Takamine Factory Tour

hey everyone this is Chris keys for from your guitar not in Nashville Tennessee nope your eyes don't deceive you we're in Japan at the Takamine Factory in Gifu with my man Tom waters he's gonna show us how they make guitars we all even get to see how they get to make my EF 360 I have at home Tom thank you so much for not evenly making the trek here from LA but welcome to us in the factory thanks for coming out you're in for a real treat this is going to be great yeah I can't wait all right Tom before we head in and get down to business tell us about what the brand name is named after because I think there's probably misconception out there oh yeah a lot of people think that it's there's a mr. takamine age being named after mr. Takamine but sectionally named after this beautiful mountain behind us Mount Takamine well speaking of beauty let's go see some guitars let's do it all right we're inside the factory now tom it smells wonderful in here tell me what's going on yeah so this is one of a couple drying rooms we have this room is a natural drying room where we're taking a cool just ever circulating air and what we're smelling is this wonderful cedar like this piece here and you can see all the cedar behind me we use a lot of cedar okay and what's the difference between this room and the kiln based on like what types of woods or yy1 process gets basically about the moisture and the oils in the wood how are you trying to set it but you know this is very very close these guitars are ready to be made into guitars cash it out cool well let's move on all right we are in a very special area for wood before it gets obviously down the process is where things start looking real beautiful you want to show us some cool stuff sound if this room we got a kind of a collection of some really good exotic wood like look at this beautiful cocobolo set here put the SAP wood in it and stuff like that that white wood and back here I've had some nice KOA there's a lovely piece of koa and this is stuff they've been collecting you know Takamine has been around since 1962 I've been collecting wood since 1962 last year I think of a we made a guitar with Madagascar rosewood that they've had for over 40 years Wow and that's you know so that came out of me walking through this room and and somebody pointing it out to me and going we do yeah I was gonna say is this stuff more production or is this like kind of like built to order stuff both a little but I would say yeah it's this is there's some high-end woodwork all right next to right here so yeah and then anything to go on with the rolls what I know is the thing with the sights being lifted soon both sides-- yeah I mean psyches we mostly in production instruments we use Indian rosewood East Oak and rosewood like a lot of this wood here we can't even bring into the US because it's it's made for you know Japanese market only there's a lot of Brazilian rosewood here that they've had for years and years and years you know but importing it probably not gonna happen yeah well way the cookie crumbles all right Tom we are just a little bit further in the room looking at next year beautiful 12-string yeah I mean if you see we have this whole sea of necks out here what we do is we get the necks are CNC to the shape and then we let them sit for you know a good length of time so they're gonna twist and warp will have chance for it to do that then we can't rule them up but it'll make a perfect guitar in the end and and you know cured so that it's not wet wood then turning into something to twist later on yes life so yeah this one here looks like it's going to be probably an EF 400s CTT by the you know the Rosewood top and stuff like that 12-string neck for people that are gonna be real perceptive and see the things that they might not recognize on the guitar is the two notches you said is 14 these are for tooling location the you know it'll sit into something and hold it and and be exactly in the right spot you know so the these cuts are made by CNC so they're within you know a human hair or something like that of cattle because he filled in with the treasure yeah eventually that gets routed out fingerboards put on it you know the way we do our neck joint gets it takes out a lot of the portions that are already cut away and before we move on to the process and sort of kind of focusing on what so far what is the primary goal in terms of wood sourcing I know because you've spoke to off-camera that America is still the primary seller of the Takamine brand in terms of sales is it still domestic markets pretty big yeah and there's a big I was gonna ask is that do they use Japanese sourced wood like I know that no woods like all all call companies making guitars nowadays or sorts and word from all over the globe yeah it's like this board I believe probably comes from Honduras I would think okay you know Central America somewhere you know mahogany real mahogany I'm gonna botch the scientific name so yeah try yeah but you know it's a it's all over the word in the this rosewood will either come from you know East India or Indonesia someplace like that so but most of the companies in the in the in the world are sourcing from a handful of wood sources that are reliable you know that they're gonna give you wood that's legit and got the right paperwork on it so that it's it's very very sensibly and and and sustainably farmed yeah and you know no bad stuff would nobody needs that yeah I know that a car yeah well let's keep moving Tom this is where things start to come together and they're having fun so tell me what's what are we seeing we're seeing them blue a top together he's using protein glue here and setting it on the edge and then he'll go back to these fixtures here which wedge it together and then weight it down so that it's not cupping and you know the whole process of it becoming this way and where they're taken out