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!