Yamaha SG-3 Solid Body Electric Guitar (1966)
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Item # 12608
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Yamaha SG-3 Model Solid Body Electric Guitar (1966), made in Hamamatsu, Japan, serial # 3080, red lacquer finish, hardwood body, maple neck with rosewood fingerboard, original black hard shell case.
This striking angular Yamaha SG-3 is the upscale sister to the more common SG-2, which is best remembered as the "Link Wray" model. Wray played his Yamaha from the late 1960s intermittently up through the end of his life, and nicknamed it "Screaming Red". The SG-3 is structurally the same instrument, simply adding the company's proprietary double-stacked-single-coil pickup to the mix, edging closer to the celebrated SG-5 design.
The SG-2 and -3 use more conventional body and headstock shapes than the SG-5 but are built still have a dramatic visual presence and are built to the same quality level. This instrument maintains a higher design and build standard than pretty much any other Japanese electrics from this period, many of which were spotty at best. Yamaha was a highly diversified company but a proud one; all of their products manifested a commitment to quality and the highest grade workmanship.
The SG-3 had a list price of $249.50 in the US, which was expensive for a Japanese-made guitar of the period. The aesthetic borrows most heavily from the Fender Jazzmaster and Jaguar, with a whiff of Mosrite thrown in. The dramatically offset, contoured body has sharp pointed cutaway bouts, the face covered with as pickguard that looks like a cross between a Jazzmaster and a Coral Hornet. The floating vibrato is also Jazzmaster derived, but with a screwed-to-the-body roller-saddle bridge much solider than Leo's design that actually work very well. Color options were sunburst, red and white; this one sports the coolest "Link Wray approved" Fire Engine Red finish.
The slim 25 1/4" scale neck has a deeper more Fender-y feel than many Mosrite-influenced Japanese designs, with almost a slight "V" contour. It does ape Semie's metal nut, zero fret and serial number stamped into the unbound rosewood fingerboard. The truss rod adjustment is hidden under the plate on the back of the heel, an idea poached from Burns guitars. The wildly pointy headstock is finished to match the body, carrying proprietary closed back Yamaha tuning machines. This early version has a cool script motorcycle-style logo and Yamaha emblem on the face.
The pickups are far superior to most Japanese units of the period, with the most interesting feature being the unique double-coil bridge unit. There are actually two independent single coils in the humbucker-looking housing, each differently constructed. The coil closer to the bridge has an extra magnet and metal bridge plate giving it a more powerful twang. The coils can be combined via the rearmost roller knob, allowing for an interesting mix of tones.
The controls are somewhat confusing but quite functional. Like the Jazzmaster there are two different circuits, selected by the switch on the upper pickguard. In the down position the lower 3-way switch and conventional tone and volume controls below the bridge are engaged. The upper circuit enables the blender feature; the first two roller controls are volume and tone, the third is the blend control. The effect is fairly subtle but the guitar does offer a wide range of sounds.
The SG-2 and -3 were not commonly sold in the US market, so this is a relatively rare guitar here. The entire original Yamaha SG line was discontinued by 1971, replaced by a line of well-crafted but far more conventional guitars with none of its angular flashy style. Make no mistake, this is a serious instrument at least equal to many European and even American guitars of the era. It is an excellent player and a really cool find in this superb condition.
Overall length is 41 1/2 in. (105.4 cm.), 14 in. (35.6 cm.) wide at lower bout, and 1 5/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 25 1/4 in. (641 mm.). Width of nut is 1 5/8 in. (41 mm.).
This is an very clean and all original guitar, looking not too much played over nearly 60 years. This is one of the nicest 1960s vintage Yamaha electrics we have seen, a particularly cool find for the relative rarity of this model. The all-original red lacquer finish has some very small dings and dents overall but in general still shines like it did in 1966! All fittings remain original, complete and very clean, even the original trem arm is present.
The rosewood fret board and original thin frets show only minimal wear. This is a great playing and sounding example of this Japanese masterwork, not often encountered on this side of the Pacific. It resides in the original rectangular black hard case with the distinctive vinyl accessories pouch containing some cool period string packages. Overall Excellent Condition.
