TAKAMINE 1970-1973 F360 VIntage Acoustic Guitar w/LR Baggs M1 Pickup & Hard Case - Used
Made in 1970-1973 by Takamine Japan. Rare & Vintage & Collectable. LR Baggs M1 Acoustic Soundhole Pickup installed. Hard Case included.
SPECS
Top: Spruce
Back: Rosewood
Sides: Rosewood
Finger Board: Rosewood
Electronics: LR Baggs M1 Acoustic Soundhole Pickup
Case: Hard Case
History of Takamine Guitars - The Lawsuit Era
“Mass Hirade was an exceptional luthier, who was also a very charismatic and visionary businessman,” says Tom Watters, director of sales and product manager, Takamine Guitars at ESP Guitar Co. “He helped Takamine build better guitars, and then expanded its business way beyond the small shop that it was during the early 1960s. It was rare and beneficial to have such a good combination of art and commerce in a leader.”
One of Hirade’s first projects was to design concert-level classical guitars, as opposed to the company’s previous folk-instrument offerings. But in a more daring move, Hirade set his sights on the international market, which was dominated by steel-string guitars, and by the early 1970s Takamine was offering flattops in the mold of American classics by Martin and Guild.
“Takamine hit the international market at a great time. Competition was great, but perhaps stagnant in the U.S., and Takamine provided a great product at a great price that truly did the job. With the help of artists that adopted the instruments as essential tools, Takamine set about developing a stronger, more individual identity that it continues with today,” Watters says.
As an interesting footnote, Takamine’s use of Martin’s trademark headstock design led Martin to send a cease-and-desist letter. Takamine steel-strings with squared-off headstocks are known as “lawsuit guitars,” even though there was never any litigation. To distance its guitars from Martin and other American makers, Takamine modified certain details on its steel-strings. It borrowed a pointy headstock shape from the luthier Lloyd Baggs, who would become better known for his LR Baggs electronics; adopted an asymmetric neck shape out of ergonomic concerns; and split the bridge saddle, with the bottom four strings on one segment and the top two on the other, for improved intonation. These specs remain standard on Takamine’s steel-strings.
SPECS
Top: Spruce
Back: Rosewood
Sides: Rosewood
Finger Board: Rosewood
Electronics: LR Baggs M1 Acoustic Soundhole Pickup
Case: Hard Case
History of Takamine Guitars - The Lawsuit Era
“Mass Hirade was an exceptional luthier, who was also a very charismatic and visionary businessman,” says Tom Watters, director of sales and product manager, Takamine Guitars at ESP Guitar Co. “He helped Takamine build better guitars, and then expanded its business way beyond the small shop that it was during the early 1960s. It was rare and beneficial to have such a good combination of art and commerce in a leader.”
One of Hirade’s first projects was to design concert-level classical guitars, as opposed to the company’s previous folk-instrument offerings. But in a more daring move, Hirade set his sights on the international market, which was dominated by steel-string guitars, and by the early 1970s Takamine was offering flattops in the mold of American classics by Martin and Guild.
“Takamine hit the international market at a great time. Competition was great, but perhaps stagnant in the U.S., and Takamine provided a great product at a great price that truly did the job. With the help of artists that adopted the instruments as essential tools, Takamine set about developing a stronger, more individual identity that it continues with today,” Watters says.
As an interesting footnote, Takamine’s use of Martin’s trademark headstock design led Martin to send a cease-and-desist letter. Takamine steel-strings with squared-off headstocks are known as “lawsuit guitars,” even though there was never any litigation. To distance its guitars from Martin and other American makers, Takamine modified certain details on its steel-strings. It borrowed a pointy headstock shape from the luthier Lloyd Baggs, who would become better known for his LR Baggs electronics; adopted an asymmetric neck shape out of ergonomic concerns; and split the bridge saddle, with the bottom four strings on one segment and the top two on the other, for improved intonation. These specs remain standard on Takamine’s steel-strings.
