and I've never seen one that does from the Super Real era and I'm pretty sure that was an unfortunate error in producing the catalog. I'd love to get am EG800PR which has an ebony fretboard and MOP inlays but they are fairly rare. 

Why do those Dry Zs sound so good? - About those Super Real Pots

Greco Super Real Custom 1980 with split block inlays

I admit it. I did something bad with my 1980 Greco Custom. I sold the Dry-Z pickups and replaced them with some PU-2 pickups. DRY-Zs are the bees knees but PU-2s are dear to my heart as well and I guess needed the money that the sale brought in.

So out came the Z's and in went the PU-2s. Sounded great, if lacking the upper mid bite of the Zs. Then I got to thinking why not replace the stock Greco volume and tone pots with 500k pots and wire it 50's style. You are probably thinking "why?" at this point since of course the Super Real guitars had 500k pots like the old Gibsons.  But did they?

Bye bye Zs, hello PU-2

For some reason Kanda Shokai went with the odd combo of 300k volume and 100k tone pots for the Super Real series. As far as I have seen this was the way it was until late 1981.

The catalog says the 300k volume pots "have a smooth volume change" while preserving the highs and the 100k tone pots "give a sharp tone change." My experience is that they definitely do give a sharp change from having a nice balanced high end at 10 to pretty much no hi-end at 8.

For all the mystique of DRY-Zs and how they sound so good, please remember that if you are listening to them through 300k volume and 100k tone pots on "10" it is more or less equivalent to a 500k volume pot at 8.5 and a tone control on 6.5. That is a sweet spot for some nice tones on an LP and the DRY-Z works well in that zone. Change the pots to 500k all around and it opens up some nice tonal areas for the neck and bridge and also gives a bit more output on the volume.

From 1980 Catalog

Just in case you came this far and still need some more proof, here are some pot-shots for you with meter readings....

Tone measuring in at 90.3K fully open

Volume measuring in at 331K fully open

Tone pot: Here the leading "1" means 100K

Volume pot: Here the leading "3" means 300K

Deviser (Bacchus, Momose, Headway) Catalog 2003

Here is a link to a PDF of the 2003 Deviser Catalog. It has the Vintage Series Fender and Gibson copies. I don't know of any other links to older or newer catalogs.

Thirty-six MIJ Guitars

Back at the old place in Aoyama the sun came through the window just right to take pictures of guitars on the wall hanger. Here are 36 Japanese made guitars from Greco, Tokai, Burny, Bacchus, Epiphone, Edwards (yes, an MIJ in there!), Orville by Gibson, Navigator (ESP) and a very rare Bison Golden Era reissue. I wish I had kept a few of these but they all have since passed on to new owners. 

And yes, I know I should have kept that Greco SG-800 Custom in cream.