This striking angular Yamaha SG-3 is the upscale sister to the more common SG-2, which is best remembered as the "Link Wray" model. Wray played his Yamaha from the late 1960s intermittently up through the end of his life, and nicknamed it "Screaming Red". The SG-3 is structurally the same instrument, simply adding the company's proprietary double-stacked-single-coil pickup to the mix, edging closer to the celebrated SG-5 design.
The SG-2 and -3 use more conventional body and headstock shapes than the SG-5 but are built still have a dramatic visual presence and are built to the same quality level. This instrument maintains a higher design and build standard than pretty much any other Japanese electrics from this period, many of which were spotty at best. Yamaha was a highly diversified company but a proud one; all of their products manifested a commitment to quality and the highest grade workmanship.
The SG-3 had a list price of $249.50 in the US, which was expensive for a Japanese-made guitar of the period. The aesthetic borrows most heavily from the Fender Jazzmaster and Jaguar, with a whiff of Mosrite thrown in. The dramatically offset, contoured body has sharp pointed cutaway bouts, the face covered with as pickguard that looks like a cross between a Jazzmaster and a Coral Hornet. The floating vibrato is also Jazzmaster derived, but with a screwed-to-the-body roller-saddle bridge much solider than Leo's design that actually work very well. Color options were sunburst, red and white; this one sports the coolest "Link Wray approved" Fire Engine Red finish.
The slim 25 1/4" scale neck has a deeper more Fender-y feel than many Mosrite-influenced Japanese designs, with almost a slight "V" contour. It does ape Semie's metal nut, zero fret and serial number stamped into the unbound rosewood fingerboard. The truss rod adjustment is hidden under the plate on the back of the heel, an idea poached from Burns guitars. The wildly pointy headstock is finished to match the body, carrying proprietary closed back Yamaha tuning machines. This early version has a cool script motorcycle-style logo and Yamaha emblem on the face.
The pickups are far superior to most Japanese units of the period, with the most interesting feature being the unique double-coil bridge unit. There are actually two independent single coils in the humbucker-looking housing, each differently constructed. The coil closer to the bridge has an extra magnet and metal bridge plate giving it a more powerful twang. The coils can be combined via the rearmost roller knob, allowing for an interesting mix of tones.
The controls are somewhat confusing but quite functional. Like the Jazzmaster there are two different circuits, selected by the switch on the upper pickguard. In the down position the lower 3-way switch and conventional tone and volume controls below the bridge are engaged. The upper circuit enables the blender feature; the first two roller controls are volume and tone, the third is the blend control. The effect is fairly subtle but the guitar does offer a wide range of sounds.
The SG-2 and -3 were not commonly sold in the US market, so this is a relatively rare guitar here. The entire original Yamaha SG line was discontinued by 1971, replaced by a line of well-crafted but far more conventional guitars with none of its angular flashy style. Make no mistake, this is a serious instrument at least equal to many European and even American guitars of the era. It is an excellent player and a really cool find in this superb condition.
Overall length is 41 1/2 in. (105.4 cm.), 14 in. (35.6 cm.) wide at lower bout, and 1 5/8 in. (4.1 cm.) in depth, measured at side of rim. Scale length is 25 1/4 in. (641 mm.). Width of nut is 1 5/8 in. (41 mm.).
This is an very clean and all original guitar, looking not too much played over nearly 60 years. This is one of the nicest 1960s vintage Yamaha electrics we have seen, a particularly cool find for the relative rarity of this model. The all-original red lacquer finish has some very small dings and dents overall but in general still shines like it did in 1966! All fittings remain original, complete and very clean, even the original trem arm is present.
The rosewood fret board and original thin frets show only minimal wear. This is a great playing and sounding example of this Japanese masterwork, not often encountered on this side of the Pacific. It resides in the original rectangular black hard case with the distinctive vinyl accessories pouch containing some cool period string packages. Overall Excellent Condition.