Alvarez Yairi DY-45

Made in Japan in 1985 serial #61256
20 frets
Volume and Tone knobs for pickup
Dreadnought Body
Alvarez Tuners

Great! I went out to find a new acoustic, but I didn't want a new one with no character and a lack of tonal quality that I was going to pay through the nose for. I found this particular Alvarez at a local guitar shop (traded in at one of the major chain "centers") where they were asking way too much for it. But the first time I picked it up, I was pretty impressed. Luckily I happened to know one of the salesmen who eventually gave it to me for what seems to be the going rate. However, I did compare it to every $2000.00 and up guitar in the place and only one (1) of them stood up the Alvarez. Definitely worth it if you can find one of these!

The guitar that I found was set up just about the way I like it with a medium action so I will probably leave it alone. This one is 23 years old so there are just a couple minor dings in the finish. It has the satin kind of tobacco burst finish, very nice looking guitar.

Since the guitar is already 23 years old and plays like a champ, I'm gonna go ahead and give it an A+ in this category.

Can't imagine I would ever need it, or that it even exists anymore.

I've been playing for 22 years, not professionally for the past 8. I also own a Tele, Strat, Les Paul, Tak...etc,....
This really is the best deal going for an acoustic guitar, that I know of anyway, and I am pretty particular. If you happen to see one, or are considering purchasing one, don't hesitate!

My DY-45 is a satin finish, dark stain dreadnought with all of the original appointments. Solid top. Bone nut and saddle.

It was made in 1980 and the wood used is said to be aged 20 years before construction. I believe it judging from the tone.

No electronics.

Stays in tune very well.

Could use a strap button on the neck joint.

Solid build and feel on this guitar. Comparable to any high end guitar.

The sound is very round and pronounced.

Balanced.

I would say the low end is thick but a little quiet unamplified, mid has projection and warmth, and highs ring clear but are not overly brilliant.

Alot of subtle overtones anywhere on the fretboard.

There are no mechanical flaws whatsoever. Mine has bumps and bruises and even a crack in the top but I don't mind. It's still a very enjoyable guitar to play.

Action is medium to low.

Finish is gorgeous. Even if I find a better sounding guitar, I will be hung up on this one for the grain and finish.

Wear from 28 years of playing only includes minimal 1st position neck fading and some moderate fret wear(aside from the bumps and bruises).

Haven't contacted them.

The only thing I don't get from this guitar is glassy brilliance. I can't blame the guitar though. I do get a subtle brilliance. More so than I expect from a guitar that delivers so much on the deep end.

Just like most of the other ratings for this style guitar - satin finish, tobacco sunburst, 1984, s/n 51946, proprietary tuners, no pickups

I play a little of everything, mostly rock but some country and I lend my limited talents to our church praise team each Sunday. I have a removable pickup that I run through a Fender amp when I need to play to large crowds, but this guitar alone can really bring the hammer down. Like some of the other reviewers, I play with folks that use Martins (I also own a Martin 12 string), and they are blown away at the sound of this guitar. On many occasions, my guitar has taken center stage with a solo because they just like the sound and feel of guitar, leaving thier Martin on the guitar stand.

I bought the guitar new and have taken pretty good care of it. I've never had to have the saddle, tuners, neck, etc. adjusted. I'm alway amazed at how I can leave this guitar for a week or longer, go back to it and have minimal tuning to do. The action is a little high, but for me I like it that way when playing acoustic, for some reason I just think it sounds better. Not the case when I play my Gretsch Tennesean, I like the action with that guitar to be as low as possible, ask my luthier.

I've probably gone to try out and buy another acoustic a hundred times in the past 23 years, but I can't find anything that sounds better to me than this guitar. There are some that sound different and certainly are "prettier", but they don't move me. I've owned a couple different 12 strings, and currently use a Martin 12 when the occasion calls for it, but this is my acoustic axe of choice and will remain so. It does look its age, it gets played very often and my buckles, pick tapping and overall accedental bangs and dings have left thier mark. Nothing serious though.