of this dries maybe 15 20 minutes of paused yeah and so we use a you know protein glues on all our tops which is pretty cool and it's it's really because it's the best way yeah I know of everybody does different stuff but that's the way we've been doing it since 1962 it's one of those things where it's like it's not broke don't fix it yeah you don't want this in your kitchen but it's it's yeah Tom what do we see here what we see I mean she's just finished she won't appear but what we're seeing is they're taking a top they have a jig that sets down all the braces get set there with blue underneath them then they said things to hold them in position for exactly whether it's x-bracing or ladder bracing or you know fan bracing and then this whole thing comes down folds down and they take an air hose and they vacuum it out and it pulls the membrane straight down to the top of the guitar and holds all the pieces till they're dry and that usually takes about a half an hour for for it to get through there and that's same for tops as it is for backs as well excellent all right Tom this is kind of weird the Japanese tradition of hand building things all the way back to the swords and woodworking is where it really takes over for Takamine what are we looking at here what we're looking at is the braces they're come out of being glued on and now the the tone is actually of the guitars being shaped and you can see this guy taking a razor razor sharp chisel and doing what he's been doing for many many years he's very very skilled laborer and just going through and shaping and and scalloping and making the braces ready to be ready to be done and you see now he's dating the top rock guitarist Warren he listened to it to make sure everything's tight and and nothing's buzzing on it and on to the next one now as he goes through all different tops and all different body styles he has to have a knowledge that correct yeah to know what is doing for each table yeah obviously it's not gonna carve a dreadnought the same way that he would carve like a nanny ax shape yeah or in it or say like a New Yorker shape it's all gonna be a little different but that's what comes with experience I think we have four four craftsmen here at Talking many that do this you know they're constantly training but the ones that are actually doing it are just and one of the things that makes talking meaning what they are and I have a 360 at home so whenever that was a bill them through this that's one of the four hands that touch that matter of fact that could be a 360 they're here alright here's some more hand work being done Tom tell me what's going on so dice okay here is uh hammering in some of you know perfectly material which is a BS I think on this particular thing and he's just taking all those strands that are in a particular order you can see there's you know maybe six seven strands on that one piece that he's doing and just hammering them into the channel routed for the rosette and on to the next thing he'll trim this off and make sure the glues not getting all over everything and then it goes on to the next series which is gonna be I believe on this more white now off to the right there I see something that's compressing where the rosette yeah that holds it in that's like a big clamp okay so that's holding it in as it dries so that it doesn't pop out later and it keeps all flat and in good shape so here he's going back in he's going back in and you see they did the joint where the where the fingerboard extension would go over the joint so you don't see the the joint yeah but here again this is another example just more fine hand work I think that nice two gates been here for how long dice okay maybe haha thirty years or so anyway more it's unbelievable all right Tom now we're starting to see the sides come together what do we what do we got going on so here Toro is taking a form and putting some bent sides of Indian rosewood solid Indian rosewood into a form and what he's going to do here is make sure that it all seats towards the edges of the form he's using these these dowels and various you know kind of self-made ingenuity clamps Terry's gluing a heel on right now but everything is involving just a little brushing and handwork all the way around and of course just to reiterate it's all hi listen this looks to be alpha a you know like type on oh yeah many many different glues go into making a guitar so here he's clamping the heel in and then and then he'll clamp he'll clamp the end-to-end block in after this and is this a longer process for the glue to dry 30 minutes or is it longer probably around 30 for it to set but I mean you know though usually set for a little bit longer because at the next station you'll see there's more that's going on so this has to be strong enough to hold both it into the guitar together but also hold the engines there's no stocking manie's they're electric so you know it has a good pitch to lit solid you know stake to it it looks like mahogany on there which is a traditional material so now it's all trued up he's cleaning off the excess glue to make it all pretty on the inside as well as the outside and that's just hot watering he's using yeah okay and he's making some marks for later on in the process like he has a little template and this is for where they would be cutting out things like like racing and stuff like that in the next station all right moving on yeah so what we've got here is some kerfing material and this is usually what's it on the inside of the guitar to hold either the top or in the other case the back you know if or the other way around the back lawn it gives it a surface to glue to and they call a kerf because of all these cuts that are made into the wood that make it very flexible yeah and then you can see them using clamps individual clamps to once they glue it on there like really like metal clothespins essentially a lot of