Alvarez Yairi DY-53

My DY-53 is also a 1981 "Silver Harp" Yairi that I bought new in 1984. It was made in Japan. I took some grief for buying a new Japanese guitar over a used American guitar for a similar price. But my Yairi sounded great and looked great so I bought it. If I had purchased the $600 Martin, it would be worth $2000 today. But I didn't buy my guitar as an investment and I believe my Yairi is the better guitar. Woods, craftsmanship, and even the case were all top quality.

The guitar is a little brighter than some other more expensive guitars. Some people don't like that as much. But it's not a tinny bright. It's a full rich bright sound. I play rhythm pretty loud and rowdy with a lot of slapping with the heel of my hand on the strings for percussion. The guitar is as solid as a rock, stays in tune, and gives me just the right edge to my sound. Also it has a great "out there" sound for bluegrass.

Off the hanger from the store it was perfect.

Very very solid beautiful guitar. The top has aged extremely well. My frets are getting slightly grooved. But I've played it many many hours over the past 25 years. I don't worry about humidifiers or give it much maintainance at all.

Never needed it and I doubt I ever will.

I've been playing for about 30 years. I didn't realize as a relative beginner when I bought the guitar how much people would be impressed by an old Martin or Gibson guitar. I play a lot of bluegrass now and I know that those with the "right" guitars are held in a little higher esteem. A Yairi is not part of that heritage. But if you can get over that issue, you'll find the DY-53 to be every bit the guitar as the high-end Martins and Gibsons from the early 80's.

It seems that all of the other reviews posted prior to this one are for guitars other than the original DY-53 "Silver Harp." Now that I own one (and am forever grateful) that was made in 1981, I felt it was time to give the "Harp" a review. As distinguished from the other, later DY-53 and DY-53N models which feature a "mini-jumbo" body style, the original Silver Harp has a standard dreadnought shape and features incredibly unusual curly-mahogany laminated back and sides with a solid spruce top. The lamination is typical Yairi and is not a sandwich - the two layers are curly mahogany (burled???) with no filler. The neck appears to be mahogany and the fingerboard/bridge appear to be ebony. The guitar is not ornate, but has incredibly beautiful wood inlay in the rosette that is also used as purfling around the soundboard. I have never seen anything quite like it on a guitar. The headstock is overlayed with curly mahogany, and the fret board markers are inlaid MOP crosses - not quite snowflakes. Standard Yairi/Grover tuners (which work quite well) and no electronics. The bridge is standard (not direct coupled). No pick guard. Overall very well made and quite beautiful in its simplicity (Go Kazuo!)

I own a lot of guitars, and this one has the most incredible, full, luscious sound of any and all guitars I own or have played. It is aptly named "The Silver Harp." The guitar sings like a harp with perfect tonal balance up and down the fret board. It is suitable for all styles of playing. Neither bass heavy nor bright - the sound is otherworldly. Powerful sustain and complex overtones create the harp-like quality of this magical instrument. Don't know how Kazuo Yairi did it, but it is pretty amazing. The guitars Yairi made in the 70's thru 1981 are clearly different from the later models.

In a word - "perfect." Low action, plays like teflon - beautiful craftsmanship.

Yairi's are well made and will withstand the test of time. This guitar is 27 years old and looks like the day it was made. This guitar is so precious to me it will never leave the house, but I wouldn't hesitate to record with it.

My dealings with Alvarez' customer support have been first rate. This guitar required no attention, but prior calls have been promptly returned by Tom Kruzka.

I have been playing for over forty years and own a plethora of guitars (many of them Yairis). I was transfixed when I took this guitar out of the case the day it arrived and strummed it with visibly dead strings. A new set of Markley Alchemy Gold/Bronze lights went on the Harp right away, and the house was filled with the prettiest sounds my old fat fingers can make. If the Harp was lost or stolen, I would feel like I had lost a dear friend. I doubt that it cold be replaced at any price. Fortunately for me, the eBay seller didn't know what he had - and neither did I until I got it and did some homework.

My DY-53 is a 1988 "euopean jumbo"(a birthday present from my wife in 1989). Low key ornamentation on the rossette and binding which I like (nice and clean). Solid spruce top, pecan body and sides, nato (naytoh) neck and ebony fingerboard. The catalog says the bridge is ebony but it looks like rosewood to me. Body has a 16 inch lower bout and is 4 1/2 inches deep.

St. Louis Music has marketed three versions of the DY53 in the 80s and 90s. The original DY53 was the Silver Harp, a mahogany side/back dread available from 1981 to 1984.

The second version was the pecan "european jumbo" available from 1988 to 1990.

