Neck:Cedro
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Shellac
Tuning Machines:GOTOH
String Height(1st):2.8mm
String Height(6th):3.7mm

[Luthier Information]

Kaoru Ono (b. 1953) began playing the guitar during his junior high school years. While studying in the Department of Woodcraft at university, he started building guitars as a hobby, applying the knowledge he had gained in woodworking. In 1980, he became a student of Alberto Nejime Ohno (Kojiro Nejime), a disciple of the Granada master Antonio Marín Montero, and learned the traditional Spanish methods of guitar construction, thereafter pursuing lutherie professionally.

Continuing to deepen his study of traditional techniques, in 2001 he attended a guitar-making course in Spain led by the renowned luthier José Luis Romanillos. He also received direct guidance on guitar construction from Antonio Marín Montero himself, and valuable advice and encouragement from Arcángel Fernández during the latter’s visit to Japan.

One of the most distinctive aspects of Ono’s work is his highly analytical approach to traditional Spanish construction methods, based on his own scientific observations and research. By carefully pursuing the optimal resonance of each individual instrument, his guitars are known for their exceptional tonal balance and their clear, transparent, and refined sound.

Beyond tonal excellence, his instruments are also distinguished by meticulous craftsmanship in every detail and by an elegant appearance achieved through delicate finishing. In terms of overall quality, his guitars are regarded among the finest made in Japan today. His annual production was approximately ten instruments. In 2020, his work and an interview with him were featured in issue No.15 of Orfeo Magazine, published by the French publisher Camino Verde.

He passed away in July 2024, but his instruments continue to receive high acclaim and remain highly valued by performers and collectors alike.

[Instrument]
A used original model built in 2002 by Kaoru Ono, No.136.

There are playing marks and small dents across the top, with a slightly higher concentration around the soundhole area. However, these marks are generally light and superficial and do not significantly affect the overall appearance. The top has three professionally repaired cracks: one on the lower bass-side bout, one above the bridge on the bass side, and another below the bridge on the bass side. These repairs have been carried out with exceptional care and precision, reinforced internally with patches, and are barely noticeable even upon close inspection. Structurally, the instrument remains stable and fully suitable for continued use.

The back and sides show minor scratches and light surface wear caused by contact with the player’s chest and arm during performance, as well as light rubbing marks from clothing. The neck remains straight, and the neck profile is a moderately thick, relatively flat D-shape. The frets show some wear between the 1st and 7th positions, but this remains within a level that does not affect playability.

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