manufactures use clothespins and they just clamp them on as they go around and it needs to be relatively neat but they'll shave it later so it doesn't need to be perfect in line but as you can see it's a lot of clamps yeah this guy probably puts on several thousand clamps alright the clamps are off Tom now what's going on ok so he's taking the the form and actually putting a radius on the kerf that had just been glued on and what it because no top is exactly flat you know typically they have in this case in a thousand millimeter radius and the the sanding disc in there actually is a bit of a bowl shaped so that when it goes down and sands it it puts that radius in there so that when the top gets glued on it fits and and that allows for you know a little bit of change in flex in their top and it gives a little bit more strength in and and actually a better tension on the top to make it sound better does it give it any playability or not playability but like vibration or is that oh yeah it's all about it's all about that it's all about connectivity with the sides the back and making the guitar and organic and noise make a scene you know so next in the process is after we've sanded those you know the kerf to a radius he's going in and he's going to be applying the top in the back right now he's looking to make sure that the top is okay it's marketed on Center and then he's going to go ahead and and check to make sure that everything fits it's gonna go in and cut some of the braces so they end up fitting you know not overlapping and yeah creating some group then they'll also make cuts on the curve to make it to where that any of the extended braces fit into the curve which is that bentwood on the sides and just prepping it for that so hold now and then we'll wait until we go in here [Music] so now he's cutting out portions of the curve picks up to where the braces are actually sitting and again this all looks to be stuff that he knows kind of specific to this desk it's repetition and doing it as long as he has yeah cuz he left a little bit of that notch and it's all just kind of I on it well there's marks - he just can't see him yeah so although there's obviously machines and CNC machines that are going along to the process there stills a lot of hands being to Boyd on this process and I love that the tools are you know these hand tools have probably been with them yeah let's surround this for you I know that Stu Mac imports Chinese and tulips for guitar repair and guitar work so that something that the Japanese culture keeps true to form is there yeah hand work a tool oh well no Japanese saw as they cut backwards Japanese chisels are you know I own them I wouldn't have hey Liz you know Japanese steel is like renown I mean Japanese knives for cooking yeah it cooks ja tantastic yeah there goes the back now the back will get a similar process correct yeah he's making sure there's enough loose things are clean make sure you get good wood the wood contact and these tags that are on the guitar so they call in a guitar through the process so everybody knows what it is I'm building and you know they give a huge demand but it also has ID to let it be you know no we're supposed to be in the process now this is one that's obviously been finished and they're swapping it out yeah so he's putting into the clamp here you can see it's like it's got a rubber bottom and a rubber top and they conform and that press just sits there in squishes it all together he's megachurch lined up and that'll sit there while he's working on the next one he removes this guy and get started all over again so after the top and the back are joined to the body it becomes like the box that we know it's kind of a guitar body next up they route a channel into the side of the top end you know the body to accept mining which she's doing right here she's applying a little glue and then she'll take the same sort of like the rosettes she'll take an insane layer of ABS materials and glue men and tape and clamp the tape using tape as a clamp as she goes and does you know maybe like a foot at a time so the glue doesn't have a time to set up before we ran all the while cleaning excess glue keeping it in there tight and as good but I mean you were like I'm counting here it's one two three four five six seven eight eight pieces of material she's working on that's insane because they all individual yeah I'm getting with timelines yeah I know I think I hear you on that but yeah it's a and you know she does quite a few guitars a day doing this and you can see the rules that's already in there is yeah I could a more complete item as it goes along we're coming up guitar every step of the process oh yeah okay so what what your CV is doing here is she's got a piece of abalone that she's putting in to end of a headstock before she puts you out outward binding it you can see that every piece is cut and selected for color and and size and shape it's all done by hand I'll say you were saying off-camera Tom that it's not predetermined like she's known eyeball she's got a eyeball if there's no there's no Mick but even they color got you know color matching yeah because you don't want a really green piece next to a gray piece yes it all should a young naturally segue maybe I know if you can get that on the camera but there's all kinds of color in there so she has that tool there that has a shape in which you can just clamp it right in and this uh you know koa headstock this is a nice guitar when it's done here at this station we're going to put the dovetail in the back of the into the guitar he'll where it'll accept the neck so this machine will cut that out [Music] [Music] [Applause] Oh ma'am this is where those witness points come into play that we talked about earlier that are cut in so now it's that's positioned it on this machine which is going to cut the dovetail in the heel so you see the blades coming in from by