In 1991, the DY53N showed up. It was a rosewood side/back european jumbo and was available for a couple of years. The DY53N has rectangular inlays on the left side of the top of the fingerboard. It is shown in the 1993 K. Yairi catalog as the YD53N.

This is a sweet guitar. The sound continues to improve with time. Soft, loud, fingerstyle or with a pick, it really sings.

Setup was fine and I have never had any need to have it the action adjusted. Gotoh tuners are rock solid.

The finish is still flawless after 20 years. I can still smell the aroma of the wood.

20 years old. Still looks and plays great.

Never had a problem. There's no longer an AY dealer in my town (the nearest is maybe 30 miles away and I'm not sure they're still open).

One day I want to stop by St. Louis Music (90 miles down the road from me) and see about getting a vintage AY 12 string.

I had wanted to upgrade from my Sigma DR9 (a nice D-28 clone)to a Martin. I had never heard of Alvarez-Yairi until that day nineteen years ago when I stopped by Walko Music. After I played the AY DY53, I guit looking at Martin. I gave the Sigma to my younger brother. I hope his kids learn to play.

I'll never need or want to get another 6 string (OK, maybe a RD8 my son-in-law could play when he stops by). The DY53 never leaves my home (except for leasons) and the only other people who have ever played it were my teachers. I've never bothered with a humidifier although I do run a humidifier in the bedroom where I keep my DY53 in it's case.

See http://www15.wind.ne.jp/~yuma/ for catalogs and price listings. It's a great site for AY fans.

Made in Japan in 1991. To be official, it's a DY-53N, and I wish someone would tell me what the N stands for. I bought in in 1994 and have kept it ever since. I remember that my guitar teacher was one of these, "Buy American or it's crap" - type guys, and was mad I stopped bringing my mom's 1966 Epiphone Bard 12-string. At the time, my guitar knowledge was limited to, "Yeah, that sounds better than the Sigma." I bought it at the world-famous Elderly Instruments in Lansing, MI. No case was included.
The other reviewers got the specs right; I'll just say it's a very snazzy-looking guitar.

I think I've taken it for granted, but the sound of this guitar knocks me out, and brings a smile to my face whenever I play it, and certainly a smile to the face of the people listening. (Assuming, of course, I'm not trying to play "Julia," which I ALWAYS screw up...)
Especially with new strings, this guitar has a tone sweetly balanced between a bass and treble response. It's not as bright in it's attach as a regular-sized dreadnought, nor nearly as deep as a jumbo. It definitely leans towards the the brighter sound though.
This can play power chords and sound damn good on this guitar when I want to be Pete Townsend, but where this guitar really sparkles is finger picking. When playing something like, say, "Landslide", "In My Life," or some Simon and Garfunkel, I'd put my guitar against any guitar out there. Two buddies of mine, one playing a Gibson dreadnought, the other playing a vintage Guild, always comment how "bright and lovely" the guitar sounds. They ain't a foolin.' I'm not going to say that there aren't better-sounding guitars, but this baby will hold its own against the best, and play scales around others.

Elderly did a great job of setting this up. The guitar is great look to it, despite my less-than-tender attitude towards it. (See below.) When pusing down on the high E string at the 15 fret, I hit kind of a dead zone, and it's been that way since I bought it; no big deal to mean; I leave that style of playing to my Guild Bluesbird.

With the exception of the tuners, this guitar is Gibraltor. To hell with all these overpriced Taylor/Martin/Gibson delusions of grandeur; the Japanese luthiers obviously know what they're doing, and Kazuo Yairi obviously takes great pride in his guitars. The Alvarez tuners have, however, come loose, but that might be my fault because...
I'll be the first to say this guitar has never been babied. When it's not being played, it's usually resting against the wall somewhere. As a result, it's taken more than its share of bumps, bruises, scratches, and nicks. Once, after a particularly bad fall, I chipped about the size of a dime - as wide and deep - from the headstock. THE GUITAR STAYED IN TUNE! Not only that, beneath the chip was absolutely top-quality wood. Also, since I never have used a humidifier during the dry, cold winter months, the finish has cracked a bit on the body. I plan to stop taking me girl for granted and actually humidify her this winter.

No Dealing

I'm currently in the market for a second acoustic guitar, and there's a 9 in 10 chance it will be another Alvarez Yairi. Though I got the guitar for what I think to be a bargain, and though I haven't treated her well, I love her dearly. And...the more I play other guitars, the more I realize what a work of art...and terrific value...this guitar is.
I have been playing now for (gasp!) 15 years, and she's only the second acoustic I've owned, which I strange since I play acoustic more than anything else. I also own a cheap Yamaha 12 string (not impressed), a Guild Bluesbird (a thinking man's Les Paul), and my old Kramer Pacer. If all things were equal, and I had to get rid of all of my guitars except one, I'd keep this one.
Though not as visually-stunning as some of the higher-end AYs, this still looks good.
And when the fingers hit the strings, I know it's game, set, match.
Uneless, of course, I'm playing "Julia". Damn Lennon!

