Arai AC 50 Classical Concert Guitar

$500.0 Buy It Now or Best Offer
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Seller Store tyeager53
(3683) 100%,

Location: Indianapolis, Indiana
Ships to: US,
Item: 226385999232

All returns accepted:ReturnsNotAccepted
Aria:Aria
Handedness:Right-Handed
Type:Classical Guitar
Body Type:Standard
Body Material:Rosewood
String Configuration:6 String
Body Color:Brown
Arai AC 50:Arai AC 50
Number of Frets:19

This guitar is in very good condition. The case the case has a few scuffs, but is very solid. I believe the back and sides are made Brazilian rosewood. The dots are special purpose stickers i bought on Amazon. They will come off easily if you want to. Stolen from expired Reverb listing: Aria AC-50 This guitar was made in sometime around 1969/70 by Masaru Matano. Since the origination of his ARAI & CO. INC in 1956, Shiro Arai was cooperating with several classical guitar makers. During late 1960s and early 1970s Aria classical guitars were made either by Ryoji Matsuokas workshop (Ramirez style headstocks, 650mm scale) or Masaru Matanos workshop (original Aria headstocks, 658mm scale). Although this guitar has 650mm scale, it was certainly made at Masaru Matanos workshop. AC50 was the highest model in Arias classical guitar lineup of that era. Regardless of which workshop they were made at (Matsuokas and Matanos) Arias AC50 had double sides and double backs. Such construction greatly reduces the effect of sound dumping caused by the body of the player. It all leads to great volume and extra richness of every individual note. The same construction guitars made by Jose Ramirez in 1960s were sold at prices equal to todays $10000. When you experience this guitar, you will know that it can easily compete with many brand new $10000 guitars currently sold in USA. It certainly deserves to be called Grand Concert Guitar. It is very powerful instrument. It is certainly as powerful as old Ramirez 1A guitars. This Aria AC50 however has far better overall tonality, note clarity and separation. Its basses are very deep but clean, somewhat metallic. Its trebles are fat but sweet and very clear. Unlike in case of Ramirez 1A guitar, basses of this Aria dont overpower its trebles. Finally, with its current action this Aria is simply far easier to play than Ramirez 1A guitars. Despite its age this Aria SA-50 guitar remains in excellent structural and functional condition. Its only flaws are of cosmetic nature. Its back and top have been refinished, most likely with shellac. This shellac applied on the top didnt mix well with original finish and as result the top looks very matte. It is very difficult to photograph such surfaces. In regular light back and sides are darker, while its top is more reddish/brown. This refinish of top was certainly associated with removal of some dents and scratches. Original finish left on guitars sides is quite cloudy. Besides that, one can find some other very minor cosmetic imperfections. Original tuners work OK, but you can replace them if you wish. This guitar being priced 50 000 yen in 1970, was quite expensive. The yearly starting salary of Japanese college graduate was 39 200 yen. Just like all Aria guitars, this one was way underpriced. It sounds better than many much higher priced guitars made by leading Japanese luthiers of that era. It is simply an amazing instrument. It is one of those hard to put down guitars. I cant imagine the player who wouldnt be happy playing this gorgeous instrument. SPECIFICATIONS: Top: High Grade Solid Cedar Double Back: 2 plates of Brazilian Rosewood Laminates not glued together Double Sides: external plate Brazilian Rosewood laminate, internal plate: solid Brazilian Rosewood Neck: Mahogany Fingerboard: Ebony With at the nut: 52 mm Scale: 650 mm Action is set to 3.5 mm under E6 and 3.00 mm under E1 with practically no extra room on the saddle. This guitar will be shipped in used hard case in still usable condition, although of minimal value. Real Value of Japanese Vintage Guitars The key to understand value of vintage Japanese guitars is to acknowledge galloping devaluation of Japanese yen in 1960s & 1970s. This devaluation was somewhat slower in 1980s. The best measure of this devaluation is Starting Yearly Salary of Japanese College Graduate (SYSJCG). SYSJCG in 1965 was 19 600 yen, in 1969 34 600 yen, in 1970 39 200 yen, in 1972 62 300 yen, in 1975 79 200 yen, in 1977 86 200 and in 1980 – 123 000 yen. During 1960s and most of 1970s model numbers of Japanese guitars were strictly interconnected with their prices in Japanese yen. In late 1970s and during following decades model numbers were no longer strictly associated with their prices. Many Japanese guitar makers introduced model names instead of model numbers. Others were still using model numbers with addition of letter abbreviations or other symbols. The best and only logical approach while evaluating real value (real grade) of vintage Japanese guitar is to compare its price in Japanese yen with SYSJCG during the year guitar was made. Any guitar priced 100 000 in 1970 (labelled usually as No10) would be priced 200 000 yen in 1975 (relabeled to No20 or 2000), 300 000 yen in 1977 (labelled as No3, No30 or 3000). Starting in 1977 Masaru Kohno introduced his new models No40 priced 400 000 yen and No50 priced 500 000 yen. By 1984 Kohno started using model names instead numbers and was raising their prices as he was pleased. Model 50 became model Maestro, model 40 became model Special, model 30 became model Professional-J. Naturally other Master luthiers were doing the same name/price changes. 