their side coming up and then back down and they're doing a you know compound cut its cutting inward and and also up and down as well is this we this blade is coming in from the side to just true up the top portion of the backside of the now obviously a dovetail joint is something used by many many personalities is there anything that's a specific or unusual that is to takamine well not at this point at this point it's fairly much a traditional dovetail it's a good strong joint the heel is actually right now I'm longer than it will end up being as you'll see in the next step cool so here's where they take the dovetail both elements of the dovetail and make sure they fit so he's testing it context upper pressure fit then I'll check the position of the neck to the body and make sure that it's at a good angle both length was now during this process will he match different necks like let's say it might not fit perfect with a new body sounds if it's not right for that he'll move it to a different a different body but for the most part it's a one-to-one match yeah I mean they have to match the binding and and that sort of thing but in this case both would be the same neck so he's marked it it gets moved on next and then it will eventually get glue and glued together so next up in this step is after the neck has been glued on they route this channel for the truss rod and then they wrote these two channels that actually will eventually sit under the fingerboard and this is unique to talk emini they take a thick maple block and put it in each side of the of the the dovetail and what that does is it locks the guitar and keeps it from being able to go like this which ends up making it to where neck resets are almost not really necessary yeah these guitars it makes for a harder neck reset if you end up doing it but if you know that this is the way it is you just have to take the fingerboard off but you know ultimately the idea here is you don't have to do a neck reset because it makes it ultra ultra rigid and the other thing that that gives you is a really solid neck to body you know transfer or vibration it ends up making for the fingerboard that's being very very solid - no dead spots all the way up because there's no flex it's it's pretty rigid when it gets to this state so - this process is maple used because of its hardness in it oh yeah yeah maples are very very hard wood so it doesn't flex much and you know especially being under the ingerbord and being clamped in there Plus that you have the benefit of the truss rod yes gives you more but I mean in certain applications we'll use carbon graphite as well it depends on what the guitar is and what kind of sound you're trying to get out of it but mostly it's about never having a 14th fret hump or 12th fret hump the ending and never really needing a neck reset through the life of the guitar yeah all right tom we're at this point of the process what is going on here I see fretboard so right now we have this robot this yellow robot here is going to pick up one of these pieces of indie rosewood and bring it in and set it down and then the CNC machine as you see it's gonna actually take this one out but the CNC machine is going to cut the dots for the inlay and then it's gonna true up the sides of the fingerboard so it's perfectly straight and and ready to go to the next area in imagiknit the next point they'll probably have someone I guess checking the machine because I'm sure it's precise but maybe just to make sure yeah well I mean it will be ready and these witness marks on the back of it you know these little holes that's where the pins get set okay if those holes are right everything else oh yeah all right let's keep moving all right cool so next up after they come out of the machine we will glue binding on them in this case rosewood binding but over here this gentleman is using ABS and he just lose it right on the edge now does that come flush already or that we had to be sure DUP after the process again after it stands out of the machine it's pretty much straight and true that's one of the reasons it makes a very very good surface very clean still do one side than the other and and then it gets cut for a curve at the end to fit to the body okay so next up is the body and the are the fingerboard gets glued on to the body in the neck and I see is a bunch of racks up there of fried forms to specific reports or different radars you have different uh different guitars I'll put all very thought and straight to keep everything true everything should be true I love that all the workers wear these shirts with the tools on the back yeah alright Tom this is kind of were a perfect example of taka means symbiotic relationship between man and machine oh yeah so talk to us about that so I mean you saw them cutting the pieces of material out of they'll put this piece in what there's like phenolic and they inlay all these pieces and then they take it to the laser machine Dave and cut further and further to make up what you know sometimes as hundreds maybe even thousands of pieces yeah la depend on the design so this material super thin it gets cut into the fingerboard and then Andy and sent by by you know school technician I said that's what we're seeing over our shoulder there yeah so here what's going on is he's getting ready to shape the neck on this beautiful new Ltd 2020 making sure that everything is smooth using scrapers and other hand tools to get the the right feel and the right look kids don't try this at home so even though this instrument starts as the next starts its life being seen seen it's still hand shaped further and scraped and and made to you know a handcrafted perfection Tom obviously they're their shapes that they're after and probably what they're supposed to go after this but it is each guitar how does it finalized where they feel like okay this one's done well you saw him using a tool to gauge