This guitar was made in 1991 in Japan, solid top spruce with pecan back and sides and ebony fretboard and bridge, natural finish. Body is called a referred to as a European Jumbo. The upper bout is smaller than a dreadnought and the lower bout is larger than a dreadnought. Chrome Alvarez Yairi tuners and genuine bone bridge and nut pieces are some more appointments. The headstock and rosette are inlaid with abalone as well. This is really a visually subtle and gorgeous guitar. A case was included too. I only wish that the inlays were more reflective like pearloid. The finish takes aways from their shine. I also wish that the neck inlays were pearloid too but nothing is perfect.

I bought this guitar to replace an Alvarez PF90S which is a quieter folk size guitar. I needed mroe volume and tonal depth which the smaller PF90S body was not producing. This is an incredible guitar! The notes are immensely well balanced. The bass, mids and highs are exceptionally clear and pronounced for single note picking. For strumming bits this guitar is produces a rich and full sound. The guitar stays in tune nicely and the tuners are precise. I could not be happier. You have to strum it to believe it!

the guitar was purchased used so I have no idea whether or not the nut has been adjusted by the previous owner. The action is set perfectly for me however - Not too high and not too low. The fit and finish are superb. Though there was obvious wear on the guitar, it is still visually striking. The guitar is incredibly comfortable on the hands and body. Whenever I strum it can actually feel the body resonante openly with the guitar. The neck is a pleasure to play and the guitar is really hard to put down.

It seems like this guitar definitely got its fair share of wear by the previous owner(s). There are quite a few pick scratches and finsh checks all over the body but overall it looks like it still has a lifetime more to go. The frets have maintained nicely and there is no string buzzing at all. when I bought this guitar there was a crack in the headstock. I had it repaired by Gary Brawer in San Francisco. He does excellent work. The guitar sounds immaculate and though you can see where the neck was cracked you can't feel it. There does not seem to be a loss of tone defninition from the damage or repairs. Altogether I paid around $400 total for the guitar, shipping and repairing the headstock crack.

I have not had to deal with them yet.

Before I bought this guitar I researched all over the web for helpful information. I found only two reviews on Harmony Central's website. I think this model may now be discontinued in America but I did find a European dealer who carries the model and a another US dealer who was selling it used for about 3 times as much. I was hesitant to buy it considering that i had never even tried it out. However I was pleasantly surprised at how wonderful a guitar this is. If you happen to stumble upon one, try it out and see for yourself before buying something incredibly more expensive. You will not be disappointed. This is the perfect guitar,I will probably never have to buy one again. I hope this review helps whoever reads this.

Made in 1991, I think, and purchased by me new in 1993. This "European Jumbo" (mini-jumbo - an oxymoron, I know) guitar was hand-crafted in Japan as part of the "Canyon Creek" series of Yairis which featured minimalistic ornamentation and direct-coupled bridges (although mine has a standard rosewood bridge.) Coral Rosewood side and back which is amazing and a nice tight-grained solid spruce top. Neck appears to be mahogany and the fretboard is ebony I believe, but not dyed and shows some dark brown streaking which is natural and IMHO looks better as it actually looks like WOOD instead of plastic. The finish is glossy and well done, but frankly my least favorite aspect of this box. The neck is super smooth with excellent fretwork that has held up under 8 years of frequent playing. Tuners are solid and will acurately tune both up AND down. (I think they're schallers with the Yairi logo) The dealer gave me a hardshell Canadian Made dreadnaught case instead of the case designed for this unique body shape (because he couldn't find it), and while it's functional... still bugs me 8 years after the fact. I added an EMG ACS active soundhole pickup and a Martin thinline under saddle pickup a few years back which feed a stereo EMG Ultrajak endpin... hands down the best endpin jack out there. Points knocked for the finish (which makes it a little too bright with new strings) and for the case thing.

I play some basic fingerstyle and open-tuning stuff and this guitar really excels at both. The guitar is actually a little wider in the hips than your average dreadnaught which more than makes up for being narrower in the waist... this equals a punchy low end and an articulated top. I string it with Martin Bluegrass strings which have heavier bottom strings than most sets. This adds to the effect. With open tunings such as DADGAD and others the detuned strings really ring out and stay away from the "muddy" character of many guitars when the strings are slackened. The electronics I use capture every detail of my playing (even the bad) and I'm considering adding an internal mic to fill out the bottom end.

