Yamaha FG-180

This is a very cheaply made guitar so they have budgeted in most areas but please understand they have budgeted late 60's early 70's style and back then they built all things with quality.

full sound with the ability to strum with conviction but would personally say that it is a finger pickers dream. the makers fluked it with this one!! no factory made guitar should sound this good and be this easy to play. I bet the makers will be highly prized at yamaha for making cheap woods sound like the complex sounds you would expect from high end guitars. I am sure that it took at least 20 years before yamaha or anyone realised what had been achieved

The bridge pin on my guitar was rubbed down alot, I guess to compensate for high action that was caused by the years. Neck is staight as a die on my guitar and the action is now nice a low on the first 7 frets - would like to lower the rest but can not. guess I am just asking for too much. Still playable up to the 12 fret.

A Very dependable guitar. for me buying second hand it is like being reunited with a best friend that I never new I had. tuning pegs on mine are faultless. solid and hold the tune perfectly.

never used and do not think I will ever have to. I am sure yamaha customer services phone for acousic guitars has alot of cobwebs on it with an old guy sitting next to it with his head back, fast asleep.

Bluridge BR183 (FANTASTIC GUITAR)
Eko Ranger 6 (hand me down and love it)
Fender early 70's Telecaster precission BASS - (pure genius)
Fender Strat 83 electric (now sold)

I would buy my FG180 nippon Gakki again and again and again - If you dont have one I hope you find a good one like I did

Made in 1971 "Nippon Gakki" red label FG-180. I dont have to go into details. its an FG-180. I found this at my local music shop and was with all the cheap guitars. It was sold as-is because the previous owner glued a "CD" as a pick guard. This guitar was a work horse, it had a lot of battle scars, it's frets have been leveled or replaced but done professionally. I was fortunate that this guitar came with upgrades, it has bone saddle, bone nut and an under-saddle pick-up.

I was blown away at first strum... even the guy at that store had to triple check the price make sure it was right.
Sounds very similar to a vintage Martin, In fact it sounded so much better than my Alvarez Yairi WY1 that I sold the Alvarez. I also bought a 2004 Martin D-18VE but ended up returning it because when you compared the sound between the FG-180 and D18VE, it wasn't really worth the money for the Martin. I paid $1500 for the D-18VE and $79 for the Yamaha.

I only use Elixirs (nanoweb) and this guitar sings... No JOKE!

I was lucky on this part too. It was already set up w/ low action. I saw a few reviews about neck issues but fortunately this guitar is not affected. The neck is straight with out any issues.

this guitar is 38 years old, this will last another 50 years. its not the prettiest, but can surely sing.

n/a

Man, I tell you, this is one of the best sounding guitars I've owned. For fun I buy and sell guitars and have owned Gibsons, Martins, Taylors, Takamines, Alvarez, ovations, Guilds ranging in prices from $700 to $2400. This Yamaha FG180 is a for sure keeper. and I only paid $80 bucks for it.

This was my first real guitar bought in 1972 me aged sixteen. Before that I had learned on a relative's classical guitar. I was told by the sales person that Yamaha had just started exporting these Japanese made guitars and that these were 'loss leaders' pointing out the ebony fingerboard and various other quality things. Not knowing then the first thing about guitars, I bought it because it looked like the Gibson on the front of the sheet music for 'Streets of London' by Ralph McTell. Typical dreadnought, pale top mahogony sides. I didnt know then about the difference between solid and laminated tops. It just looked right and felt right and sounded better than all the other ones I'd tried. I particlarly liked the flat neck. It came just as it was, the only accessory being a truss rod key. The tuners were pretty useless so I replaced them with Shallers after six months

As the years have gone on the sound has improved greatly. By using med gauge strings it can be strummed very loudly enough to not require amplification in a smallish folk club, much like a D18 in this respect but fit light gauge strings and intricate picking at a more that adequate volume can be achieved. It's the best all round guitar I can think of. One the whole I do more picking than stumming including some high up the neck twiddly stuff and have never had a buzzing string since about 1974 when i used to foolishly muck around with the truss rod. I got someone who knew what they were doing to sort it out and it's not been touched since

I was too young to know how it was set up by the factory, it seemed fine to me, the action was high enough you didn't get any jangle when srtummed hard but low enough to do runs high up the fretboard. I am not anal about guitars, the most maintainance I do is to dust it, so apart from swapping the tuners as mentioned above I have done little to this guitar. I dont know what a properly routed bridge means and the bookmatching looks fine to me so sorry on that one.

This guitar has been played on stage, on and off by me and others for thirty six years, it has been in numerous aircraft holds, on camping trips bungeed to the back of a motorbike. It has been generally abused but looking at it now it just looks nicely 'aged'. The strap buttons are still tight and everthing is generally sound. The most damage is where a plectrum has overshot the pick guard and has scored through to the wood in two places. (Not me) I've always found it thoroughly dependable but would never do a gig without a backup no matter what I played

Not applicable

This is the bit I've been dying to come to. For the past ten years the guitar has lived at my shop to idle away slack afternoons. When I sold that business I put some new strings on it and moved it to my wifes shop, it got played there ocasioally for about three months then got put in its case and was effectively forgotten. At home I have a Gibson J50, A Yamaha APX5, an Ovation Balladeer and a Fender Telecaster. I play all these on a regular basis but no longer gig. One day I read on the web that a FG 180 had sold for 1,000 Euros so went and dug mine out and took it home. It had been untouched in its case for nearly three years. After half an hour of playing it in I was just knocked out with the tone of the thing, the ease of playing, the gorgeous honey colour, everything. The point I'm making is that when it was around all the time I never compared it with anything, putting it away for three years and then getting it out made me realise just what an excellent guitar it is. Since it had been put away I'd aquired the Gibson (mainy for the fact I'd always wanted one) Playing them now back to back the Yam beats the J50 in every respect. This bear in mind from a guitar last adjusted in 1974 whereas the Gibson was set up for me by Vintage and Rare of Bath two years ago. If ever it got stolen I would try to get another but they dont seem to be available. Whether or not I had a good one I dont know but I've never heard an all round sound to beat this one. Its a pity about the extra screw holes for the Shallers but seeing as I shalln't be selling it, it doesn't matter

Your basic guitar---open tuners, Laminate back, sides and top. Very small dot position markers on a rosewood fretboard. Rosewood bridge. 1 11/16 nut. Nippon Gakki Red Label Model made in Japan. Open to question what year---some say no later than 1968, others say that the serial #'s first digit says year of manufacture. This one is probably 1971, one of their first export models---that's what the Yamaha timeline says in one of their brochures for their current models. Interesting Laminated spruce bookmatched top---wide grain at the edges and very tight at the center. Gloss finish. Looks very 'vintage' now, yet in surprisingly good shape for it's age.

Has kind of a dry, boxy, deep vintage sound---not too bassy with subdued yet distinct highs. Kind of a midrangy tone, yet pleasing for fingerpicking or even a heavy strum.
Not a boomer like a Gibson might be, but a balanced tone where highs or lows do not dominate over the other.

These older Yamaha Red Label Nippon Gakki's have a sound all there own---yet tone is always judged in the ear of the player. These 180's are more in the line of a Martin D-18,
without the cost of a Martin. Would love to meet the luthier(s) who built this!

This guitar was VERY dirty when I got it---some sticky residue over parts of it that came off nicely with Naptha on a rag and a light rubbing until it dissipated(Don't EVER use Naptha without proper ventilation!). Polished frets with 0000 steel wool. Was missing two strings, one string peg for the bridges that I replaced. Have light gauge strings on it now. Had the nut slots properly filed, saddle break angle adjusted, truss rod adjusted to make the action lower. Some day it will need a reset, but for now it's OK. Bookmatched top very cool---wide grain at the edges and tight in the middle--never seen that on a FG 180. Plays very nicely now. My only complaint is that I wish the nut width was 1 3/4".

This guitar has withstood the years of playing since 1971; what more can I say? Read the stories others have shared below and you will know. For many, this model was their first guitar, and they still have it or wish they had not sold it!

I don't play any guitar in a performance without a backup.

Researching the serial #'s is a crapshoot, but fun nonetheless and part of the mystique of an older instrument.

Been playing for 30+ years; have other Red Label Yamahas, Martin, Gibsons, Taylors.

This is probably one of the best ways to have a vintage instrument with quality sound without breaking your budget. Just make sure the neck isn't so bowed up that you have to get it reset. The 180's definitely have that early 'James Taylor' sound! Find one and play it!

You can check Yamaha's website for a list of features. My only criticisms would be the open tuners, though they still seem to work well for a 37 year old guitar, the lack of multiple bindings, and general "simpleness" of the guitar overall. HOWEVER, I'm used to higher-end instruments (Martin mainly), so I know I'm being too critical. Mine was made in Aug/71, and was inexpensive ($130) when new, so you couldn't expect too much. I swapped out the plastic nut for a TUSQ and widened the string spacing slightly when I did to accomodate my larger fingers.

I bought mine recently in order to have a "brighter" sounding guitar for those songs for which my Martin D35 was just too mellow. I read all the reviews of the "great red label" Yamahas and had to check it out. I stumbled across a one-owner 180 in nearly mint condition. Once I replaced the plastic nut with a TUSQ, lowered the bone saddle and adjusted a slight bow out of the neck, and installed NOS Martin Cryrogenic lights, the sound was so amazing I literally couldn't believe it. I believe that you would need to spend at least $1000-2000 on a Martin, Taylor, Larrivee, etc. in order to get to the sound that this guitar has. I'm embarrassed to say that I don't think my $2000 D35 sounds any better. I don't know if they all sound this good, but I'll never sell mine unless someone wants it so bad that they're willing to trade me a high dollar comparable guitar. This guitar has no right to sound this good for what it originally cost.

The action sucked when I first got it from it's original owner, who had done nothing to it, not even played it much. After some minor work (NO neck reset), the action is as good as my Martin or Gibson. The strings were too close together, but changing the nut corrected this. The original fit & finish is very good, especially considering the age. I plan to care for it lovingly, like I do all my instruments and hope that it holds up for the next 20 years like it has for the previous 37. No complaints here.