I've never had a reason to contact the factory, I guess I should send them a thank you card

I've been playing since 1973. I have a Gibson LP Studio, Gretsch Tennesean, Fender Mustang (65) and the Martin 12 string. I bought the guitar new from a music/clock store that was going out of business to replace a guitar a freind had accedentally demolished. I don't know what I'd do if it were stolen (it certainly wouldn't be lost), probably look for another vintage Yairi. This guitar has been a real "pal" over the years, never changes and always pleases. I guess the biggest praise I could give this is that my son always seems to have it in HIS room. He started playing about four years ago, and with all the electric gear we have, he would rather sit and play this guitar than any of the others. I know I'll have to check his car when he gets ready to move out!

I bought this guitar used on ebay. The label indicates it was built in Japan in 1980. It had seen a lot of use by the time I got it. The sound hole edge has pick wear, the top has a collection of dents and dings, and the first four frets are pretty worn. This axe has been played




The Alvarez-Yairi DY-45 is a dreadnaught style acoustic guitar. The one I have has a solid spruce top (at least I think it???s spruce. The brown stain makes it difficult to tell for sure.) I???m told some came with a cedar top. I don???t believe mine is cedar. It has a laminate mahogany back and sides. The finish is satin rather than shiny and the top is stained sort of a distressed brown. There is black binding around both the top and the back with a thin light line at it???s edge. The line around the top is doubled. It???s a simple, understated, and elegant look. The neck is mahogany, one piece I???d describe as shallow. It is 1 3/4 wide at the nut . The fretboard is rosewood. It is very dark from many fingers over 27 years of being played a lot. It has 20 frets, with the body joined at fret 14. Neck position markers are medium size dots. Unlike most of the Yairi???s I???ve seen there???s no snowflake at the 12th fret. It???s dots all the way down. This may be an indicatorof it???s age, or the fact that when it was manufactured, it was one of Yairi???s least expensive guitars. Neck scale is 25 1/4 . It measures 12 5/8 from the nut to the 12th fret. The nut is plastic.

The paper label glued on the inside provides a serial number, 33655, the model number, Yairi San???s autograph (or it???s facsimili) and the numbers 28-4/80 which I assume is the date of manufacture. This guitar is very light in weight.

Tuners are chrome Grovers which are replacements for the originals. The guitar incorporates a Martin Thinline pickup which the previous owner told me was recently installed.

The bridge is a replacement as well. It looks like unfinished rosewood. Whoever installed it did a nice job and selected a good looking piece of wood. The saddle looks like plastic. It???s leaning forward from the tension of the strings and possibly because the saddle slot was not cut deep enough. Intonation is good, however, and the guitar???s sound and playability don???t appear to be affected. I intend to have my luthier reinstall the saddle and do a complete setup sometime soon. The first 4 frets are pretty worn as well, and he???ll level or replace them as he deems necessary.

I find the simplicity of this instrument???s appearance beautiful. The highly worn, distressed appearance of the top, which causes a sort of uneven, blotchy look adds character. The mahogany back, sides and neck are dark and lustreous, with an almost 3 dimensional appearance. Laminate or not, it???s really nice wood. The inside surface of the guitar looks like it has some sort of laquer or finish as well.

The mahogany back and sides, simple dot markers, and spruce top, indicate to me that the D-45 designation was no accident. I imagine that very little of what Luthier Yairi does with his guitars is accidential. The guitar is very reminicent of it???s Gibson namesake. I believe I???m qualified to make that statement, having once owned a Gibson J-45. My guitar???s sound, however, does not really resemble that of a Gibson. I???ll discuss that in the following section.

Buying a guitar online is a crapshoot. You never really know what you???re getting until it arrives. I waited 3 days for Brown to deliver this one. When it finally came, and I got to play it, I was blown away. It is easily one of the best sounding acoustics I???ve ever owned, though not nearly the most expensive.

