Yamaha FG-180

This was the first guitar I ever bought back in 1971.Japanese built, red label. The specification is as described by other reviewers on this site. No exceptional features, just a straight forward acoustic guitar. Recommended to me by the brother of a friend who had bought his FG180 after seeing Alan Hull of Lindisfarne using one.

Back in 1971 I was a beginner strumming chords but have since moved into finger-picking.This guitar is good for both with a very full sound. A good busker's guitar. I am always surprised how nice this guitar sounds especially when newly restrung (I use D'Addario light). I have tried so many guitars over the years and have been surprised how so few actually better the FG180 for sound quality.

A lovely,simple guitar when new. At first I perhaps knew so little about the setting up of guitar necks that I was perfectly happy with the action and string spacing etc.and left everything as it was for years. Only recently have I come to realise that the string spacing was too close and the action too high for comfort when finger-picking. A local luthier fitted a new nut with wider spacing and lowered the action which has given the old girl a new lease of life!

This guitar is tough! 35 years of use and sometimes abuse have left their mark but only to the extent of characterful distress. An early flaw was the parting of the edge binding at the rear, lower waist. I pulled off the unique Yamaha pick guard in about 1972 to try make it look like John Martyn's FG180 on the Solid Air album sleeve (I thought it might make me play like him!)Machine heads are the originals; not pretty but functional. These have had to be tightened up over the years but hold their tuning well. I have played this guitar everywhere, inside and out and it has never let me down.

Never had cause to contact the manufacturers but I just bet that had this ever been necessary, their customer support would have been as strong as their product.

There is no doubt that like others who have owned and reviewed one of these guitars, we are lucky. I also play a Taylor 314ce, a Fenix electro-acoustic, a Yamaha nylon strung electro-acoustic, a Fender strat and I am shortly to take delivery of a hand built OM style acoustic from Russ Wootton. I would never sell the 180 and my son now loves to play it even though he is a Les Paul wielding, thrash metal man! If I lost this guitar or was to pass it on to my son, I would certainly try to find another.I am considering adding some electrics, maybe a Fishman Rare Earth or similar so that I can take the old girl out on the road with my ceilidh band.

I have owned three of these guitars (red Nippon Gakki label-circa 1970) I still have two and a 1970's 12 string version FG-230. All laminated construction (looks like mahogany sides and back with a spruce top), but that's what makes them so durable. Fingerboard asnd bridge appear to be rosewood. I have replaced the tuners with grovers.

The sound tends to be fairly loud, balanced but a bit bright compared to my wife's D-28, but since I mostly fingerpick, that's OK. New strings make a huge difference.

All of the red label Yamahas I have (2 FG-180's, 1 FG 230 12 String) have had high action. I have deepened the notches on the nut and shaved the saddle to enhance playability, but lately I have also shaved some wood off the bridge (do so at your own risk!) so I could lower the saddle even more and still have some downbearing on the strings. It still sounds great, but is much easier to play up the neck. Finish is still decent after 35 years.

These laminated guitars are extremely durable. Finish is thick but well done. Inside seems to have some finish on it as well.

I have never had a need to call Yamaha.

I have been playing for about 30 years, also own a Les Paul, banjo and piano. What I love most about these guitars is the fact that they are inexpensive, rugged and sound good. I sold my D-18 because it was flawless and I tend to be rough with the guitars, but with the FG-180's, I didn't have to worry. Sure there are better guitars out there, but for the money, you can't beat it.

Made in Taiwin around the early sixties. Was given to me as a birthday present. Solid spruce top. Back laminated with a lite strip running up the back in a v. No controls . Neck is slim and easy to play. dreadnought style. Tuners new but still yamaha holds tune well.
Bridge mahogany but replaced plactic with bone. Increased the sound and volume. Had the neck adjusted and new frets and bone installed .

I play mostly country and Gospel. Strumms and runs but little picking. It is hearable above other guitars on stage and the tones are very good. It has a rich full sound one only hears coming from much more costly guitars. Added a blackhawk pickup under bridge for more sound but only use it when playing in large hall with a full band behind me. Get lots of comments about it because of the tone and volume.

The guitar was not set up well from the factory but still sounded better than all other guitars on the shelf at the time. My wife let me pick out my own present. I looked over many other brands at the time including Martin and Gibson. They werent even close for the price. I spent more having it redone after twenty years than I paid for it at the start. I have yet to see the Martin I would trade even for. I have seen one Gibson J200 that sounds better to my ear but is well behond my price.