A couple of the tuners have a little play in them, but there is no tarnish on any of the metal parts, including the truss rod cover. The strap button is on so solid that I can't get it off to install a strapjack for the LR Baggs I-Beam I want to install. Mine did not see much use for it's first 37 years, but I plan to gig mine. I figure if it survived 37 years without cracking, splitting, or delaminating, then it must have been built pretty darn well.

Never had to use it, but I appreciate Yamaha's website, where a great deal of information can be found.

I've been playing since 1966, and played in a "one-hit wonder" band in the late 60's, playing a Gretsch Chet Atkins Nashville, a wonderful axe. In addition to the 180, I own a 1970 Giannini Hummingbird copy, a 1974 Martin D-35, a 1967 Gibson 12-string, a 60's vintage Goya classical and a 2001 Gretsch Special Edition Electromatic solid body electric. If my 180 suddenly went tango uniform, I would definitely try to replace it, providing I could find one at a reasonable price. There is nothing about my 180 that I really dislike. I grab it as often as I grab my Martin when I practice. If it wouldn't hurt the collectible value, I'd like to trade out the open tuners for Grovers, but I refuse to put any additional holes in this fine guitar.

My FG-180 is from like, 1968. I think. Might be early 70's. The guitar used to be my grandpa's, but then my grandpa passed it down to my dad, who passed it down to me. It's my main acoustic, and I'm madly in love with it. When I got it, it was slightly worn from it's age, but otherwise, it's still excellent.
The dreadnought body's a little big on me, but I can live with it.
My dad gave it to me in a hard case. It's falling apart.. It must have been the original one it came with.

The sound is gorgeous. It's got a great warm, full sound and it's nice and loud on its own! It even sounded great with the strings it came with, and those strings were very, very old.
It puts out great harmonics. That's probably my favorite thing about this guitar.

Everything seems to be in order. I got it used, so it's as good as it can get. My only complaint is the size of the body.

The guitar's been around for around 30 years, and it still sounds awesome. I think it can last quite a bit longer! I wouldn't take it out for live performances though. It's too old, and I'm afraid it'll get hurt.

Never had to call. The guitar's just never had any problems!

I've been playing since I was 10, and I only have 2 other guitars. One's my Fender strat (just like everyone else, I know..) and I have some unknown dinky company guitar. That was my very first one that I actually learned on, but I've had my FG-180 way longer.
I'd never sell this guitar. It holds way too much history with my family and I know that it'll keep getting passed down onto my kids. I'm sure it'll last!

1970 Yamaha FG-180 (Nippon Gakki, red label). Serial number: 00906586.

I bought this little dreadnought from a student about a year ago and he told me that the guitar belonged to his grandmother in the past. It had only three strings on it with a dirty fretboard and lots of fret wear, but wonderful enough it didn't need a neck reset. I know that's a bit uncommon for old Yamaha's, so I'm lucky.

All laminated, light-weight woods: spruce top, tigathis back/sides and mahogany neck. Original open tuners, 20 frets.

About 4 years ago I had my first second-handed Yamaha FG-180 (from 69') with a beautiful sound, but I stupidly sold it. I remember the action was quite high on that guitar.

Now this FG-180 has had low/medium action just from the first touch, so that's a good platform. This guitar always has a bright, but full sound and it's made for fingerpicking. It's very touch sensitive because of the light, quality wood construction and age. It's set-up with D'addario 0.011 Silk and Steel strings, because I want to enjoy this guitar for a lot more years and I don't want to mess with too many string tension. Altough I've played/owned many expensive guitars (from Takamine, Taylor, Blueridge to Martin etc.), the FG-180 is my favorite guitar for that sweet, light fingerpicking/fingerstyle, just great.

About a month ago I brought this guitar to a good, professional Luthier and he could conclude it needed a whole new refret and new nut, made of bone. I trusted him on the whole job since I had very good experiences in the past and so he did the whole thing on this old Yamaha FG-180...

The guitar was completely finished yesterday and when I had my hands on it for the first time after the refret and bone nut, it played like magic. Straight, low action, set-up with 'Silk and Steels' and great for fingerstyle/fingerpicking across the whole freatboard! I've never had a guitar in my hands that played like this and it's like a dream comes true. It looks great, it feels great and it sounds absolutely great. When I pick it up it's like having a vintage masterpiece in my hands everytime now.

I can enjoy this guitar for the rest of my life now, especially after the new and fresh professional revise. My luthier confirmed it won't get bad anymore.

After all these years the Yamaha FG-180 has proved its build quality. It didn't even need a neck-reset. Of course it has 'dings and dongs', but there are no cracks or other problems, just light body wear. It's very authentic looking. I love the old headstock that says 'Yamaha'..

I can really depend on it and I use it mainly for light, sweet and modest fingerpicking/fingerstyle. I'm sure it will last virtually forever.

I've never dealt with the company.

I have a special connection with this guitar. Everything just feels right. I've collected older Yamaha's for years, but this FG-180 has always been my favorite, most attractive and sweetest sounding guitar.

It's not comparable with the 70's Yamaha's from Taiwan, because they were clearly heavier in weight and 'stiffer' in build quality. They also don't respond to a light fingerpicking touch like the older red labels absolutely do. These red labels (Nippon Gakki) have very light bracing/quality woods and for that reason they are just more responsive with a open, more brighter/sweeter sound to them for especially fingerpicking.

I love the playabilty, sound and the fact it doesn't even need a neck-reset. Most of the older Yamaha's I collected always had too many issues for making it playable, especially serious neck problems...

If you have the chance to buy an older 'red label' Nippon Gakki FG-180 from Japan, just do it. If it doesn't need a neck-reset, you'll have a vintage masterpiece in your hands. They're becoming very rare now, especially the ones in good playable condition. Even my luthier noticed about the great tone coming out of this FG-180 and he has a lot of knowledge about quality, high-end guitars such as Lowden etc.

This is a real basic dreadnought guitar...which i love. it's a 1969 red label nippon gakki. the bridge is made of wood, and it has a bone saddle.

I'm a big fan of the open tuners....i think they work great, and it always stays in tune, even when i'm hitting it hard.

the sounds is unbelievable ...dry vintage & a huge tone....and very bright as well. i've played many $3000-$5000 acoustics, and none could compare to the tone my fg180 has....it really is an amazing instrument.

the action was horrible to begin with...
also....the nut was bad....string spacing was horrible...since i mainly finger pick...this was an issue.

i had it professionally setup......replaced the nut to enable better string spacing, and i also had the bridge sanded down to meet up better w/ the neck. having these two things done, made a world of difference.....this guitar plays better than any other acoustic i've played....action is just flawless.....i can bar chords all over the neck w/ very little effort....even the infamous F chord!

this is my main guitar...also use a 1994 gibson gospel...
the FG is as solid as a rock...

never had to deal w/ them

i think that the red label FG180 is one of the best kept secrets out there. if you can obtain one of these guitars....i certainly would.

Just bought my FG-180 off ebay, darn thing set me back 400.00, very well worth it though.. Mine is a 69 nippon gakki, laminated top, mahogony back and sides, Oh and all the people out there who think theres is a solid top, sorry to be the bara of bad news, but they are all Laminated..You gotta look real close.. Anyway, action kinda high, gotta sand down the bridge and saddle..The fellow I got it from was a smoker, I spent two hours cleaning yellow gunk off the hole ax.. EWWWWWWWWW!! Also changed tunners to grover.. Just a plain gitter here no bells or wistles..

Unreal: tone is SOOOOO vintage sounding, dry crisp, tight musculer tone... You would swear it was a D18 or maybe a j45.. Or better in its own way.. Great for fingerstyle or hard strumming..Bright and resonent sound, records great.. I just cant figure out how on earth they did it, or maybe it was by accident who knows..Fact is that for 400.00 bucks I beleive I just got a guitar that is equel to or better then any gibson guild or martin, hands down..

needs a little work, but I do all that stuff so I am not worried

38 years old, what do you think!

dont no

A very killer instrument, and a very well kept secret too.

I bought my FG180 at Beach Music Center in Huntington Beach in 1970. I worked in the store. We sold Martins, which I couldn't afford, so I "settled" for the FG180. It has been a fine guitar. Many parties, lots of music, and a dependable instrument. I have not been fussy with it as it was cheap, however, I am starting to watch it more now, as it is my favorite. I have never been thrilled about the cheesy tuners, but won't change to Grovers, or Gotohs because I'd just like to keep it original. The guitar has a mahogany body, spruce ply top. I use D'addario mediums as I love the big tone and volume they provide.

The sound is BIG! I believe this guitar can rival some pretty fancy models. I also like that the neck is narrower. I have a Taylor GAMC, and it's a bit of a stretch for me scale-wise. As mentioned before, the original tuners are so-so. They tune okay, but are not as good as Grovers, or Gotohs.

The factory set-up was right on the money. I have not had any work done on this guitar, and I've had it 31 years. Just change strings, and wipe 'er off!

There are two things that drive me crazy about guitars: High action and buzzing frets. This Yamaha has never had either. The action was nice and low without any buzzing.

Sorry if this is a gushing review, but this guitar really kicks a**

The finish has done okay in all these years. Only my refusal to be fanatic about handling the instrument has landed it a few small dings.

I've played this guitar with my pianist Dad, with my brother, who plays guitar and bass, a gazillion parties, and in my room a thousand times. I also play it at Island Bazaar in Huntington Beach, where we have a ukulele jam every week.

I've never had to have any work done on this guitar. It's like the Energizer Bunny.

I've been playing many instruments since I was 12. I am now 58. I own a lot of instruments;

Taylor GAMC guitar, Aria classical guitar, Fender Duo-Sonic electric guitar, Princeton amplifier, Selmer series 9 clarinet. Buffet Super Dynaction alto saxophone, Deering Maple Blossom plectrum banjo, a couple of fine violins, and others.

I always regret not buying myself a beautiful cherry finish Gibson SG electric guitar when I had a music store. There was one I was drooling over, but talked so much about it, a customer wanted it, so I sold it to him. I kept a Stratocaster, but donated it to the Huntington Beach Surf Museum/HB Playhouse. Les Pauls are way too heavy, although they sound great.

