Tag: The Fellowship of Acoustics


Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), , Levin LM-26 (1959), Levin Model 174 (1972)
Update: February 15, 2014 with my 3 new Levin guitars. From left to right: Goya Model 163 (1968), Goya T-18 (1966), Levin Model 13 (1950), Levin LT-16 (1966), Levin Model 65 (1942), Levin LM-26 (1959), Levin Model 174 (1972)

I was back in Sweden over the weekend and I was really hoping to extend my Levin collection. I had seen a couple of guitars that I wanted to go and try but in the end I didn’t have time to do anything more than just visit my family, which was the reason why I went back in the first place. I really don’t need any more guitars but since I’m so happy with my Goya T-18 I can’t stop looking for other Levin’s. I actually did manage to extend my collection but not while in Sweden, I won a Levin LM-26 from 1959 on eBay the night before I left Barcelona. It needs quite a bit of work so as soon as it arrives here and I’ll start to fix it up I will post some pictures and write more about it. What I have gathered so far by talking to Levin owners on Swedish forums is that the Sixties ones sound more like old Gibson’s and the Seventies Levin’s are closer to Martin, which makes sense since C.F. Martin & Co bought Levin in 1973. It might all be in my head but I think there is a bit of Gibson sound over my Goya T-18. The three Levin models that I’ve been dreaming of, after the Levin LM-26 but that’s already sorted now, is the stupidly beautiful Levin/Goya M-50, the awesome Levin/Goya 174 and the less impressive looking but supposedly amazing sounding Levin W 32 J. To find a Levin/Goya 174 shouldn’t be too hard, I might actually have already found one that I like. It would be a lot harder to come across a Levin/Goya M-50, I think it will be almost impossible so maybe that’s more of a lifelong Holy Grail project. They were too expensive to produce with all the extra bling, gold machine heads and mother of pearl cloud shaped inlays all over the fretboard so they stopped making them in the early Sixties. The Levin W 32 J is not that rare, they actually produced quite a few but people doesn’t seem to be too inclined to sell them and when they do, they are quite expensive. I have seen one, that I actually wanted to go and try, in Jam a guitar shop in Stockholm for 9500 SEK, around 1100€, which felt a bit much. It’s actually not that overvalued since The Fellowship of Acoustics in the Netherlands are selling their Levin’s on eBay for 1400-1600€. These are top end models we are talking about but since normal people that have inherited an old Levin or want to sell their old guitar see those guitar prices they of course think that their guitar is worth over 1000€ too, which isn’t always the case. I guess this over valuation makes my guitars worth more but at the same time it’s extremely annoying when you want to buy a new one and people wants an arm and a leg for them, or 1000€.

1963 Goya M-50
1963 Goya M-50
© Vintage Guitars

1970 Levin Model 174
1970 Levin Model 174 © Vintage Guitars

1979 Levin W 32 J
1979 Levin W 32 J © Vintage Guitars

K. Yairi

K.Yairi YW-1000
The most beautiful Martin D-45 copies in the world, a 1976 K. Yairi YW-1000

I’m extremely happy with the two Morris I have and think that Terada is one of the better acoustic guitar builders in Japan. Having said that, I think everyone that is in to Japanese acoustics dream of owning a K. Yairi, at least I do. Unfortunately they are a bit too expensive for me, I’m sure they are worth it but you can get an old Martin, Gibson or Guild for that money. One thing that I really like with Yairi is that they use the year of the Emperor of Japan to determine the production year of their instruments, how awesome is that. See the list below.

Good materials are hard to find so it’s better to make guitars through limited production by hand instead of mass production. Trees are very important “precious” things so we should make good use of them. Guitars made with “heart” are the best use of trees.  Kazuo Yairi

When was my Yairi made?
By reading the number stamped on the heel block of your Yairi, you can tell in which year it was made. The first two numbers correspond to the year of the Emperor of Japan at that time, see chart below. The second two numbers refer to the month of production. Taken from The Fellowship of Acoustics

A.D.       Emperor                Year
1970      Shōwa                    45
1971                                      46
1972                                      47
1973                                      48
1974                                      49
1975                                      50
1976                                      51
1977                                      52
1978                                      53
1979                                      54
1980                                      55
1981                                      56
1982                                      57
1983                                      58
1984                                      59
1985                                      60
1986                                      61
1987                                      62
1988                                      63
1989       Heisei                    1
1990                                      2
1991                                      3
1992                                      4
1993                                      5
1994                                      6
1995                                      7
1996                                      8
1997                                      9
1998                                      10
1999                                      11
2000                                      12
End of Emperor Date Code
2001                                       01
2002                                       02
2003                                       03
2004                                       04

Emperor Shōwa and future Emperor Heisei on 10 April 1959
Emperor Shōwa and future Emperor Heisei on 10 April 1959