Neck:Mahogany
Fingerboard:Ebony
Finish(Top):Shellac
Finish(Back & Sides):Lacquer
Tuning Machines:HOFNER
String Height(1st):2.5mm
String Height(6th):3.5mm

[Profile]
Yamaha (founded in 1887 in Hamamatsu City, Shizuoka), the world's largest manufacturer of musical instruments and boasting an overwhelming market share in the musical instrument manufacturing and music business alone, was also an early proponent of the classical guitar. In 1966, Yamaha established the Guitar Research Department and began research and development of handcrafted guitars in order to stimulate the classical guitar market in Japan. The following year, Yamaha invited Eduardo Ferrer, who at the time was a mentor in Granada, Spain, to provide guidance on traditional Spanish construction methods, and in 1973, invited Manuel Hernandez (Hernandez y Aguado) to provide technical guidance. The result of these intensive training programs was the Grand Concert (GC) series, which continues to this day as a high-spec series of Yamaha classical models.

[Instrument Information]
This is a used 1979 YAMAHA Grand Concert Series GC30B, No.479, crafted by Hideyuki Ezaki. The GC series, which began in 1967, became a groundbreaking line of guitars with the GC30 model released in 1974 (Ezaki’s official website notes production starting in 1975). The GC30 series was crafted by multiple luthiers—A, B, and C models were each handled by different artisans, including Hideyuki Ezaki and Toshirō Katō, who received direct guidance from Manuel Hernandez. This series established a solid foundation for Yamaha’s classical guitar line. At the time, Yamaha’s responsiveness to the unprecedented boom in classical guitars and growing demand for Spanish-made instruments was remarkable, resulting in a diverse and comprehensive lineup.

This particular “B” model by Ezaki is considered a legendary piece among Yamaha enthusiasts, representing the very beginning of the GC30 lineage. While directly incorporating Spanish construction techniques, it also reflects Yamaha’s strategic approach to sound and precision as a product. Today, it enjoys strong popularity among international players.

The internal structure of the top features a harmonic bar above and below the soundhole (toward the neck and bridge). From the center of the lower harmonic bar, a treble bar extends diagonally toward the treble-side rib. Six fan braces are installed, divided by a central brace: two toward the treble side and three toward the bass side. At the bottom, two closing bars are arranged in an inverted “V” shape to support the fan braces, and a thin patch reinforcement is placed under the bridge. This bracing clearly shows the influence of the Hernandez y Aguado design. The guitar is voiced with resonance set slightly below G#. Ezaki employed multiple bracing variations even among GC30B models, but the overall configuration consistently follows the Aguado model pattern.

The sound is full-bodied in the bass and clear in the treble, offering a natural balance, powerful resonance, and pleasant articulation. It embodies Yamaha’s concept of a well-balanced “Spanish-style” tonal character. Unlike traditional Spanish guitars, which often emphasize chamber-like depth, this guitar prioritizes an evenly balanced sound, providing natural stability in performance.

There are no major repairs. The top shows various scratches, especially around the edges of the fingerboard and the treble side of the soundhole, as well as some minor marks from string changes under the bridge area and from the bridge down to the bottom. The back and sides show minor wear from clothing friction and slight internal discoloration in the finish, but nothing significant considering its age. The back of the neck has a somewhat deep fingernail mark at the 2nd fret, but is otherwise clean. The neck remains straight and in excellent condition. Frets show slight wear, most noticeable on frets 1–6, though this does not affect playability or sound. The fingerboard shows minor wear on frets 1–7. The neck shape is a standard D shape of normal thickness. String height is set to an easy-to-play 2.5mm on the treble and 3.5mm on the bass, with 1.0–1.5mm of saddle surplus remaining.

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