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.

n/a

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.

Sounds like a bell.

No experience

I bought my FG180 in the 70's and plunked around with it for several year and then put ti away. I made the mistake of loaning it out and came back with some pick marks below the pick guard and some other marks-nothing major. The wood on this thing is beautiful-sides look mahagony and the spruce top may be laminated but I am no expert. The guitar was apparently made in Taiwan-that what the tag on the back of the head says. Tuners are stock chrome Yamaha the guitar stays tuned fine. Add on chrome strap button and a plastic one -probably original. Sounds great and has no structural defects. I would consider selling the guitar and I can send photos to a serious inquirer. ( Pismo Beach,Ca)805 773 1982

I have one of the early Gakki FG180's that my father bought new in about 1968. The body looks like mahogany to me, and the top is a very wide grain blond wood -- spruce, I assume. The tuners were replaced sometime in the '70's with Schallers; other than that and a custom late '60's pinstriping job (father was a hippie hot rod guy), the guitar is completely original.

No score for features -- it's an acoustic guitar, eh?

I may be blinded somewhat by sentimental value (I inherited it when my father died in '89), but for certain kinds of music this is one of the best guitars I've ever heard -- EXTREME volume, and a lot of upper-mid bite. 1st string on mine is a little muted and woofy compared to, say, a Martin or vintage Guild, but it excels both over the rest of the range when playing down in open-string territory.

I took it to a local guitar emporium recently (was looking for a case big enough to fit it) and was able to compare it directly with some Taylors/Martins/etc.: the Yammy made them sound pretty wimpy by comparison.

I really dig this guitar for fingerpicking -- it doesn't take much effort to get a big sound out of it. Strumming with a pick is generally too damn LOUD and makes the sound too bright for my taste, so I stopped using a pick years ago in favor of strumming with either my thumb (mellow) or pinched thumb+forefinger (brightish, very warm).

I'm not a very good recordist, but I don't think that's the reason this guitar sounds lousy when I mic it up -- all the things that make it speak so clearly also make it sound weird to a mic. Look elsewhere if you want nice recordings, IMO.

The action is really high -- anything above 5th fret is a little tough, and you'd better have a vise-like grip for barre chords. I plan on taking it in for some work soon, and one of the priorities is getting the action down without messing up the tone.

The finish on mine is still very nice. The top has aged to a rich light gold color, and the pin stripe job attracts a lot of attention.

Low score is for the action. Fit & finish are very nice, even after all these years.

For such a lightweight guitar, this thing is a tank. It has survived for 36 years without a case and travelled with my father all over the country, from the humid south to the dry Sierras to who knows where else.

The neck is still dead straight, and the top shows almost no sign of bowing despite the heavy strings my father ran for twenty years. The clearcoat finish has worn through in a few places and it has accumulated some minor dings here & there, but it still looks pretty when polished up.

The only real problem it has developed is some cracking in the neck just under the nut. The upcoming visit to a luthier will include some preemptive work to prevent it from becoming a serious problem twenty years down the road. I fully expect it to outlast me, and I come from a long-lived family.

They made it to last, apparently. That has to count for something...

It's a great big guitar with a huge sound -- it can sing, it can shout, and it makes a decent drum when necessary. Given its age and history, mine is certainly different than every other example of this model, but I agree with a lot of what other reviewers have said. I've played and coveted some very nice guitars over the years, but I have not run across anything that has the combination of tone and volume that the Yammy does. Other guitars are more subtle, sweeter, easier to play, etc., but they all kind of bore me after a while.

Leaving aside its sentimental value, I'd pay a "real Martin" price to find another one just like it if I ever lost it. Fortunately, it seems that good ones can be had for c. $500.

As it is, mine is irreplaceable -- I'd go savagely Old Testament on anyone dumb enough to steal it.

According to Yamaha's serialization table, my FG180 was made in Japan early in 1970. I puchased it in the Spring of 1971. I believe (and have had a luthier's concurrence, that the top is solid spruce, but there is some confusion among Yamaha afficionados on this point, with some claiming they came wuth laminate tops. This may relate to production run changes. The back, sides and neck are mahogany, with rosewood fingerboard and traditonal bridge. This guitar is brightly finished with soem sort of 'bulletproof' lacquer which has held up very well despite 30 years of sensitive but not meticulous care in travels around the world. Very good original build quality.

My FG180 (like most, it seems) sounds like a $2000 Martin or Taylor. In fact, I once had a Martin D35 which took second place (and caused a lot less worry) than the Yamaha. Even with light strings, which i added out of respect for it's age and longevity, the bass tones are rich and deep, with the highs bright. I chose this guitar originally because it was the best sounding one on the rack. Everyone who plays it feels similarly.

It seems to be axiomatic that the action on these guitars is routinely high. In fact, it's become sort of an inside joke. I found mine tolerable until a few months ago when I took it to a talented luthier who adjusted the truss rod for the first time in its history, replaced the nut and bridge saddle with lowered bone pieces. it's now among the easiet-playig acoustics I've ever held. The tuners seem to be the sole poor element...brutish and vague open-style..but reasonably effective. Overall very good build quality and finish.

The FG180 has gone through battles and over mountains while still sounding great, though mine has led a fairly benign existence in humidity-controlled environments. I made my living with it for a time in College, and have used it to teach and entertain for over 30 years. Following it's recent tune-up, the action is fabulous and it plays better than ever. It looks set to go double the distance and outlast me. What else can I say about durability?

I've had no dealings with the Yamaha factory, except to oreder new Mikuni carbueretors for a Yamaha dirt bike I once owned - they were ok.

I've been playing for 38 years, and have owned a variety of (mostly poor) acoustics, many of which I paid a lot more for than this FG 180. I've also currently got an Am Standart HSS Strat, a Gibson SG-Standard, a Kay hollow electric, and a Fender Jazz Bass. In the past, I owned a Gibson 335 Jazz and a Guild Country Gentleman (both HBE's). The only comparable acoustic which has lived with me was a Martin D35, but it was not measurably superior to the Yamaha; I worried a lot more about it, though. My Yamaha has remained 'faithful' through law school, military service, living on 3 continents, too many broken romances to name, marriage, children, and hundreds of gigs, parties and jam sessions. It is supremely reliable and as comfortable playing 'hot country' or bluegrass as it is playing Joni Mitchell, either strumming or finger-picking. It's 'Big Dred' design really booms, and gives long lasting clear sustain to the highs. I would be deeply distressed by the loss of this instrument. My son, who is a punk freak with his own Strat, has secretly begun playing my FG 180 (though he thinks I dont' know it), so I'd love to find one for him. Inevitably the secret will get out about these guitars, and the prices will increase - I'll hang on to mine. If you can find one - GET IT.

My first guitar was a bad silvertone. My first real guitar was a nice
alverez, the eaarly 70's model with adjustable tuners and the fancy pickgaurd. When the Alverez was stolen I was left without a guitar. One day (I think in 73) a friend stopped by, told me I needed a guitar, and gave me this Yamaha. He said he had bought it used for $75.

Yamaha fg 180 serial #663107, red 'NIPPON GAKKI' label. Not sure of exact year with this one, made in Japan. 20 frets, 14 to body. Laminated spruce top according to Yamaha history, with light bracing for very rich sound. Side & back are 'tagithis', whatever that is. Original gloss finish.

Upgraded with enclosed tuners, and had the ac=tion lowered. I love this guitar! I'll reate it a 7, cause it's unadorned.

Everyone who has tried this guitar is impressed. I think it 'cries'. Good sustain & ring, smooth sound. I once thought it had a string rattle, but it proved to be a screw working loose in a tuner. I'll rate it a 9 because I have played even better sounding instruments (which inevitably cost many times what one of these would run).

Great finish, has held up well for around 35 years. No cracks at all, but came to me with lots of light dinging on the back.

Pickgaurd loosened after 20+ years and was replaced. The piece of wood where the pegs hold the strings in developed a crack running through the pegs & was replaced. The replacement has developed a smaller crack in the same position, with no noticable effects, so I'm leaving it alone for now.

A real workhorse. This guitar will outlast most of us. Finish is great, I've already upgraded the tuners and I added a strap button on the side of the neck heel. The pickgaurd did start to come loose, no biggie.

never had reason to try to reach them. After 30+ years who expects customer support?

I have been playing for 35 years. I also own a Martin D-28. Within the past year I've briefly had a couple of other Yamaha NIPPON GAKKI's, an fg-75 and an fg-300. Both were nice, but I liked the sound on this 180 the best. I was sad to let go of the 300, it had the best action of any acoustic I've ever played, but it went to a good home with a good friend.

I'll never part with this 180, mainly because it was a gift, but also because it is such a fine instrument. It holds up well against my 28 year old Martin D-28.

I'd be amazed if you could find a better guitar for the price these go for today.

This FG-180 was purchased in 1970 brand new by me. I never had a really great guitar so this was the first. It was $129.00 and came with a chipboard case. The top is stika spruce. Back and Sides are what appear to be solid Mahogany but I have been told unofficially by Yamhaha that it is not Mahogany. Even a reputable Luthier told me that it was so, i'm inclined ot believe that it is! The fretboard is rosewood.

Thd sound of this guitar has always been bright. New light guage strings ring and the sound volume is exquisite. This guitar actually is louder than my 1997 Martin HD-35. The ring sounds like a James Taylor guitar, and i'm always very impressed every time i pick it up!

The Action of this guitar as was factory set actually stood up for a long time. Over the years, some natural bellying did occur changing the action just a bit but not enough to really cause serious playing problems. Light Guage strings kept that in check. THe finish was always very admirable. It had the look of a vintage guitar even before "vingage" was vogue. The toner used on the sitka spruce has aged nicely over the years and the guitar has a look of a well taken care of 34 year old instrument.