This is a VERY loud guitar. It???s a real cannon. The sound is much more like a Martin than a Gibson or Guild or any other guitar I???ve owned. To my ears it???s a ringer for a D-18. It has a deep and loud bottom, great volume as I???ve said, but it is not boomy. It???s a tight, controlled, very Martin-like sound. Sustain is astounding. Notes and chords ring on and on.

Much of the music I play on acoustic guitar is finger picked. I play country blues, folk, and a little jazz. It all sounds great on this guitar. Nevertheless, I???d say that the best of the DY-45 comes forth when it???s played with a flat pick. Each note seems to stand out loud and clear. It would probably make a great bluegrass guitar. Since I don???t play bluegrass I???ll never know for sure.

I???ve also played it through my amp a little, in order to try out the Martin Thinline pickup. I have a Behringer GMX-210 amplifier. The pickup has low output. I need to crank the amp up all the way to get any volume. There???s no volume control on the guitar.No controls of any type.

The guitar was 27 years old when I got it. The wood is beautiful and the guitar is gorgeously constructed, but setup issues do not apply.

I???ve played guitar since 1966, but there was a period of about 15 years when I played very little. I started playing again seriously about 6 months ago. Therefore, my playing is very rusty and my knowledge and impressions of equipment are based on memory and experiences of what was happening in the sixties, seventies, eighties and early nineties. Maybe that???s one reason I???m so comfortable with this axe. It doesn???t have any of the stuff you find on many modern acoustics. It doesn???t have a cutaway that allows access to the higher frets, or a built in tuner, or a modern pickup with tone controls. It???s a good ol??? mahogany dreadnaught. I also own a Lo Prinzi TM-10 maple body dreadnaught, an Oscar Schmidt OE-30 (ES-335 clone), and a Chinese Strat copy.


This guitar was strictly an impulse purchase. I???ve been playing a lot lately, and just wanted a new toy. I remembered hearing good things about Yairi, and saw this axe on ebay for what seemed to be a very good price. I found out it belonged to a gigging musician because I called the number on the ebay listing and talked to him. The dings and dents that were described did not put me off, and I bought it. It???s definitely exceeded my expectations

Truthfully, I did not expect it to be this good. Over the years I???ve owned lots of really nice guitars, including several Gibsons, and a Gurian. I currently own a very nice Lo Prinzi dred. None of them had the sound or the soul this one does. Obviously this is not a stock guitar. It???s a 27 year old guitar that???s been played a whole lot, and had replacement tuners, bridge, saddle, and who knows what else done to it. Still, it???s impressive.

The sound is easily the feature of this guitar I love the most. Despite the condition of the bridge it???s very playable. I have no doubt that after the bridge is lowered, and the action brought down, it will play even better.

One thing I would change if I could is the scale. This guitar???s scale is about 25 1/4 inch. A shorter scale like Gibson???s would make it easier for my old hands to chord. They are nowhere as strong and limber as they used to be.

I also wish that the pickup was louder. If my playing get???s back to the point where I can play clubs and coffeehouses, it could come in very handy. I???ve noticed, though, that the pickup level presents no problems when I record onto my Fostex MR-8 digital recorder.

One other odd thing is the strap button. The button at the end of the guitar is built into the amp cable plug. The other one, though, is mounted on the heel. Not in the usual place, but facing straight back, poking into the player???s gut. I???ve sort of gotten used to it, but it would look and feel more natural facing up or at a 45 degree angle.

I love this axe. It looks weathered and funky, like me, and the sound is spectacular. My advice is, if you can find a well worn and much played Yairi, grab it. You???ll have a jewel.

Thank you, Yairi San.

When I went looking for a good acoustic guitar I had my mind set on a Martin D18 Then I played this beauty , the m
Martin did'nt have a chance. Its a dreadnought stile, Japanese built in the shop of K. Yairi for Alvarez. It has a brown satin sunburst finish with all the standard stuff a fine instrument would have. The machines are propiatary and work flawlessly.