This guitar has been with me for over thirty years and has been played indors and out in a great varity of places. It's tone and volume is such that it can be played with out backup and sound good.The finish is still good but the hardware had to be changed. Only thing added was the pickup. Still have the same strap. Will never sell or trade this guitar but will be left in my will.

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Have been playing for about twenty years in a semi proff. manner. If it were lost or stolen would try to find it again . If forced to buy again would try a Gibson . That is the nearest sound to the 180 I have heard. Either a J200 or a Songwriters Specal . The 180 is not the best guitar I have ever seen but in order to match the sound I would be forced to spend many more dollars than I have in the past. I love this guitar and have no thought's of replacements

I bought mine new in 1972 in Croydon, near London. I can't remember exactly how much I paid for it, but it was about a month's wages - possibly about #60 GBP in those days. It is stamped 'made in Japan' on the headstock and has the red 'Nippon Gakki' label, although there doesn't appear to be a serial number. I remember that when I bought this, the Japanese were just entering the guitar business, and this was noticeably better than anything else the shop had in stock. It's solid spruce top (definitely not laminate) and the back and sides are probably mahogany (not 100% sure) the back is book-matched. The neck also appears to be mahogany and the fretboard is rosewood.

The style is that of a large dreadnought. The neck is quite slim. The tuners are the original open ones, fairly basic but the guitar holds tune.

I gigged this all over the country in the 70's and 80's and the guitar has picked up a lot of dings and scratches over the years, but it is still 100% sound (a testament to the skill which must have been employed to make it). Absolute lunacy to look back now, but I never used a case (neither did many of my contemporaries) hence the dings. Madness.

I bought a Gibson Heritage in about 1985 and I used that instead mostly - but I worried about it because it cost me a lot of money - eventually it got dropped and broken and (after the repair) I let it go. I don't think it ever sounded much better than the Yamaha - being a shallow person I just liked the word 'Gibson' on the headstock

I have played an Ovation Legend since 2000 and I am absolutely delighted with it - and the Yam has been retired to a corner of my studio. I have recently been reading about the resurgence of interest in these guitars, so this afternoon I cleaned it up, put a new set of Elixirs on it - and WOW!! I had forgotten the sound that this guitar produces....

I was thinking of eBaying it, but I've now made a solemn oath to keep it use it next time out - it sounds rich, loud and deep with more treble than I get on the Ovation. It's had a hard life, but the fact that it has im[proved and mellowed in spite of this sets it aside from most other instruments. I'm giving it a 10 but it doesn't have 'tons of features' - but it would be wrong to gauge this on 'bells and whistles' - build, longevity and sound quality make this a 10/10 (11 if it was available) instrument

I am a 'folky' - fingerstyle and strumming. I don't use amps or effects. It has lots of volume and fullness for acoustic gigging

Fnish was OK. It's fairly simple looking, but everything works and it has lasted in spite of having been used and abused roughly for many years. Action is OK - maybe worth filing the nut and bridge down a very small fraction. Neck is slim and dead straight. There is a truss rod adjustment but I have not needed to use it

Yes, yes and yes. 33 years old, 20 of regular gigging and still no major faults or breakdowns. We used to put all the instruments in the boot of the car - with no cases AARGH!?! - but (whilst there are dings and scratches) the Yam is still 100% solid

Never needed to contact them

I've been playing guitar about 40 years. In the last 10 years I have mostly been playing mandolin - I have a Washburn M6SW and an Alvarez A800 Yairi, among others. I also have a matching Freshwater mandolin and octave mandolin. In the last few months I have gone back to guitar (Ovation Legend) and singing.

The Yamaha has huge sentimental value. I doubt that anyone would steal it as it's got lots of dings and scratches - and I guess I wouldn't replace it like for like - I love the Ovation and would stick with that. But the Yam deserves some more outings before I retire - it's pretty certain to outlast me, though! Maybe it will find a good owner in a future 'folk revival'

After reading all the lovely testimonials on this guitar, I felt compelled to share my experience with this vintage acoustic. I just bought this guitar April 2005. Mine is made in 1968, red label Nippon Gakki. This guitar originally belonged to a neighbor of the person I bought it from for Singapore Dollars 128.00 (about 60 USD). The owner left it because he was moving house. The guitar stayed up on a wall for over 20 years, receiving all the dust and grime of daily life. The person used it only occasionally during parties and it was only recently that he really took attention of it when he was invited to play for his church and where he was given a newer guitar.

Upon purchase, I removed the strings, replaced the bridge nut, cleaned it with glass cleaner, wiped all the grime on the body and frets. What showed me was the unique violin finish of the guitar. the white cloth I used turned black and the guitar looked sparkling clean and while the deep scratches remained it has nothing to do with the seemingly quiet look of the guitar. Next hurdle was strings. I put John Pearce extra light phospor bronze 10's on this oldie. The tuners are not original and looked like les paul grovers. But they held the strings nicely.