it there there's a certain amount of weight image a certain amount of experience that comes and a lot of his feel in the hand but for the most part because the C and C cuts the real rough shape it ends up being something that dictates the final shape as well there's very healing material they're taking off here yeah all right time we've skipped a few things where are we at and where are we at in the process well yeah so what we skipped is the bodies get sanded sealer gets applied that gets sanded then the finished coat gets applied and now we're at the point to where the guitar is all got a finish on it and now it's getting some buffing so this gentleman here is puffing and when you're saying about finished talking mean he uses poly right oh yes and for coats I believe you guys said I think so yeah but I want to put a sealer and then a couple top coats okay color coat with the attention of it getting bucked off so that it's very thin and by the time I mean lot of them finish yeah we wanted we say go finish somewhere around there very very thin because that makes a good Sun in Dakota and is there anything specific that people should know about may be either waxing compound or strategy don't use silicon in your wax or your polish you know I like carnuba wax to me that's the best best finish on the guitar and why do you say that if someone has no experience except on cars okay well put silicon will then if it ever needs refinishing or touch-up you'll reject the paint so if you use wax you can sand it and have it except angel okay so here at this station this is kind of crazy what they have is a bunch of lasers shooting down the guitars and it's measuring the distance at the bridge at the body at the neck joint and that's the nut area and with these measurements it then is going to take the Machine and sand the the perfect angle of a fingerboard to the you know to receive the bridge and and to make sure the fingerboard is true to receive threats along with the right radius and the way does it once it gets the calculations you'll see that thing this is one there and two there there are two different belt sanding belts they're going around and it actually will go through and actually give different varying varying pressures as it goes through to compensate for whatever the laser sees and the difference in the wood and make a perfectly sound sounds of fingerboard what's the degree of accuracy or tens of thousands yeah it's it's really really insane so we're this is a key to the process as having a machine takeover yeah it well it is it's a having machine do what it does best you know and and then we'll see from there it's about two hand work again cool okay so next up is after the fret boards have been Trude we go to in making threats and don't use an arbor press like some people do and we don't use a normal hammer like some people do we actually take a radius steel block that's true and a hammer and knock them in in a very very even fashion so that way we control how much person is giving it at a given moment and there's never too much pressure from somebody overusing an arbor press or somebody just whacking a hammer and having that being on even on one side to compare to the next so if I had a got a bad guitar or at least a bad fret job so he first reads it up even a little bit further just to make sure it all is clean as possible and you see all the frets are pre-cut and put in slots for whatever a number fret they are so so there's no really waste as you go through this is what's called a fret buck and what it does is allows you to hammer at the end of the extension without taping the top of the guitar important thing yeah very important so I mean this is something they designed many many years ago and you know it's available commercially to now I was gonna say like throughout the process how much of the tooling that is made because obviously a CNC machine is made but they're not there's only so many guitar builders yes they need guitar manufacturer half their battle in working on guitars is making tooling to build a guitarist so there's a lot of ingenious stuff that comes up so you see the top of the fret and then he uses the radius the radius block hammer at home as it were and there are there any particular fret wire frets and they use you know I'm not I'm not sure but I believe we use just our work there's only a few fret wire yeah and that continues on up the fingerboard so here he's got that you have 341 SC ready for the bridge preparation he's taking the tape off the fingerboard he's adjusting the truss rod to make sure the there's tension on the truss rod making sure it's true and then putting a couple pictures on drilling holes for the the points that holds a pickup in the system and then he'll take it to this other station here where he'll actually route a hole through the body of the guitar to accept the pickup system but he's positioning it now making sure it's highly accurate [Applause] [Music] [Applause] and so now a channel for the pallet etic pickup system is in there he'll come back to this station and then we put a piece of tape in the finish underneath the bridge that they eventually will peel off so that it's a wood to wood contact when it gets ready for the bridge to be glued down okay so here he'll take and just peel off the the masking underneath the finish comes right up nice clean line and it gives it enough space to - for the bridge to over lap the finish and then also have plenty of surface particular wood to wood and so now he's checking to see if the bridge is the proper height for the guitar he'll go and adjust it here on the sander once he's satisfied with this he's checking for a good clean flat lie then they'll go back over and fit it check to make sure everything's fine again mark it off clean up any excess material put the bridge that's designed for this guitar in a bag it goes inside the guitar and it goes on to