This guitar has entertained many parlor guests and has traveled to picknics but has always been taken care of. It was so loved that 2 years ago, I took it to a a VERY reputable Luthier and asked if the guitar was worth doing some 'set up' work on. He assured me that it was so, I had him perform a Neck Reset, we added new frets, new tuners (Waverly) which fit the same screw holes as the original, he repaird a small bracing crack inside and added a compensated bone saddle, and water buffalo bridge pins. Total cost $800.00. I could not have purchased a guitar this nice for less than 3 times that amount of money, and now it is more than an exceptional guitar. The only recommendation that I did not take, which i do regret was to replace the nut which is not standard width and forces the strings to be a little closer together than on my Martin guitar. He suggested this when I picked it up and I was anxious to get it home. I will at some point return to hime t ohave that very minor work done.

I have never had any support from Yamaha on this guitar. I'm unsure whether they provided it when I purchased the guitar. I believe the FG-180 was the first Acoustic Guitar that Yamaha had ever made!

I have been playing guitar for 30 years or so, and have developed a liking to fingerstyle playing. I did not want to part with this guitar even though i was upgrading the quality of instrument I was playing on a regular basis. This guitar was made very well, and was always free from blemishes, and has been well cared for over the years. I have not compared current Yamaha guitars to this, however I am sure that with technological advances, and product improvements in the mass production of guitars, Yamaha i'm sure has some good instruments for folks looking to begin learning, however there are more choices today, even C.F. Martin has made a guitar for everyone in a price range affordable for "no musician to be left behind". Way back in 1970, choices were few and Yamaha aka Nippon Gaki in Japan fit the the bill with this exceptional instrument which has lasted for many playable years!

I bought my Yamaha FG180 new for $80 (Canadian)in 1970 from Steve's Music in Montreal, so it can't have been made too much before then. 7 digit serial number beginning 113. 20 frets, apparently a solid spruce top (couple of small gouges bear this out). Mahogany sides, 1-piece back, and neck; fingerboard rosewood. Glossy finish, dreadnought-with-a-waist body style. Simple bone or plastic bridge and nut, original open-style tuners really do stay in tune. Mine came with a truss-rod wrench, had to buy case separately.

I do a lot of finger-picking, thump and strum with running bass and occasional hand percussion on the body, and this guitar can really take it. I'm using Elixir Nanoweb Custom Light strings (.11 to .52), but the G is a .22 and it buzzes on the first fret when played open, so it probably should be heavier, but the sound of this guitar with these strings in nothing short of breathtaking. Phosphor-bronze (92/8) can add back the brightness I feel is missing due to the mahogany sides and back. Of course if you like a mellower rather than brighter sound, regular 80/20 strings will be just fine. Played with the back of the finger nails, this guitar sounds very bright and open. At the other extreme, slapping down on the strings near the bridge with the open hand tambour-style yields the most booming bass I can get out of this instrument. Before switching to Elixir, I felt the volume and projection were deficient, but a string that can sing brings out the best in my FG180.

At first the action was high and hard to play, but in 1971 or 72 I had the action lowered and the frets taken down by Mr. Vogel at Anton Wilfer Luthiers in Montreal. The bridge bone was adjusted then too, improving the intonation. It's still not 100%, but maybe a different string gauge would intone better, or an offset bridge. For the past 32 years this guitar has played like butter. I cannot see the seam on the perfectly bookmatched top from a distance greater than 6 inches. A few of the small wood screws holding the machine heads in place have loosened as the wood has dried out.

This guitar has withstood live playing for over three decades. I don't see it deteriorating beyond the loosening of the pick guard. Strap button on the end is solid, I installed one under the 13th fret so it's balanced on my shoulder. The finish is aging gracefully and I would take this guitar to any gig without a backup, it's that dependable. And it hardly ever goes out of tune.

I've never had to deal with Yamaha, and I don't know about any warranty details.

I've been playing guitar since '66. A lot of stuff has come and gone: Framus acoustic, Yamaha FG260 (yellow Taiwan label) 12-string, Moserite and Strat electrics, Rickenbacker 4001 bass. I also have a small Fernandez electric (that has a speaker built into the body. Powered by a 9-volt battery, it even feeds back and distorts--more so as the battery runs down!) If my FG180 were lost or stolen, I don't know what I'd do. I've tried other Yamahas, but never been knocked out by them. I've been looking for a better guitar, one that I can say is "twice as good," and I haven't found it yet (although I'm only looking under $5,000). This week I tried out a Martin D18 and OM-28. The OM28 was very nice, about the equal of my FG180 (in my hands anyway). The Larivee OM-10, however, is the first guitar about the same size, weight and feel as the Yamaha FG180 which I've found to sound measurably better, with more sustain using the same strings--but at over $2,000 more! Money aside, I love my FG180 because it sounds great, is easy to play, has recorded very well and helped me make up dozens of songs. The only things I don't like about it are occasional string buzzes when I play hard, and the stiffness of some of the machine heads. But I love the way we work together, and how I can depend on it to sound great--and then it can still surprise me by sounding better than I ever remember.

It's a copy of an old Martin with the red Nippon Gakki label. Simple decoration. Very wide waist. Cool silver and black truss rod cover with the old Yamaha logo. I give it a 7 because of the cheesy tuners, but what do you want for the price?

Like most of the other reviewers, I have found very few guitars under $1000 that do the dreadnought thing this well. Great rich sound for fingerpicking and cuts through just about anything when strummed. I give it a 9 because I have played better sounding guitars. Of course they cost ridiculous amounts of money.

My dad bought this new in 1969 for $95. He used it for fingerpicking folk stuff when I was a kid. I picked it up in 1978 when I was 12. My buddy taught me Freebird on it. The F chord was a problem because the action was so high. Learning on this thing with its chunky V shaped neck gave me finger strength. My dad had the action fixed a while back and it now plays like a dream. Un fortunately the guy shaved the bridge down a little and the ball ends of the strings are wearing grooves inside their holes. The string end windings have crept over the bridge saddle making it buzzy. I have invented a unique way of stringing as a workaround until I can afford to have this baby worked on. Pickguard is coming off around edges.

This guitar can take serious abuse. Dad gave it to me a few years ago because he knew how much I loved it. There are many scratches and dings all over this thing because it has been played constantly for about 34 years. It's my party and travel guitar and the guitar I learned on. It stays in tune (despite the difficult tuners) no matter what.

N/A

This guitar has tone to die for. Sometimes it can be a little too loud, especially if you're trying to sing over fast strumming ala Richie Havens. If it were ever stolen I would cry. I own an 5 other guitars electric and acoustic. I wouldn't say the FG 180 sounds better than my old Taylor 712, just different because of the much larger body. If you ever see one of these old red label tone machines, buy it without hesitation.
-Bernie

This FG180 is like all the others I have seen, red label, rosewood fretboard, rosewood bridge, mahogany neck, look like mahogany body, but I guess its tigathis, what ever that is, spruce top, dreadnought style body! Still has the original tunners which seem to work well!

The sound is incredible! Its hard to find another acoustic that is that much better than this one, strumming or finger picking!

The only thing that I did to improve it was to lower the action, and a friend of mine back in 1969 put some custom inlays in the fret board which gave it a custom look and character! I seem to remember having the bridge reset a few years ago!

This guitar has aged very well! 35 years! I didn't take that good of care of it but it has no cracks, very light dents, the finish is still glossy! This old girl could be used anywhere, any time, for any purpose!

Never had to use it!

Been playing off and on for 35 years, seriously for about 5 years, have been trying to teach myself Hawaiian Slack key! I have 3 guitars including the FG180, a Koa wood that a friend of mine made which is a very nice guitar, and a classical guitar from Spain which I got pretty cheap but is a nice guitar! My son now plays the FG180 more than I do. He has friends who he practices with who love this old guitar. It obviously has sentimental value and knowing what I know now I would buy another FG180 without hesitation!

I bought this guitar new in 1971 in Hollywood. My guitar guy says its a laminate top. When I bought it I immediately took it in to get the action lowered and replaced the tuners with Schallers. I rated it "what features?" because what features do you find on an acoustic? It's either good or not.

The sound is one of the reasons I have had this guitar for so long. I have had friends use this guitar in the studio because of its sound.

The reason I rated this "Fabulous" is because I have recently had the neck reset and I feel like I have a brand new instrument with a seasoned sound. After looking to replace it with a "better guitar" such as Taylor, Tacoma etc., I found that my FG 180 sounded as good if not better than those, at least to me it did. So instead of spending $2000 on a new guitar, I spent $440 on refurbishing mine with the neck reset (now I have a bolt on)and new bridge. The guitar is louder and sweeter than ever. I have a Highlander PU and the amplified sound is pretty true to unamplified. I have a hard time putting this thing down.

The only thing over the years that I've replaced were the bridge a few times, you know those cracks between the strings. I don't think it was ever fixed properly until now. The finish has darkened nicely over time. I used to gig with it for a long time in LA playing Country Rock during the 70's, back then using a barcus berry PU which worked pretty good for the time. Gosh I love this guitar!!!

Never had to deal with them except to ask general questions.

This is one guitar I have had steadily over the years. I've owned a Les Paul Black Beauty, Sunburst Tele with Maple neck, (love that maple neck)and a few others that have gone along the wayside. This guitar has been my friend for a long time and will remain so for as long as God wills. I only wish I played it better. Of course my standard is Eric Johnson so I don't think I'll ever play it any better, but it doesn't stop me from trying. For the money I feel you can't go wrong with Yamaha although there are some who feel that the post "Red Label" guitars are rather inconsistent. I've been looking to buy an FG 413-12 12 string, which sounds fantastic for the price, $300.

Don't know the year this old ax was made probably in Japan in the late 60s'. Has the red lable nippon gakki. Spruce top, mahogany back, neck and sides and a rosewood fretboard. Frets are in great condition and the neck is strait and true. A big guitar with a big sound. Tuners replaced by a closed gear type that work great.

The rich sound of this sold bird is excellent. I love it. I use Elixer lights and reccomend the nanoweb strings to all. Clear true highs and booming lows. A joy to hear and although I own a Strat and a Les Paul custom this is the guitar I play when I just want to hear the joy of the sound of guitar. I use this tool to write all of my tunes and find the fingering and neck suited for fast chordwork and strum.