I basically play fingerstyle and a bit of strumming. But the unique feel is like hearing James Taylor's Fire and Rain intro. The sound was coming out and coming back at me, I was not facing a wall but the room was being filled with lovely bright tones that were pleasing. I had friends come by with Taylors and Martins and not one of these expensive guitars came close to what I was hearing.

Everyone who tried it advised that I got a gem of a guitar here and that as seasoned as it is, the sound and feel is indeed glorious. Now that doesn't really justify paying 2000 for a Martin or Taylor.

The action is fantastic, it is low enough but no buzz, just pure tone. Those who commented on high action, spend some time, file the bridge nut, I am sure it will get your axe in a beautifully set action. Don't skimp on putting cheap strings, try John Pearce stuff, it is worth your passion. Indeed they don't make them anymore like this. I have other guitars but this baby grabs my attention and makes me write songs and spend time with it. It feels like it needed someone to talk to after all the years it spend idle on a wall.

The finish look old and tired, but the sound doesn't. The frets stayed the same through time. It is real vinstage feel. This guitar will outlive my friend's new and expensive guitars.

If only Yamaha and other manufacturers come back to the same methods of building guitars, there will never be a need for customer support.

I have been playing for over 30 years. I do functions and gigs using two Godins: Multiac Steel and a Nylon String. My signal goes through a Roland GR33 and direct to the board. This Yamaha FG180 will be installed with a B Band pickup, no alterations on the body and will be my best friend at home and my songwriting buddy.

I bought this around '72/73 from a music shop in Cardiff, Wales, UK for #69. Serial number is 20816139 which the Yammy wizard says sets it birth as August 16th 1972, unit no. 139. It's a red label but does not have the Nippon on the label - simply says Yamaha Guitar FG 180. I remember when I bought it that it was advertised as having a spruce top and rosewood sides and back. From the look of the grain around the sound hole it does not look like a laminate. The construction is pretty basic with a lot of glue showing inside (although covered by three decades of fluff). I read somewhere that its a straight copy of a D28. It's certainly got a beautiful narrow neck and an excellent action - although I have always played it with 9-42 extra light strings. My only gripe is the open machine heads which are pretty crap. I've always meant to change them but never got round to it.

I have a number of acoustic guitars, a Martin D28, a Gibson J200 and a Washburn EA36. Comparison with electrics pointless so forget 'em. The Yammy is completeley bashed to pieces with dings a plenty all over. But there are no cracks and no serious flaws. This is still the guitar I tend to pick up and play. The sound is amazing and has been from when I first got it out of its cardboard box. I think the strings I use give it a bit of weakness on the third string but overall the timbre and balance are fantastic.

Never had to change the action, its just right and on the low side. Nothing to complain about in the finish, if it's a little rough on the inside, the outside was just fine and after 30 years the spruce has mellowed to a light brown. The grain of the top is very fine and the rosewood is attractive, if not as good as the Gibson or Martin in grain or matching. I've never had to tweak the bridge, nut or truss rod.

Well after all these years I can't see it falling apart now. It has never needed any kind of attention and the only problem id that the 'Yamaha' on the headstock is looking a bit ratty. The bridge has cracked - but that's my own fault for puishing the pins in too hard. And after 30 years of duty the fingerboard is a bit dented but the frets have held up well. All in all it has not made any difference to the fantastic sound or playability.

Never tried it - not needed.

Done this bit. Had it from new. If it were lost I guess I'd still have the Martin. But if I didn't and if I were pushed for cash I'd move heaven and earth to get another Yammy - it was my first acoustic and holds a special place.

I first owned an FG 180 in 1971, my first guitar, bought at a pawn shop for $35 (red label Nippon Gakki). Later sold to trade up, big mistake, so I was real pleased to find an identical one at Goodwill last year for $150. This is now my 27th acoustic guitar and now my 5th yamaha. This is a simple steel string guitar. It does have a shorter fretboard than most other Martin,Gibson etc acoustics. All laminated body, mahogony neck, original open tuners in good shape, excellent finish still, no damage or replacements. The thin neck is perfect for my short fingers.

This 180 sounds exactly like the one I had 30 years ago, no better no worse. Overall excellent balance, somewhat bright, very good volume. Sound quality is a little hard to describe, by comparison, it's not as warm as others, not as bass strong as a good Gibson, not as sweet as a good Martin or Guild. This guitar holds it's own with others being played and I must say it's an outstanding value price/sound.