the next station to be believed so here we have a small very very small gang saw that cuts the bone nuts for the guitars it'll sit in this picture and go over these we have really sharp blades here and cut and perfectly you know perfect thickness and perfect widths every time in a jig that just rolls through we showed you in the secondary and I imagine there's got to be a piece or a jig that or a router that does 12 strings 4 for 1 for 12 strings one for different nut wigs one for different strain gauges yeah so that you know they're all like small 12 little blocks here I can show you so see these are the saw sets and they just sit there and and will get positioned in the machine for which whichever guitars go yeah this one it would be a forty seven millimeter not so this is a wide you know like one seven eighths alright this is we're talking we need gets to become a Takamine because as you guys know you guys are proud of your electronics in your pickup system that's been you know in the works for fifty or I mean most of the guitars would make have preamp set yeah and the preamps it's in a in the top of the shoulder of the guitar and it's removable replaceable but this is a machine that actually cuts the hole to actually receive the bezel that holds the preamp in it so we're going to show a Glenn Frey model here being cut for it cool so once the hole is cut through the side of the guitar the preamp gets installed so we're going to show that here it starts with starts with a little bit of a sanding on the edge make sure it's all clean and how is it being held there by suction cups you know as actually will hold it harder than you know most clamps would then the engine gets filled out clean up well do you want a 78 probably yeah and so now when endpin gets put in this is just has a mini plug on the end stereo mini plug and it's held in place by three screws is it a OEM jack or is it a baby for Takamine and it's the three screws idea is a good idea because it makes it very field replaceable without haven't worried about tightening nuts or or bolts or things like that so now a little some padding gets put in to keep it from vibrating and now the bezel gets placed in and then four little anchor clips go in to hold it in place and then a brand new free app gets popped in and there you have it okay so here at this station we're gonna put the pallet etic pickup system in the pickup is the same pickup wheeze used since 77 now so here he's gonna put this into this one right go ahead and and to enlighten people that aren't talking meanie guru's is it a transducer that sits under there yeah it's a Paizo transducer but a six individual very very large very very shielded elements so one of the things that the benefit of that is it gives you much better noise floor much better dynamics than you normally associate with a Paizo sound and none of that ties oak wackiness you know it's because it's such a large and kind of almost impractical design it ends up being very practical and you know the crystals are literally at least eighty percent larger than anything else on the market and here he's like trying the cables together they'll end up hitting those aluminum clips on the inside of the instrument they were glued into the kerf right now you see he's bending them in right now and then it's kind of idiot proof because the RCA is is the the input from the pickup and then the output from the to the output jack is the little mini so you can only really go in one way and there it is so here we see this gentleman is installing some Takamine branded go to machines right now he's he screwed him into the back of the headstock and now he's attaching the nuts and the washers to finish it off and these particular ones have amber buttons and you know gold hardware so at this point the label has just been placed inside the guitar he's getting ready to string it up and so on this on this particular guitar and has a pinless bridge what we call a pinless bridge which they feed the strings through the back and no pins hence the term pistol-whip endless with the strings in there we fit it then with a saddle I assume and the saddle was also bone like the nut is on all the Japanese takamina guitars the bones and nuts are the nuts and saddles are all bone and what's the theory behind the broken saddle not broken yeah what cell allows for you know good intonation because the the a and the B are going to be a different course eyes than the G and up so it ends up you know making for a better intonation the guitar place in tune up the neck better much like on an electric guitar how you have an adjustable saddle this is a saddle that is pre adjusted already and it's something we came up with and now is adopted by a few other manufacturers as well now the final placement of the saddle is that just by friction and tension of the the the would slaughter and then does hold of it yeah yeah I mean they can come out very easily once the strings are off hey you know it's designed to be replaced as it wears you know over the years although I've never replaced this at all I can and at this point we have a whole guitar so he's tuned it he's checking it again making sure it's flawless getting it ready to go out the door a little spot cleaning here starting to look like a guitar I was gonna say it's someone's a beautiful thin line coming to him real soon it's a nice piece of koa too so off it goes into the case killer zip it up [Applause] thank you Joe thank you for showing me everything that is behind the doors of talking magically this is Chris Keith hork from your guitar

Channel: Premier Guitar

Views: 1,255,168

Rating: 4.8681192 out of 5

Keywords: Takamine, Garth Brooks, How to Build, How It's Made, DIY, Acoustic Guitar, Acoustic, Guitar, How to make a guitar, build, japanese, japan, bruce springsteen, bon jovi, tour

Id: A4xLqbbnYDw

Length: 39min 30sec (2370 seconds)

Published: Fri Jan 10 2020