It has the biggest and fullest sound of any guitar I've ever played ( and I've played quite a few)
She has a matched fir top and matched mahogany sides and back. The edg banding and trim is beautiful. This guitar is elegant not glitzy !

I like to play Cat stevens, Tull, C.S.N.Y. J.T. and lots of other folk stuff.
This Guitar leaves all the other Guitars way behind. I compaired it with Martins, Gretches, Ovations, Gibsons, Takaminies, Yamahas and others I cant remember now.
It has a warm, deep, clear sound I fell in love with instantly.

Yairi reaily knows these instruments. There where absolutly no flaws or problems of any kind. Not a buz in the fret boaed and the octaves are true, extraordinary !

You could do what-ever you wanted to with this giutar.
Always Gig with a back-up - Murphy's Law you know !

Never had to repair it, never worried !

I've been playing since 1971, and gigged in a band untill 1976, Rock and blues. Didn't play accoustic in the band. When I got married and had to get a real job. so I sold most of my gear and later traded my Les Paul custom even up for this beauty. At first I regretted the trade ( I really missed my LP) But after a while I learded to play this instrument better and the joy just flowed.
( I since bought an old D'agastino LP Custom and small Peavey amp) so I'm no longer Jonesing for power Chords and Zepplin.

1981. 20 frets. Body joines at the 14th. Nice dovetail joint.
Stained solid spruce top. Good 'ol mahogany side. Very dar, consistent Rosewood fretboard. (I really think, from the Japanes guitars I've owned, that the Japanese makers understand wood just as well or better than people in Pennsylvania, Calif. or Tennessee.) Seems to be a "scalloped" bracing, though I could be wrong about terminology. It's a nice dread. size, and I say that not particularly that inclined to dreadnought shapes (I've owned a few, Takamines and Guilds, but prefer 000 shapes.)
Frets are medium. Neck has a rather subtle V -- and I like v-necks in acoustics as much as electrics.
The spruce top is astonishly brigth and vibrant and constrasts perfectly with the mahogany, tone-wise.
It's "just" a nice dreadnought, but you gotta give a guitar a '10' if it perfects its own 'features.'

I've played professionally and semi-pro for probably 30 years. So I would my style has covered broad swaths of rock, blues, folk, jazz and country, just out of necessity.
Not to say that any acoustic guitar will cover all this ground, but perhaps a bigger compliment is that this guitar very much inclines you to play it. I've only had it for about two weeks, but I suspect the main reason is the nice, ringing overtones. This is an older model, w/spruce top. And it reminds me how versatile mahogany/spruce is.

As I say, this is an '81, clearly a workhorse for who-knows-how many players before I got it. It's sturdy. The bridge saddle seems about used up, and it has some deep string grooves in the bridge from years of string changing, but it's got years to go. I'll replace parts if I have to. Frets and tuners are still top-notch.
In short, a tribute to a fine group of luthiers is how well the guitar plays and looks 25 years later. (And not just for 'vintage' snobbery, either.)

Seems considerably sturdier and more road-worthy than my high-end Martin. Since even the spruce is dark-stained, the 'dings' and scratches don't call attention anyway.
I think I would gig this without a backup, either as a solo act or using it for the odd acoustic number on state with a band. It certainly stays in tune just fine, and is well intonated. I use Elixers, cause they're durable, and I'm cheap.

Too old for any of these issues, I fear, althoug of couse Yairi is still widely and deservedly well-respected. I don't have "guitar techs," but there are competent luthiers around where most of us live.