I bet the finish and fit was excellent when it was made. It was a little scuffed and scratched when I bought it but nothing serious and certainly nothing that affected the wonderful sound. I bought it with a hard shell case and 3 world war 1 bayonets at a yard sale for $70.00 5 years ago. Sold the bayonets for 250.00 on ebay. So I guess I was paid 180.00 to buy the Yamaha.

I play the old 180 all the time and my only worry is the bridge where the strings come out, the strings seem to be wearing little longer grooves all the time in the mahogany so that someday I may need to replace the bridge. But until then I will play this guitar until my fingers no longer work.

Haven't and probably won't

I have been playing the guitar for 40 years and have played many different types and models of the ax and I assure all of the readers out there that this is one of the sweetest, clearest, loudest most satisfying guitar sounds I have ever heard. If this guitar were lost or stolen I would be heart broken as now I see the rest of the world recognizes the value of these fine old 180s and I could not replace it for less that 500.00.

I only put a five for features, because how many features can an acoustic have? This is a red label Nippon Gakki instrument, so obviously made in Japan. It is very hard to determine whether the top is laminated or not. I suspect it is not and is certainly spruce. Back and sides could be rosewood, and the fingerboard is VERY dark. It looks to me like ebony. The body shape is like a dreadnought with a waist. The open tuners remind me of those on classical guitars. The neck is rather chunky, but I find it comfortable. It came with the original original soft case-- very beat up and well used.

I do more strumming than picking but either way the tone is better than any other acoustic I've ever played. I found this guitar sitting in the sun at a garage sale. It seems to have had very heavy strings on it for a long time because the top around the bridge has begun to bulge outward a bit too much. After tuning it and playing it enough to be knocked out by the tone and intonation I took the heavy strings off. Some net searching revealed that these guitars have light top bracing and thin tops. I decided to put on a set of medium gauge classical guitar strings as an experiment. I'm glad I did! Mellow! And yet, the volume is there, probably because of the big body. It has the sound of a fine classical guitar! I'm going to leave it like this, because the sound is so good, and so unique. Also, as old as this guitar seems to be, steel string tension might just be too much for it now.

Action improved as soon as the heavy steel strings came off. It is probably about perfect now, a good compromise between best tone and easy playability. It can be fretted right up the neck, until the body gets in the way. The rosewood bridge is nicely made and the bridge insert seems original. I have not had to touch the truss rod. The only flaws are the dings and scratches you'd expect in a guitar thirty plus years old.

It was reliable to survive this long and still be playable, but at this point in its life I think it needs TLC. I gave it a 9 for living this long.

Not really relevant.

I've been playing for a long time but I'm still non-professional. It's just a hobby. I have a Standard Stratocaster, a Jasmine S-35, an early Yamaha nylon string classic, an old Peavey Patriot, and an old Harmony electric solid body-- Korean made. I've owned several strats, and several gibsons, and a couple of Fender Jaguars. This is the best of all the acoustics I've played. I feel fortunate to have gotten such a bargain. I feel that I rescued this guitar.

Serial Number: 1311538
Model Number: FG-180 a paper red label inside.
Date: No idea. If anybody knows, please email me.
It's looks like typical Martin bracing and scallops.
I don't know much about woods, but it looks like a one piece spruce top with a mohagany back (one piece) and sides. The fret board and bridge seem to be redwood, with solid black pegs.

The Sound: I like it alot! I play Bluegrass.
The FG-180, I would say is close to an 'AVERAGE' 20-30 year old D-18. I was visitting my brother in Florida, and he had this sitting around ... he doesn't play much, so he let me borrow the Yamaha, hopefully for a long time.

I'm sure the Factory Finish and set up was very good. Over the years this FG-180 has been used and abused ... but it hasn't effected the sound. It's still solid, no cracks, lots of scratches. It seems the tuners need to be looked at, but they're working fine.

Reliability: I plan to use this alot, both around the campfire, as well on stage periodically.

Customer Support: none.
It would be nice to know how many of these guitars they made and a decent Serial Number Archive. I woould like to know how old this guitar is.
Some info on the woods, tuners, other similiar models, etc.
Also what these guitars cost when new.

I've been playing martins for 10 years or so.
I'm NOT interested in the cosmetics (looks) of a guitar ... it's all in the sound and the action, and this FG-180 has both.
Also, since the guitar is beat up a tad, I don't mind taking it around more often, therefore, it will get more use.

Late 60s Japanese dreadnaught 6-string. Solid spruce top, mahogany back & sides, probably laminated. Reinforced mahogany neck joins body at 14th fret, rosewood fretboard. Open Yamaha tuners.

Very mellow and well-balanced after 30+ years. Solid deep bass, reasonably bright highs & distinct tones. They got it right on this classic model.

Action's a little high, but I never felt the need to adjust it. Moderately fast neck, good string spacing for fancy finger work. Intonation is right on, no obvious manufacturing flaws.

I've abused this guitar since 1974. Dings, nicks, scratches. Been dropped more times than I can remember. Cat knocked a speaker off an 8-foot shelf, put a deep corner-shaped dent in the top. Lived with me for 5 years in a one-room cabin in the Washington Cascades, alternately cold & damp or hot & dry when I fired up the woodstove. Finish is darkened from 5 winters of woodsmoke. Despite this torture, this guitar has never warped or cracked. The neck is as straight as the day it came off the assembly line, the top is flat and the bridge is solidly attached. Tuners a little funky but still functional, pickguard is starting to lift around the edges. Never been to the guitar doctor since the day it was born. Constructed like a tank, but sings like a bird. I think the woodsmoke contibuted to the mellow tone--I recommend it.

Eh?

Been playing since 1966, finally got my first Martin (HD 28)a couple of months ago. The Martin gave me a new respect for just how fine this classic Yamaha really is. Guitars really do improve with age, and this one has mellowed into a real jewel. If I'd taken better care of it, it would be worth twice what I paid for it, but I'll never sell it. Sure, it has sentimental value, but the well-balanced sound is unique and irreplaceable. Also, I won't lose any sleep over it if I accidentally put another ding or two in it, which I can't say for the Martin.

I bought this Guitar in 1969 so it was made sometime before that. It has a spruce top and what looks like mahogany sides and back. Original tuners were crummy so I replaced them immediately with Schaller heads. Finish is unremarkable but durable. I believe it was originally modelled after the Martin D18.

This is a great guitar! I once made the mistake of selling it to a friend to buy a vintage Gibson. Once I started playing the Gibson, I realized my old Yamaha was much better. In fact in playing and trying guitars over the last 33 years, I have rarely found one to match it! The tone is full, bright, rich but capable of great subtlety. I use it for finger picking but it sounds great in any style.

Guitar has performed flawlessly for 33 years. Originally, the action needed to be adjusted ( it was too high) But I did that myself by lowering the bridge. Apart from that it has been great

Totally reliable, stays in tune. I hitchhiked across Canada and Europe with this guitar.

Overall, I'd give this guitar a 8 to 9. For sound it gets a 10, but its a very plain guitar. Having said that, I would never part with it and it is my favourite guitar. I also have a Yamaha FG335II a Giannini GS100 and a Yamaha FG230 12 string. If you see one of these guitars buy it!! They are undervalued today but won't always be.

I've been told that it was made in 1968, but i don't really know. I got it from my uncle, who says he ordered it around then or maybe 1969, but he's not sure. He does know, however, that is was only made in Japan at the Yamaha plant in Tokyo. He had it made especially for him-they even took measurements. (Pretty cool, huh?). Um...features...yeah...um...rosewood fretboard and bridge, spruce 2-piece top, and i hear the sides and back are tigathan, whatever that is, and the neck is mohogany. It's straight accoustic, so their are no pick-ups to speak of. The finish is shiny, so i guess that would be a gloss finish. It's very dreadnought, and is about the widest guitar I have ever seen. The bridge is the kind that is stuck oh...about the middle of the front of the guitar, whatever that means. The pick-guard isn't stock on my guetar, and is coming off, but i suppose it can be glued. The tuners are stock and work well enough for me...i have no complaints. The neck seems kinda narrow, but is thicker than most guitars i have seen in music stores. I don't know what kind of accessories it came with, because i got it second hand, but i have a bunch of good stuff for it.

This guitar is darn near perfect for what i need it for. I play praise+worship songs for my youth group, myself, and, as often as i can, my church. It's one of the loudest un-amplified guitars i have ever heard, although i don't get to hear it all that well from behind it...It has a VERY rich and VERY full sound. I LOVE it. As for the variety of sounds...well...i can strum it, pick it, and beat on it like a drum, so i guess that would be 3.

The only flaws i have in my guitar, as far as i know, are the pick-guard coming up...it's not the original...and a couple dings and scratches, mostly put there by me and my messing around with it. Altogether, this is a very well made guitar. My uncle, my dad and I were all trying to find the seams in the back, and tehy were really hard to find. The one in the top isn't all that easy to see either. I like it.

I think it's pretty safe to say this guitar will withstand live playing. I've played it myself for audiences. The hardware has lasted since 1968, so i think it will last a little longer. The finish is still in excellent condition after all these years too. The strap button is still there too. I can definately depend on it to keep going and the only kind of backup i need for it is extra strings.

I have yet to deal with the company, but since i can't read Japanese, i get the feeling it may be a little difficult

I have been playing around a year and three quarters, and I love this guitar. I have a strap, case, capo, and some picks for it. What ele would i need? If it was ever stolen or lost i would cry then try to file a missing persons report with the police. I love the way it sounds, feels, and plays. The thing i hate the most is that i can't play it all the time. I compared it to a few other guitars, and got this one for 2 reasons. 1. it outperformed all other guitars i tested that were in my price range, and 2. it was the least expensive of all the guitars i tested. My uncle got it made in Japan (the only place in the world that ever made the real FG-180 with the red label and the little words NIPPON GAKKI on it). It was made specially for him. It is an exact copy of the Martin D-18 (all they did was add a '0' to the number and change the head shape a little.) I absolutely LOVE this guitar. It's the best one i've ever owned. Of course it's the only one i've ever owned but hey... what else...well...my uncle said that after reading this site, he might not have sold it to me. I guess that's about it

Tech support at Yamaha says that the Nippon Gakki FG180 was only made in Japan and was not sold in the US, so if it got to the US someone bought it specifically from Japan or brought it with them. That's why the serial number databse on their web site doesn't work for this model.I don't know if that's correct. The US Yamaha group says they can't date the guitar like their web site does. They say the guitar was made in Japan for several years and that the last FG180 was made in 1968. Whatever. The site says the back and sides are tigathis. Yamaha once again said they thought the FG180 was made with tigathis in 68 but didn't know what the early models were made from. The top is spruce and has a very broad grain pattern. Neck is mahogany and the fret board is Indian Rosewood - that I can tell for sure. Replaced the skanky old tuners with new micro adjust tuners, 20 frets, rosewood bridge and sound box (pretty wierd).