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 1976. Kohno No40 made in 1982 is exactly the same grade instruments as Kohno No15 made in 1972 or Kohno No20 made in 1975. It is very important to mention that if modern era luthiers are using 40 years old woods to make a classical guitar, its price is at least $8000. History of Aria Guitars One day, a friend came to visit Shiro’s apartment with a guitar. Shiro was expecting to hear Koga-type Japanese popular music, but instead his friend started to play a piece by Bach. From this moment, he had been inspired by the sound of this instrument forever. The very next day, Shiro bought his first guitar, costing over two months salary and began to teach himself to play. Now playing day and night, his passion for the guitar brought him to a famous classical guitar master in Nagoya, and soon became one of his students. Shiro started work for a trading company in 1947, aged 17. In 1953, Shiro and two of his colleagues resigned their positions and founded their own trading firm. After the fledgling company failed after just one year, Shiro found himself homeless with nothing but his guitar. In order to live and settle the outstanding debts from this first business he started to teach the guitar. In 1954 unable to buy guitars, music and strings in Japan’s music stores, Shiro started to import classical guitars, Augustine guitar strings, and musical scores for himself and his students. These were the first classical guitars imported into post-war Japan and included instruments from renowned makers Jose Ramirez and Hermann Hauser. Recognizing an increasing demand for guitars from friends and players throughout Japan, Shiro grasped the opportunity to start his own business. On August 2nd, 1956, ARAI & CO., INC was founded. At this time, although demand for classical guitars and accessories were increasing, it was still comparatively low and business was supplemented with other products including woolen material. The name, “ARIA”, which means expressive melody, was first used in 1958 when Arai exported Japanese built classical guitars fitted with steel strings to South East Asia in 1963. Also the letters of his name “ARAI” were just switched around to “ARIA as he recalled. Shiro embarked on a tour of the US with two of the best Japanese KOHNO guitars. At that time Japanese guitars had a poor reputation for developing body cracks and warped necks after being exposed to drier conditions abroad. It was Shiro’s intention to prove how good Japanese guitars were by performing and showing to fellow guitarists, teachers and music shops. After two months these guitars also started to crack. Even the best available Kohno guitars faced the same problem. Shiro took these cracked guitars back to Japan to show their makers just how vital it is to use properly seasoned tone woods. This trip gave Shiro the experience and knowledge to improve the quality of guitars and export Japanese guitars worldwide. It was as early as the late 50’s when Arai started to import Fender guitars and amplifiers from the US, although at that time the Japanese market was not quite ready for the electric guitar! With the advent of rock n’ roll demand for electric guitars took-off. Arai released its first ARIA brand electric guitars in 1963. Exporting to the US followed with models including the 1532T and 1802T. To counter the decline of the solid body electric guitar boom, Arai released the Aria Diamond series hollow body semi-acoustic guitars. Aria Diamond was named after the imitation diamond inlayed into the headstock. This series lead to the release of the 1202 and 1302 models in 1966 and caused nothing short of a sensation in Japan. From 1967 Aria added a variety of models including the solid body 1962T, R-320, and violin shaped 12-string and bass guitars, and a full acoustic guitar, the 1262. In 1975, Aria Pro II was developed from Aria’s custom shop making high-end models for professional users. In 1976, Aria Pro II released its first original model, the PE-1500. PE (Prototype Line) is a classic Aria design, also known as the legendary masterpiece, it featured an arched top, and all maple carved body with Aria’s original “heel-less neck and DiMarzio Super Distortion Humbucking Pickups. Primarily designed for tone and playability, the PE series has been modified to match today’s trends while keeping its original features and timeless design. In 1978, Aria Pro II released another long-selling model, the SB-1000. The SB-1000 was highly regarded throughout the world and came to represent everything that was good about Aria and Japanese guitar building. Featuring a Canadian Ash body with neck through body and, to enhance playability, a heel-less neck. For its original tone, SB featured the Aria original BB circuit. Its exotic see-through finish and the eye position marks make the SB amongst the most distinctive basses ever made. Aria Pro II led the way with the 80’s shift to Hard Rock and Heavy Metal. Releasing many models such as XX, ZZ and U-1. Whilst not abandoning their routes also re-established the semi-acoustic guitar models, FA and TA. The 80s, also saw the introduction of the famous IGB (SB INTEGRA) bass series. In the early 1990s, after the heavy metal rush, Aria Pro II released one of its favorite original models, the MA series to reinforce the PE and SB line-ups. MA series bodies are constructed with innovative crystal shaped carved top and back. Continuing its remarkable progress, Aria released the very unique concept of the SWB (electric upright bass) series to the world in 1992. The SWB range offers compact modern design and features the Fishman custom bridge Piezo pickup and active tone circuit. Aria has been at the forefront of guitar and Japanese guitar building excellence for 50 years, which means a wealth of experience and acquired expertise. The core value remains the same today, to constantly strive to achieve a higher level.

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