As above, I've been playing since the late 70's. I play acoustic as a kind of 'auxiliary" skill for so-called lead guitar and front-man duties, although as I enter full-fledged grandfather age, I play acoustic around the house almost exclusively.
I got such a fabulous ebay price on this (and these 'steals' are part of what pleases old farts like me, as you know), that alone would upset me if it were stolen.
I'd buy another Yairi in a heart beat, and plan to. Perhaps one of the Master series, but probably a 000 size for my porch retirement days.
I chose this as a "picnic" guitar, one that I could throw in the car for when family and friends interrupt me from my bbq and potato salad to make me play, without undo worry if it were accidentally stepped on by stampeding kids.
An interesting comparison is my $2000 Martin HJ/rosewood. The Yairi is more like a "chum"; the kind of guitar you can have a beer with. The Martin, for all I love it, seems delicate, nuanced, and snobby. Never take it to a picnic, like the Yairi. But the Yairi sounds just as good in its own way. Not as boomy, but certainly not quiet. A great dread. sound in itself.

Most excellent tone with nice ringing highs and warm eathy lows.

For the dollars I paid fit and finish just doesnt get any better. Action and playabilty was good right from the showroom floor.

No problems so far

Never needed

After years of playing electric I decided one day to get an acoustic for a change of pace. I walked in the local music one day just kinda window shopping and grabbed the DY45 and started noodling around on it. I thought to myself how nice it played and how resonate and crisp it sounded. I hung it back up on the rack and left the shop to go back to work. But that guitar stayed in my mind all the rest of the day and thru the weekend!! Come Monday, I went back to the shop and bought it....probably the best guitar purchase I ever made. I love the sound, I love the finish ( satin tobacco burst), and i love the way it plays. Not for sale ever.

This has beeen well catalogued. A spruce and mahogany acoustic dreadnought with excellent but completely understated touches in the binding, purfling and inlays -- just the way I like it. "The guitar ain't supposed to be the star."

Built (completed) in 1982. The woods are exceptional; tight grained, straight and true -- and they vibrate to the noise from a clock radio. Easily comparable to a one-off, lovingly crafted guitar from a custom builder.

Oh, Lord, this is the finest mahogany guitar I have ever played, seen, or heard. Nothing I found in 40 years of searching gets close to being in the same galaxy of the sound this guitar produces. Rich. Resonate. Pure. Dark and sparkly bright all at once. And the sounds go on forever -- I've had to revise songs because of the sustain on all strings in all positions.

It is the single, best fingerstyle guitar I've ever found, regardless of maker, price, tonewoods, or body style. Period.

I bought this used but otherwise untouched -- the satin finish on the neck hadn't taken a shine from playing. I sanded the bridge to more closely match the arc of the fingerboard, but it didn't bother me before doing that. It's an anal thing.

The top is perfectly matched; the finish is so thin you can see it follow the annular rings. The mahogany is likewise a perfect booking; straight and true, no burling or any curly graining.

But I don't like guitars for how they look; that this one looks fine was an accidental bonus.

This is as reliable as any fine guitar I've owned, and it is no more or less durable than any fine guitar. They aren't made for careless handling or the environmental changes the manuals are so careful to tell you to avoid. They are meant to be looked-after.

It's 26 years old and the only changes are that the neck is getting a fine patina from playing, and there's a tiny button-rash (no kidding, caused by regular, everyday shirt buttons) on the back - just a slight dulling of the finish. There isn't another mark on it, nothing has loosened, and properly cared-for, it's durable enough.

No experience.

I've been playing for 42 years (ouch!). Some professionally back in college and some session work over the years. I own a Martin D28 that took me decades to get, and a Gibson Southern Jumbo (also mine after a long treasure hunt). I stopped playing electrics 10 years ago, it was unseemly behavior for someone with grandchildren...

I've owned and borrowed a boatload of guitars over the years, from cheap to even-Bill-Gates-would-blink-at-that-price; these three that I've kept are the best of the very best that I've been able to get my hands on. I waited ten years to buy the Gibson; I've played a better D28 but that one won't be sold in my lifetime at any price - it's the owner's bread-and-butter and she's no fool.

If something happened to this guitar I doubt I could replace it. You don't look for THE SOUND for years and then run out and find it again.