This is the best sounding guitar I have played. I don't know if it's one of those 1 in a 100 of a model that the planets lined up for but this thing sounds unbelievable. I have a Tak and have had Martin D28, Guild D55, Gibson Humingbird, Washburns, Epiphones and other assorted guitars and have played hundreds of guitars in shops all over the coutry as I traveled for work for years and the vintagage Guild 72 and was the closest. I feel guilty about this guitar sounding so good because I found it in a guys garage up in Northern CA mountians sitting in the rafters, no case, busted strings, covered in dirt. The temp changes alone should have killed this guitar long ago. He said the thing was played by his son for a few months in high school then put out to pasture as found 20 years later by me. How wierd is that? He also said some guy he was in the Marine Corp during Veitnam had given it to him as a gift - no case. He said the guy walked off the stage, handed him the guitar and said thanks for helping me to come home from Veitnam. Some Story. The guy gave me the guitar because I'm a pastor and he wanted it used for God's Work. I took the guitar in the house, cleaned it up (several hours of work) replaced the tuners and strings, started playing and almost fell over - so did the people who gave it to me. Soooooooo Rich.

The action was wacked because if the weather temperment ion the neck - but was fixable. Action is still fairly high because the bridge is so thick. Had a luthier say he would shave the bridge down to drop the action but I didn't want to take the chance it would change the intonation or the tone - so I play this guitar differt than the others mostly rythm chords and very little leads. The finish looks like it has been through the ringer - has scratches and some dings but is not as bad as Bob Dylan's early LOO Gibsons. The top has mellowed so much that when I put some pro-lemon oil cleaner/restorer on it the wood went from light blond to a deep orange/yellow. Beautiful color.

Obviously this thing was made to last if it made it, no case, in a mountain town in N CA for 20 years. I play it too much as well. This guitar has become my work horse as I am a music pastor who plays guitar better than piano. Our sound crews always cringe when I bring out other guitars because the FG180 is so easy to mix and the others take some work to get the tones to blend with Electric, bass and percussions. So I play this guitar 6 to 10 hours minimum per week and have very few problems.
I had to have work done on the bridge to repair a fine crack, replaced the saddle with bone and the nut with bone. Had fishman classic 4 electronics installed and am happy clam. I am concerned that the neck is going to fold permanently some day becase of all the weather related aging.

Don't waiste your time with Yamaha on FG180 questions - the guy I talked to didn't know what tigathis wood was (neither did I till I looked it up) He also had no answers for where to find info. If you read Japanese you may be able to find info on web as all the web searches I have done to find anything on this guitar produce more in Japanese than english.

I've been playing for 25 years and play a lot as well as play a lot of guitars. I leave the music store disapointed most of the time because I can't find a guitar for under 3 or 4 K that comes close in tone quality and quantity. Every once in a while I will find a guitar in a private guitar shop that is aged well that sounds as good - but those are rare. If you ever find an FG180 somewhere buy it. Most people who have them don't have a clue what they have - some work and some love they make great instruments.

Judging by the Serial # inside it was made in 1974 in Taiwan. I bought it new at Steves Music, Montreal, Quebec in 1975 for $160.
It has around 20 frets, spruce top and a totally funky 3 piece back. It is a feature that always made the guitar totally distinctive, and even almost 30 years later, always surprised folks when I let them play it.
Dreadnaught style, Mahogany neck, sides, bound fretboard, black pickguard, rosewood finger board and bridge.
It was so pale when I bought it, literally white. Has aged to a deep carmel color, almost looks like cedar now.

I play with a light touch, finger-picking, sometimes with a light pick, often with just my thumb. Always have trouble getting volume out of an instrument, but this guitar is by far the loudest, most responsive guitar I have played, matched only by one of my friends old Gibson acoustic, which had a wharped neck and wouldn't stay in tune for more than 10 minutes.
It has a pretty good range, rich bass, nice clear high notes. I always use Daddario light phospher bronze strings, which are perfectly suited to this guitar.
She always stands out in a group playing situation, mostly living rooms etc. and is a very popular choice when we all swap and pass the wood around.

The guitar was well set-up when bought, which is one of the reasons I was drawn to it, it was far superior to others in its category and indeed, even more expensive models. I am a woman with a small hand, so its thin neck makes it ideal for me.
I replaced its original nut and bridge with bone, about 2 years after I got it, which took it up another couple of notches. The frets were a little high, so with a fine file, I put about 5 years of wear on them, especially the first 3 or 4....I adjusted them as low as possible, and got them just right. As a result it has a very low, very fast action, very much like an electric. I can make bar chords up to the 12th fret, no problem...clear as a bell.

It is a real workhorse of a guitar, and shows no signs of ageing, except for the darker varnish. I live in Canada, bad winters, humid summers. Wild temperature variations...no signs of wharping etc. I keep her in her case, standard hard-shell, fake fur lining...she is happy as a clam. I always loosen the strings when transporting her in winter, and keep her out of the direct sun, as much as possible, when playing outside in warmer weather.
Didn't come with a strap button, but I installed one in the butt of the neck soon after purchase, it is solid and as good as new. Use a leather belt of my Dads for a strap...It was a cast-off when I got it, and now is a dear souvenir of him after his passing, almost 20 years ago now.
100% dependable. Has been used for professional gigs, never a moments trouble. Rarely break a string. An easy going instrument, tough as nails.

I have never dealt with the company. No repairs needed. Always did the adjustments myself.
No warranty that I knew of, altho'Steves will back up anything they sell. Montreal's best Mucic shop, hands down

I have owned many other guitars, have sold most of them on, but have never considered selling my FG 180. I shall leave it to a dear friend when I go..it is heirloom quality.
If you ever come across one, grab it. I have never played a more enjoyable instrument, and I have played them all.
It forgives mistakes, and makes merely good playing sound great.
It has only 2 scratches on it, one done by my brother just after I got it...it almost killed me. Then another done in a sloppy moment, all my fault. Both are on the front, and add character, I guess.

I found this Guitar at a garage sale Very damaged as it was was used to bash someone over there head. But for $2 bucks I brought it home and spent two days putting it back in playable condition.
It a dreadnought (Full Size) and Judging by the serial numbers it was made between 1960-62 in Japan. It seems to have a solid a spruce top and soild mahagany back and sides. Open chromed tuners, Rosewood bridge and frettboard, mohagany neck. The nut and saddle are bone.
it has a tortis shell pickguard that may be real shell. the body is
4-7/8 deep and it has 20 very shallow fretts on a V shaped neck. Its finnished natural High gloss. I'll only give this dammaged axe a 6 because of its heavy dammage and ovious lack of care by the previous owner. Oh it has wonderfull thin bracing and taping this guitar sounds like a bongo drum. Very Loud Guitar!

I dont use this guitar too often as I have much better playing equiptment availiable such as my Taylor, Alvarez, Mitchell,and Ovation celeb delux. But it is capable of a very rich sound even though the fretts are pretty much worn out and action is medium height. It has a truss rod but the guitar is so old that it doesnt change any thing except to make the action higher. Its as low as it goes and I just keep it slightly taught so as not to rattle. Even so the solid woods used here even with my extensive use of glue to put this humpty dumpty back together, Still produces a Martin like warm tone quality.

Well if new I would belive this guitar would have been a ten.
unfortunetly it wasnt taken care of and I saved it as good as anyone could. It was used proffesionaly I know for over twenty years in a country western group and was brought over from Vietnam then given to the guys neice who scribed things all over the top and then stord it out in the garage and then bashed here roomy over the head with it before it fell into my hands.I had to repalce a missing peice of the top with Balsa wood and then I took a scanner and coppied the grain and binding detail and pasted that over the repair. I had to file out deep divots in the frett board and glue the craked sides back together. Well now its playable and a worthy picknic or beach guitar but thats all I could do with it.

I this catagory I would have to say this old axe can take anything including a bar fight. It survived Everything imaginable including Vietnam and over 42 years off abuse. It still plays!

Yamaha Has never ever responded to anything I have asked of them.

I have Six amps and 15 Guitars. I play mostly smooth jazz and blues with a little classic rock and country. I have been playing since I was 8 yrs old and am now 51.
My acoustics are This FG180, G255s Yamaha classical, Ovation celeb Delux, Danelectro convertable pro, mitchell Jumbo, Taylor Big baby,
Alvarez AD60SC,and Fender DG10CE.
My Electrics are Yamaha AEX502 & AEX520,FENDER STD STRATOCASTER & DOULBLE FAT STRAT.GIBSON ES345,WASHBURN WI64 ICON,EPIPHONE DELUX DOT ES335 LIMITED EDITION.Bass Ibenez GSR200.
My Amps are Crate VC50H all tube, Crate GX65 ,Crate GXS412XS cab,Vox AC1,Fender Frontman15, Prime AG3,and B50 Univox bass amp. I use the Boss VF-1 all in one effectts processor with an AKG D60S Microphone.

I too found out it was made in 1968. In Japan, I think. It has 20 frets. I was told the top was plywood. Some say it's Spruce.
I also own a Gibson Les Paul and the neck very much resembles it. The tuners were shit when I got the guitar off my dad (who says he got the guitar in a pawn shop near Woodstock, Ontario, Canada, in 1973). I replaced the tuners with bad ones ( I shouldn't have, I drilled unnecessary holes)

I'm all the over the guitar music spectrum. Finger Picking - Struming - whatever (even both (hybrid picking). It's funny because it has both a rich/full and bright sounds. It depends on how you play it. It's very versatile. I love it. I mean, I grew up listening to it (via my Dad), and I learnt pretty much everything on it; and now my son gets to hear it. People are constantly amazed at the sound.