I lowered the action a little when I installed the under-saddle pickup, but the set-up has always been great. I did smooth out the bottom of the bridge slot when I put the pickup in... it could have been better. All other woodwork was well done and the glue joints were extremely clean (made me wonder if they glued it at all... hehe) Fret ends were perfect, fretboard was slick, and the wood choices are simply a "10".

It HAS withstood live playing (the only redeeming quality of the incredibly shiny lacquer job) I added another strap button under the neck and it balances beter for me. Well made guitar... period.

I did send in the warranty card, but have heard nothing back... but I WAS moving around... maybe they just never found me... I've never needed to contact the company... I'd probably just take it to my local dealer for anything it needed.

I'm not one to go out and buy something and then the next day post a review up here without really have even tried it out fully. Sheesh, I waited 8 years to leave my comments on this guitar... it's been a part of my life for that long and it's still around... 'nuff said?!? Overall, I'd rather have this guitar with a thin satin finish... I can only imagine what it would sound like... but I've almost decided to strip it down a few times... really! But the glossy finish does help protect it and even though I baby all my stuff, I'd hate to see any harm come to this fine instrument. My wife has told me on many occasions that as far as she's concerned I can get rid of everything but this guitar... and THAT's high praise!

The only other piece of acoustic gear I own is a Crate CA-1PD rack preamp that loves this guitar... I'm primarily an electric guitar/vintage effect pedal fReAk! I'd definitely buy another Yairi... most for your money... seriously! I'm thinking about adding a DY-61 (I think... the dreadnaught cedar top model) for the added variety for home recording.

I've recommended Yairi guitars to friends that are also very happy with theirs and I'm doing the same for you... try it, you'll like it! (and you may never pay over $1000 for an acoustic again.)

1989, Handmade in Japan, 21 frets, bookmatched solid spruce top,walnut sides and back, true acoustic(not a/e), high gloss finish, mini jumbo body style, gold AY tuners, extremely comfortable neck and action...very enjoyable and playable guitar.

I play a lot of blues, blues rock, currently popular alternative material, classic unplugged rock, etc on this guitar. It has a really full sound both bass and treble as well as midrange. "Balanced" is the best word to describe it. It was the main reason I bought this guitar...I played it in the shop that had it...really liked it...went back twice in 3 days and realized that I had found the acoustic that I'd been looking for...handmade, beautiful to look at and pleasing to my ear. When you can't find anything wrong with the guitar and it's reasonably priced ($350.00) and has been well maintained (though the interior label is signed and dated by K. Yairi in 1989, the item didn't ship from Japan until 1992, sat in a small mountain town acoustic only guitar shop for 4 years then was owned for 3 years by someone who apparently never played it). It was just too visually beautiful, acoustically pleasing to the ear, and, an incredible value at the price for an "almost new" handmade solidwood guitar. Too good to pass up. I've owned a bunch of acoustic and electric guitars and this one is a "keeper".

Frets are even, smooth, level, set in the neck beautifully...no visible flaws to the eye. Action was perfect when I got it. Low but not too low for some slide playing now and again. Woods are incredible, finish is flawless, the bridge is perfectly shaped and attached...no problems at all w/action...fit...or finish...just incredible.

W/O a doubt. Tuning is incredibly stable, even if I haven't played it in a while it usually isn't too far off even w/drastic weather changes. I slack the strings if I know it's going to be a while before I pull it out again.

Haven't had the need nor the pleasure...Ani DiFranco and Bob Weir speak highly of them.

I've been playing since 1989...started w/an Alvarez entry level model. I've owned probably another 20 guitars since, mostly electrics, but I've finally settled on this Alvarez Yairi as my one and only acoustic, though I'll buy some kind of 12 string if I ever find one I love as much as this guitar. I also own a couple of Fender Jagstangs, a Squier Vista Series Venus, an unmodified mid seventies Marshall JMP Mark II Lead 2x12 Celestion Greenback equipped 50W Combo Amp (another "keeper"). I even plug the DY53 into the Marshall w/a Seymore Duncan Tube P/U and it still sounds clear and articulate across the board on the clean jazzy channel as well as on the gain channel.

No undisclosed surprises w/the DY53. One of the best decisions I've ever made. If it were stolen, lost or damaged beyond repair...it'd be about like having your best dog runover...I'd definitely look for another one or another Alvarez Yairi that was comparable...though I don't think I'd get lucky enough to get such a good price on a great guitar again. Love everything about it, absolutely nothing that I dislike. I looked at acoustics for years, trying to find a quality guitar that sounded good, played well and looked really classy...and found quite a few...usually for $1000.00 or more...Takamine, Martin, Gibson...but this guitar is as good if not better than any of them so...I waited and found exactly what I was looking for...the acoustic that I'd dreamed of and heard in my head but could never get in my hands.