What I like most about playing this Yairi is the feel of it: I feel every note through the back, the sides, the top, and the neck. It feels like it's an extension of my body, and I feel the music even more than I hear it. I haven't felt a sensation like that since I turned off the amplifiers...

I like the Martin and I like the Gibson just as much as I like this Yairi. The D28 produces a power that you control; the Gibson produces a sadness that you cheer up; the Yairi produces a joy that you just let go of.

You can't compare any of these guitars to others like them or to each other. They are each very different, exactly as they were created to be different, and I waited for years for each of them.

Made in 1985, bought it off my buddy in 1987 for $200.00! Can you believe that? He must still be kicking himself! This has been my baby for over 18 years now! Been with me longer than my wife has!

Beautiful mahogany body with a figured, vintage looking solid sprice top. The original finish is quite worn with quite a bit of "Patina" to it now. Was virtually new when I bought it and has grown old gracefully with me!

Sweet, sweet sound! Great for bluegrass flatpicking which is my main forte! The only thing that would top this would be a Martin D-28 IMO! I am currently using a Dean Markley "Woodie" with it and it sounds better than my buddy's $2,000 Taylor when amplified. I was looking around for something with electronics and have come to the conclusion that I will have to shell out quite a bit to get something better than what I already have and I don't have $2,200 for that D-28 just yet! :)

Action was a little high. lowered the saddle when I first got it. Anyone who owns or has played a Yairi knows that the quality is absolutely PRIMO! Kazuo Yairi is at the top of his game! Has been making them in Japan long before Jap guitars were cool!

The frets are well worn now. Will need a refret in the near future but that goes with anything that has some mileage on it! Still plays great with no buzzing though! A compensated saddle would probably do wonders for better intonation!

Been using it in live situations for years now, has never let me down! Finish is starting to weather but is strong and reliable as ever!

Never had to deal with them. Since I bought it (slightly) used, I don't have the lifetime warranty anyway. Have never had the need for it though!

Have been playing for over 30 years, this is my main axe and has served me well over the years. I primarily play gospel and bluegrass and is well suited for such playing! If you can find someone who is willing to part with theirs, BUY IT QUICK BEFORE THEY CHANGE THEIR MIND!! Mine is NOT FOR SALE...EVER!!

I'd give it an eleven if I could!

Made in Japan, 1986. Serial # 67847. 20 frets. Solid spruce top, satin finish with brown tobacco sunburst stain, beautiful. It's a dreadnought, pin style bridge, black pick guard. I haven't installed a pickup yet, but I plan to install a Martin Gold Plus this summer. I use it on my Martin DR and it's possibly the best acoustic bridge pickup you can buy.

My style is very percussive alternative rock/jazz. Coming from a guitar player who loves to jam, both playing rhythm and improvising, this guitar is ideal in both categories. It is more suited for rhythm guitar use, since it has a HUGE presence. I mean huge; it fills the entire room with sound when played acoustically.

I like this guitar's sound because it is big, and I can bring it into a semi-loud environment and still be heard with great tone.

The thing I like best about this guitar is its action. It is pretty high, but that's the way I find it ideal. I can really make sound cool percussive sounds with the strings on an action like this. The wood work is wonderful for having been hand-made; the bookmatching is flawless, as is the routing on the neck joint and nut. The neck is still in line after almost 20 years. I bought the guitar used a year ago, so there are minor dings and scratches on the body, but nothing serious.

This guitar, over the past year, has been put to the test. It's been dropped, hit, and scratched many times, and I bring it everywhere. It has held up with absolutely no problems. The tuning machinery is in wonderful shape, and it is original.

I have not had to deal with Alvarez customer support.

This is an amazing guitar. It was only marked for $500 at guitar center, but since I buy so much from there, I got a deal for $350. Its sound is better than most Martins, leaving the HD28, D35, and others. It is a vintage hand-built piece of beauty, and if you can get your hands on one, buy it.