My Dad gave me this in '91. The guitar he bought doesn't even compare to the sound this one gets.

The Action is amazing on it. It's been constantly played for almost 30 years now. I've (we've) never had to adjust the rod or anything of that matter.

This guitar is amazingly reliable + durable. My dad got into a few accidents with it. It craked the casing around the body. I got it fixed. Sounds just as good. The frets are worn dorn (it's okay though). The neck has mine and my dad's hands molded into them. The G-Chord really fits like a glove. Hehehe.

The body is full of dents, and nicks, and bruises, which adds to the personality of the instrument. I walked in cold canadian winter nights many of times (when I didn't know any better). Did a bunch of other 'wrongs'. IT has kept well (too well, it's scary).

Never dealt. Just the website + e-mail.

I would rate this guitar A+++. I've never had to buy an acoustic guitar. Never really thought of it. I also own a Les Paul, + a telecaster, but this is THE guitar. IT's funny...I know three other people who have an FG-180. My uncle, a friend, and the guy who lent us his place for my wedding.

This guitar has been everywhere with me. Boy, if this guitar could talk. My prized possession, that's for sure.

Made in China! Dreadnaught! Three piece back! Binding on both sides of the neck! Block inlays on the smaller sized rosewood neck! A couple little flowers on the black pickguard from the factory.
Says model# FG-180-1.
I can't believe the prices mentioned here. I payed $500 U.S. dollars for this used guitar in 1988 and sold it years later to a friend for the same price.

IT SOUNDS INCREDIBLE!
I own a custom made Taylor 615 Jumbo and the Yamaha sounds almost as good!
The low E string sounds deep and rich.
The guitar is excellently intonated and stays in tune very well.

I've taken this guitar to a couple music stores and it sounded better than $3000 Martins! Only other high end 3 piece back guitars matched the rich tones of this guitar!

The neck is like a Les Paul. Small, flat and short scale.
The action is very low and barring chords is a breeze.
The neck and frets are smooth and feel great.
It is a smaller neck put it does play like a good Les Paul neck.
This guitar is way over 20 years old and has been kind of abused and still looks, plays and sounds like new.

Did I mention that this old neglected guitar still looks, plays and sounds like new? Like a new $3000 Martin!

No idea

I've been playing guitar seriously since 1979. I played bass before that.

I'd buy this guitar back from my friend for $500 in a heart beat.

I wonder why no one here mentioned the 3 piece backs or bound necks. Was this one a different model?

I can't believe anyone would sell a guitar like this one for anything less than $500. We go to music stores all the time for years and I've never played or heard a guitar that comes close to this guitar for under $1500.

What the hell is going on?

How old is it? Damned if I know...But it was made in Japan a coon's age ago, that's for sure. This thing got given to me by an old roommate who decided that I needed his dad's old guitar.
Looks to have a laminated top and mahogany on the neck,sides, and back. It had those original, awful tuners on it when I got it. It now has Gotohs on it which make it much easier to tune, especially on the low strings.
Other than that, it has 6 strings, a nut, a saddle, and the frets aren't too worn (at least they weren't when I got it...)

"Wow, What a great sounding guitar!" When I let other people play it, they all say that same phrase.
New strings sound good with this thing, but once they mellow out after a week or so, the sound is AMAZING! I just had it in my hands and was marveling at the fact that it rings out full and rich when it's strummed. So many other guitars that I've tried don't even come close. For instance, my brother gave me his Ovation when he decided that playing guitar wasn't for him. I A/B'ed them and quickly put the Ovation in the closet. About the only ones that can hold a candle to it cost over $1000, and even then they're not better or worse, just voiced differently.
And the voicing IS different. It's not bassy, and it doesn't have a noticibly bright treble response either. It mostly stresses the low side of the midrange. How Yamaha managed to do that without making it bassy is beyond me, but it blends well with most other acoustic guitars without getting lost.
And all of this while playing 11's!
Next Step: putting in a pickup so it can be used live!

If you've read the reviews that came before this one, you're familiar with the problems associated with this model. My guitar was no different. The tuners sucked and the action was so high as to be unplayable beyond the 5th fret.
Now it has the aforementioned Gotoh tuners on it, some ebony endpins as well, and it had a truss rod adjustment that straigtened the neck out and lowered the action substantially. Now it's playable all the way up to the body.
I suppose that someday I'll put a proper bone nut & saddle on it, but it still sounds good the way it is.

Well, it's lasted this long, but then again that may not be saying much, as it had a lot of "closet time" before it came to me.
But I've had a couple of years to beat on it and the only thing that annoyed me was that its endpin kept falling out. I got that fixed a few years back, and it's been great since. I've used it in all kinds of weather, even in the dead of the Florida winters(?), and even then the only problem was that my fingers got too stiff to play it.
Other than that, the finish on the body isn't very glossy and looks a bit thin, but it's held up so far.

Never dealt with Yamaha. Wouldn't know.

I love this guitar. I hope it never gets busted, stolen or lost. This is the only one I've seen. I keep wondering how long this thing will last, how long before all I can do is reminisce about this guitar and how good it played, how wonderful it sounded, the compliments I got from my friends, etc. Seeing the other reviews helped alleviate that fear some, but have you ever tried finding one of these for sale, even on the Internet? In the words of Donnie Brasco, Fuhgeddaboudit! It's not exactly a Strat in terms of availability, folks.
But seriously, my only fear is that this positive review may make the guitar more desirable and cause the price to go up, thus making it even harder to find another one like it. And then what could I do???

I play in various country and bluegrass groups and occasionally gospel. I was in a pawn shop and picked this dreadnought body guitar up for $100.00, and once I adjusted the neck and put new strings on it I was really impressed. Yamaha says this guitar was only made in 1968 which makes me wonder what the ole boy was smoking that says he's had this instrument 37 years. The company claims that the top is solid spruce, and the back and sides are tigathis.

This guitar has great sound, the chords ring and the sound fills the room. I have a '64 Gibson Humingbird that sounds a little bassy compared to this Yamaha. I use 80/20 light strings and it sounds bright and great for country or bluegrass. Very playable, hope it lasts for long as I need it.

The action is fine up to about the 4th fret, then it is a little high.
The tuners are open back and poor quality, one has rocked over slightly, and several of them have knobs that vibrate. People say they don't hear the rattling tuner knobs, but I do. I have ordered some nice closed back tuners for it and I will be changing them out.

This instrument has had a rough life, as I said, it was in a pawn shop with the serial number scratched off. It has scratches and dings but it doesn't hurt the appearance too much. I have use this guitar in front of crowds of 400+, I am always praised on it's superior sound!
Bluegrass pickers even ask me what model of Yamaha it is and how old it is.

The company responded to my inquiries, but it was a little cold and unpersonal. They simply referred me to the guitar archives where I got the info I gave you earlier about the manufacture date and construction.

I have been playing 28 years, I have a '64 Gibson Hummingbird, a Yamaha FG-512 12-string, a Yamaha FG-75, a Peavey T-160, and 4 other cheap guitars. I wish I had seen the serial number scratched off at the pawn shop, I'm not wild about the fact that it was probably stolen at some point. I would not sell it, good guitar!!

serial number 1406138, Nippon Gakki red label, made in Japan. Solid spruce top, nato sides, back and neck. 20 frets. High gloss finish. I replaced the lousy tuners 26 years ago with Grovers. Neck is slim with standard frets that I have never had to replace.

I use it strickly for finger picking as it's so loud and brassy with a flat pick you can't sing over it. It sounds better than any guitar I have ever played. Sorry C.F.M. and Olsen. I has incredible sustain for an acoustic. I have been running heavy gage string on it for 26 years and it has no belly bow.

the strings where way too high until last year when I had the action lowed to something that a human can play. the bookmatch is good and othe back is so tight you have to get a magnifying glass to see the seam. The only flaws are the road wear of 32 years of playing.

this model Yamaha has something of a reputation in the music world as being one of the finest guitar built. Many professional musicians own one. I was surprised. (they all had the action lowered..it's the inside joke.) I have always depended on this guitar. It's the best. I wouldn't trade it for anything.

n/a

I've been playing 45 years. I also own a Terada 12 string. If I lost this ax it would kill me. If I could add anything to this review, it would be , if you get the chance to snag one of these, DO IT. lowere the action, and make everybody drool around you.

I bought this guitar in the mid 70's. It is made in Taiwan. The top Solid spruce, the sides and back are Mahogany, with a V shaped inlay (Spruce) down the center of the back. I have never seen another FG 180 like this one. I bought it because it reminded me of a Martin that I could not afford at the time. The neck is a little thicker than I like and the action is a little high. But it plays really nicely once you get used to it.

It has mellowed over the years. With new strings, it really has a nice sharp ring to it. The sound carries very well. Once the strings have been played it really mellows out. Compared to a Taylor, it has a somewhat softer tone, but overall is a really nice sounding instrument.

As mentioned earlier, the inlay on the back is really unique. Overall, the guitar is well made. The chrome tuners are yamaha. Holds tune really well.

I have had this guitar since I was a junior in high school. (a long time) It has literally been from coast to coast. The drastic changes in the environment have not affected this guitar. Any flaws with this guitar were induced by the ignorant owner (me). It is by far the best guitar for the money that I have ever owned or played.

I can't say that I have ever needed any support from the company.

I have been playing since the early 70's. This is a guitar that I will pass on to my sons. I can't place a value on it because I would never sell it. It can't be replaced. Excellent guitar.

Made in Japan. It's your basic dreadnaught with solid spruce top,mahogany sides and rosewood finger board. Tuners o.k. Thinish neck with o.k. action. I bought this guitar new in 1971.

I play folk/folk-rock/bluegrass/celtic stuff and this guitar has served me well. It's pretty loud with 'medium' strings and comes through well when playing with fiddles and banjos.

Factory set-up/fit and finish were decent. The guitar looked nice when I first bought it. Good finish and quite durable. tuners a little loose as I recall. I put some decent tuners on after a few years.

