Post by Mark & Steven Bornfeld DDSI'm sure someone will answer. I don't remember who it was
(perhaps John Golden) who loves Kohno's guitars. I've played a >
couple > of old ones and was very > impressed myself.
The only answer that really makes sense is that something is
worth a lot if someone is willing to pay a lot for it. How else to
explain that Superman #1 comic book is "worth" tens of thousands of
dollars?
Steve
Yes sir, It wuz I.
My Kohno is a 1975 Model 10 with Cedar Soundboard and Indian Rosewood
Back & Sides, Ebony Fingerboard, Brazilian Rosewood Bridge, rather
fancy Gotoh gold-plated tuning machines, and the beautiful Kohno
Rosette. I just purchased it three months ago and I'm very happy
with it.
In my opinion, both the sound and the looks of my Kohno are Stunning.
I like Kohno guitars very much. I consider them to be absolutely
top-level professional guitars.
Kohno's are the Cadillac's of Japanese classical guitars. Very fine
guitars, with deep basses, brilliant trebles, and a reputation for
being among the most consistent and reliable guitars. Masaru Kohno
was a serious guy. Until recently, I never saw a photo of him
smiling.
All of Mr. Kohno's guitars, including mine, are also finished on the
inside. Twenty-nine years old, but my Kohno is still in wonderful
condition with no cracks.
Mr. Kohno also always inlaid two longitudinal ebony longitudinal
support struts inlaid into the neck for greater stability. Twenty-
nine years old, but my Kohno's neck is still "straight as an arrow."
Mr. Kohno's guitars have been played by a number of famous artists,
and his guitars have a reputation for durability and reliability
second to none. Perhaps the extra pains Mr. Kohno went to (finishing
the inside and installing two ebony supports in the neck) are part of
the reason.
In order to understand Kohno model numbers, you should know that
Japanese guitar manufacturers, including Kohno, are all reluctant to
raise prices on existing models and therefore, over time, they trim
features on existing models and establish new so-called higher line
models as a marketing strategy.
Like all Japanese companies, Model numbers kept changing. In the
early 1970's, the Model 20 or 30 was probably the top of the line.
By December, 1998, when Mr. Kohno died, the Models 50 & 80 were the
top models. However, all model Kohno's of a given vintage have
identical bracing--the difference is in wood selection and trim.
The trim on the Model 80 made it look like the "pimpmobile" model.
But I'm just trying to be facetious--Kohno's are very fine,
absolutely professional level guitars. Considered to be the most
desirable Japanese classical guitars. Perhaps lacking the ultimate
"snob appeal," but, in my opinion, that's at least partly because of
prejudice against the Japanese.
From my limited experience, I'd say that the Tonewoods and the Build
Year Define the sound, i. e., all the Models were built with the same
Bracing and the same Craftsmanship. The only exception might be the
very lowest line Models of most recent vintage.....since their
description doesn't say "Solid" Back and Sides, I assume they are
Laminated (Plywood).
However, over the years, the sound of Kohno's changed, IMO.....later
Model Years had a "Brighter" Treble Sound. The "bright" sound is now
very fashionable and is the sound that I believe most classical
guitarists currently prefer. The Basses on all Kohno's that I've
tried have been Awesome.
Most of the older Kohno's have a 660 mm Scale Length. However, many
of the later-model Kohno's have the 650 mm Scale Length that's now
very popular. I prefer the longer Scale Length, and, perhaps I'm
imagining it, but I think the longer scale length guitars are more
resonant.
Some Kohno classical guitars have Mr. Kohno's signature on the label
and some don't (mine doesn't). Of course, the fancier models (Model
50 and 80) all seem to have it. But I've seen some Model 20's with
his signature and some without...also some Model 30's with and some
without. I've even seen some of the old Model 10's and Model 6's
with his signature.
I feel that Kohno's are undervalued in today's market and I cannot
really explain the reasons. I would just advise people looking for
an absolutely top-level professional guitar to take advantage of it.
Regards,
John E. Golden