I think these guitars are as near to indistructable as it gets. The finishes hold up for ever even when left out of cases.

The only problem I've encountered is that the truss rod has been a bear to adjust tighter. After 30 years it's not a surprise, but you might need a pro to do it without breaking th rod. Otherwise superb.

I'd make sure I don't part with this one

This guitar had character and value. Don't let a salesman tell you its a machine made piece of crap. Who cares how it was made and that it doesn't cost 1000's of dollars. It sounds great and is easy to play. You don't have to spend a crap load to get a great guitar, buy an old fg180. Has a simple but older appearance that gives it such great vintage appeal.

GREAT GREAT SOUND. Very good volume with a great full bodied sound. My friend and I played it next to expsensive Martin models and other pricey guitars, and we both concluded it would be difficult to rationalize paying the 1000-2000 dollars more.

The guitar was pretty much the same as it was originally. As far as I can tell the action had not been lowered, but it seems lowe enough for my playing. The tuners are still the original one and an experienced repair shop said they were great and I still have them on. Stays in tune well. Take good care of it and change the strings, you'll be happy.

These guitars are like tanks. This is whey they are still around today and one the reasons I bought one.

I couldn't figure out how old my guitar actually was using the online yamaha serial number tool. I have not actually called them or used any customer support.

I've been playing for about a year now, and my friends tell that I have a ridiculous value in my fg180. Its easy to play and it sounds great. Why pay 1000 dollars more for the same sound while I learn to play?

Nippon-Gakki red label FG180, according to the Yamaha serial number wizard it was manufactured in 1972. Absolutely basic guitar with all the original parts - tuners etc. It's a lovely but simple instrument, no frills but really well made.

It sounds glorious to me. I was lucky enough (thanks to my older brother) to be able to learn the guitar as a kid on a Gibson J-45 so I guess I've been spoilt. Returning to guitar playing after many years, the FG 180 was not a disappointment. Lovely tone, rich - steely but not over bright.

The action is excellent - I don't have big hands and this suits me fine. Comfortable playing barred cords way up the neck, which is quite slim. Other reviewers have compared it to the neck on a Les Paul but I don't agree. Having owned an old Les Paul Custom the Yamaha seems dainty in comparison. Finish is fine, nice mellow colour. Inevitably covered in little dings from use.

Can certainly back up the other comments about strength. Despite being prominently marked as "fragile" the guitar, which was in a carboard box - no case - was dropped over a six foot high gate into my back yard by an idiot delivery man. No harm done! The finish has withstood over 30 years without any sign of deterioration, no flaking or crazing. They new how to make them...

Never had to deal with Yamaha direct. The website is informative and entertaining.

I began playing at the age of 9 so that is (gulp) 40 years. Have enjoyed abusing my brother's Gibson J 45, ES345 and an ancient and dilapidated Fender Stratocaster. Eventually bought my own guitars - Gibson SG Junior, Les Paul Custom (which I had to sell for next to nothing to pay off a student debt... worth thousands now....)and a classical guitar by a guy called - I think - John Mack. If I lost the FG 180 I would definitely track down another. Advise you to do the same, unless you are seriously rich!

A Japanese "Red Label" FG180. I pruchased it in 1973 - but, its manufacture date is 1972. Tough to say but I think it is a laminate top. At this point it has mellowed to a butifull dark honey color. The body is made from "Tigathis" - whatever that is. It looks to be a nice tight grained mahogany to me.

This guitar has a great sound. With new strings it sounds a bit "over bright" - but even many of the best guitars do. As the strings age a bit, the low E tends to go dead rather quickly. A problem that seems to be minimized by using a good phosphor-bronze string.

Right from day one, this guitar was execellant! I bought it in 1973 and played it all through collegeand beyond. I have never had any work done to it other than replacing the forst three frets myself. At this point, it has developed a bit of a bow just south of the bridge and the saddle seem to be lifting up a touch. This makes the action up the neck kind of rugged - So I think it is about time (after over 30 years) to have it looked at.

What can I say - 1972 to 2004 and nothing serious has shown up yet. This is one well made guitar. It has taken more than its share of abuse and has held up well. No cracks or structural problems at all. Of course at this point in its life, the finish is showing its age - but that is my fault, not Yamaha's.

Never had the occasion to deal with them

have been playng for about 35 years and have had this guitar since it was new in 1972 - so there is some sentimental value there. If I lost it, I don't suppose I would replace it just because I don't need two guitars any more. I also own a Martin D28 which, of course, sounds a bit moe well ballanced - but for the $1500 price tag I would hope it would! That being said, the Yamaha does hold up very well against it. Volume and tone are almost as good.