I have been pretty hard on this guitar. I am a fairly heavy handed player but I have also done many of the guitar no-no's i.e. leaving the guitar in the car on a hot day, dropping the instrument etc. and this guitar has always played well and has always been reliable.

Never dealt with the company. Had the frets replaced once (they are ready again) with no trouble. After moving from L.A. to Wiscosin the bridge came off probably due to temp and humidity changes. It came off clean and glued right back on with no hassle.

I own a few guitars, electrics and acoustics as well as a couple of mandolins. Without a doubt this is my favourite axe for nostalgic reasons ( it's been a good friend over the years ) but also because it's a darn good instrument.

This guitar is a 1965 model made in Japan. Has a nice narrow neck that is comfortable in the hand. Solid top. Dread style. I have had the original tuners replaced with a identical 2nd hand set. Still sloppy to tune but holds tuning well. When I bought it from a professional musician the fret board had deep holes in it around the open chords areas from years of incessant wear. The fret wires were heavily worn down and sometimes when I tried to fret a chord it would play another. Had a high action. I took it to a brilliant luthier who resurfaced the fret board, replaced the worn wire and lowered the saddle to produce a nicely lowered action. It is a rough and ready instrument but I love it. The top has a fair bit of pick damage which had exposed the bare wood. I have covered the damage with polyurethane with no discernible cost to tone etc. A previous owner had also carved his name into the headstock where the Yamaha logo was.
I have managed to get rid of that by sanding and filling and putting a replacement logo on it! Not that pretty but look below:

This is a party axe par excellence. It plays loud and true. Has a good rich tone that everyone can get into on drunken singalongs. I also own a new Gibson Hummingbird that I wouldnt dream of taking to a party, and this guitar while not as sweet certainly compares pretty well when cost is taken into account. We (mates as well) can thrash this guitar mercilessly and it does the business over and over again without needing to be tuned too often. Everyone comments on the nice neck. It's not pretty but it's good.

Apart from the heavy wear the guitar is in reasonable condition. The action is nice and pretty easy to play. Barre chords are a little harder but okay. The narrow neck is not as roomy for my big hands as my Gibson but suits most. I would have to say that the FG180 is a VERY well made guitar. It is tough and durable. Made on high industry standard lines so many years ago. My luthier commented that they were one of the better lower cost guitars ever made. My son has a modern acoustic/electric and he is envious of this guitar.

As said above (and by other owners) these guitars are tough but good. I would commend this instrument to any learner or intermediate player who likes to party. They are getting hard to find like most things that are good but inexpensive. I suspect that it will be twanging away at some party long after I have gone. A 37yr old guitar that has opened up beautifully over the years and stood up to extremely hard use exceptionally well. What a find!!!!

Yamaha today probably are not the same outfit they were when this was made. They should embrace these veteran guitars as shining examples of quality. They have probably forgotten all about them.

I own three. This, the Gibson and a cheap classical. I am very careful with the Gibson which I love. The classical provides me with variety of experience and practice. But when I want to throw a guitar in the car and go somewhere this is the one. I have a soft padded bag for it and I can toss it in the back of my 4WD without worrying about it and it never lets me down. I am always on the lookout for another one and if I lost this one I would be very disappointed. It plays soft on the hands but sounds REAL GOOD. If I need to replace the tuners again I will get new ones. If you see one of these around - BUY IT!!

I bought this guitar used from a guy who said he purchased it in the early 70's from a pawn shop in Hollywood. I paid 175.00 US dollars for it. Orange label inside says Yamaha Guitar FG-180. I have no idea where it was made. It doesn't say. The headstock says YAMAHA across the top and then has the silver and black yamaha plaque screwed in. I think it's Mahogany. The neck is thin. The action is a little high but i also tend to press really hard thus turning my fingers black. this doesn't happen to anyone else who plays my guitar. sounds and plays amazingly well from the moment i picked it up i knew it was mine and it has been doing a good job of writing songs for me.

oops. here's the part about sound. ok as i said before. it sounds excellent. nice tones. it's acoustic so i don't get any feedback but who needs feedback when you have this baby in a case on your back?

the action is a little high and i keep meaning to bring it in to get a good set up since i bought it used and the person i bought it from hadn't played it in 6 years. It's shiny. no nicks or scratches.

like i said i bought it from a guy who bought it 30 years ago. nothing is worn at all. i think this guitar will be here after everything else is gone. i did use this guitar to play an open mic night once.it's still here...

did deal with yamaha

i started playing in 1988. i own 2 silvertone electric guitars and an airline dan electro style electric guitar. i also have an epiphone acoustic guitar that doesn't say in tune for very long. as far as this yamaha goes...if it were lost or stolen i would definitely buy anothere one although i don't know if i'd find it this cheap. they had one at the trading musician in seattle for $600.00.

ALL I CAN SAY ABOUT THIS GUITAR (WHICH HAPPENS TO BE MY MOTHER'S) IS THAT THE SOUND IS ALMOST TOO GREAT, LIKE'S TO EVESDROP, AND HAS A MAJOR SICK SENSE OF HUMOR...
VERY HOT!!! (ALSO IN A GUILDED CASE)
BEAUTIFUL ROSEWOOD, GREAT PICK GUARD, NOT CUT OUT -
DOESN'T LIKE TO BE LEFT ALONE.

DID NOT LIKE THE MUSIC STYLE I FIRST PLAYED, I SUPPOSE
VERY SENSITIVE (EXTREMELY)
LIKES WORSHIP SONGS AND ORIGINALS
DOESN'T LIKE POP SONGS (WORDS?) OR WAR

THESE QUESTIONS ARE N/A

I WOULD SAY THIS GUITAR LOVES IN ALL RACES

INITIALLY NO...WARRANTS? DO NOT HAVE ANY CLUE (MAYBE AN IDEA THOUGH)

NO MORE FURTHER QUESTIONS

Made in Japan. Im not sure what year it was made. 20 frets, laminated top. rosewood fretboard, maple body(i think). It has a natural finish with a coat of laquer. no cutaway. it has non-locking tuners, jumbo frets. it has a jumbo size body too. it was given to me by my father about a year ago, he gave me a guild case with it. nothing glamourus on this guitar, but why should there be?

sounds great. it has a very nice tone.

nice fit. its a beautiful guitar.

its tough, but its got this one dent in it that really bugs me, but thats my fault.

its great, thats all i have to say.

Jumbo guitar. Solid top(unsure of wood). Worth a 7 just for this given that it only cost me 35 quid. Rosewood finger board.

I'm a predominantly a plectrum player and boy can this guitar bang out the volume, especially with a reasonably chunky set of strings. It's not just loud, though - it has a fantastic, mellow gold sound that even make make my occasional forays into finger picking a real pleasure sonically speaking.

There's no getting away from it - this guitar is hard to play. It has a high action and barre chords are a real challenge past the fourth fret (this is partly my fault as I don't compromise the sound by putting extra light guauge strings on it). I give bonus points for the sound board - the finish must have been good as it looks even better now then when I bought it. Plectrum scratches and other dents only improve it.

I've never gigged this guitar but it has survived many parties, walks home in the rain, house moves etc. It even fell into a river once during a drunken punting trip in Cambridge. Have to knock off two points, however, because the machine heads have not stood the test of time. Also, the top is coming away a little from the body but it's been like that for ten years and it hasn't got any worse. Practically indestructible.

Never had to deal with Yamaha.

I've had this guitar since just after I started playing in 1987 and from that perspective it is irreplaceable. The sound is awesome but it's hard work producing it! I've played many other guitars over the years from Marlins to Martins. The FG-180 is one of the hardest guitars to play but it competes with the most expensive guitars on sound. It's a great party guitar. And if you buy one to go backpacking or whatever, don't condescend it with a 'disposable' tag because it's a real survivor.

Dreadnaught style accoustic. Bought from a friend of a friend in 1972, made in Japan in the late '60's. Solid spruce (?) top, 3-piece mahogany neck, with high gloss finish, mahogany back and sides, apparently solid. Basic black and black/white binding on the body, no binding or decoration on the neck. This is not an ornate instrument. Nickel-plated (?) tuners, open backed, and of fairly poor quality. The neck is a very thick V-section with twenty (fairly skinny) frets, fourteen to body. It is almost as deep as it is wide, and could double as a telegraph pole.

This guitar has a huge tone. Even played gently it puts out a fair amount of sound, and the output just goes up the harder you play it. The tone is not particularly subtle and is particularly strong over the mid and low frequencies. Chords sound great on it but because of the high action (see below) you need a good technique to get single string work to sound good, and even so it's not easy to get the notes to ring well above about the 7th fret. Great for strumming or basic fingerpicked stuff, not an ideal jazz box (!).

This guitar had a high action from the outset, and over the years it didn't get any easier. The huge neck also feels rather clumsy. In fact I hardly played it for many years because it was such hard work. About a year ago I had it set up by a good luthier. With the frets dressed, bridge lowered, and truss rod adjusted, it is so much improved as to be reasonably playable. Nevertheless the action is still quite high (walk into any guitar shop and out of a random selection of #100 acoustic guitars, most will be significantly easier to play). Good for the technique, but hard work nevertheless. The guitar is fairly plain, but the quality of the wood and finishing is good. The back is nicely book-matched, and the spruce top has mellowed to a beautiful pale gold colour. The tuners were always pretty awful, and are now more or less work out. I'm contemplating whether it is worth the expense of replacing them with a set of Grovers.

I've had it for nearly 30 years and it has survived with only a few cosmetic dings and scratches. It's been thrown about, stored in a garage and generally abused and has stood up without any problems. It appears to be more or less indestructible. I wouldn't use it at a gig, but it's a good instrument to take to parties, since I suspect that it would survive the worst.

I've never had to deal with Yamaha. They did run a feature about on their web site offering help to identify old Yamaha guitars from their serial numbers. I e-mailed them but they never replied to my message.

As a "vintage" instrument it is probably becoming collectible and as such its value is going up. I am quite fond of it, it does have some history and a very nice tone, but playing it is such hard work. If it were stolen I would gladly spend the insurance money on something a bit less technically demanding.