
The catalog that describes this guitar’s all-rosewood body as “jacaranda” makes the exact kind of rosewood used unclear.
When it comes to rosewood, there’s a wide variety out there—which makes identifying it a bit of a challenge. On this K. Yairi guitar, the type of tonewood remains a mystery.
The jacaranda trees that line Australian sidewalks with bright violet blooms are a famous variety, but around the world, the name “jacaranda” can refer to many different plants. In Brazil, the word encompasses an incredible variety of shrubs and trees, including some species of rosewood.
There, “jacarandá-da-Bahia” is a common name for Brazilian rosewood. These so-called jacaranda trees of the Bahia region are, scientifically speaking, Dalbergia nigra, and when the full phrase is used, you can be sure that’s what you’re getting. But this phrase, too, can be shortened to “jacaranda” alone.
Now, why am I treating you to a lesson in the naming conventions of flora? Because to vintage guitar fans, true Brazilian rosewood—rather than just some rosewood from Brazil, like cocobolo—is what we might call “the good stuff.”
Martin used it religiously until 1970. Fender’s famous slab fretboards were made from it. The stuff is so good, in fact, that its international trade has been protected for many decades, most formally through the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES).
This ’70s K. Yairi guitar’s slotted headstock is one of the features that indicate that it was inspired by Nashville's Grammer acoustics from that era.
Photos courtesy of Reverb/DK Factory
So if a guitar trader tells you, “This is built with jacaranda,” that could mean it’s honest-to-goodness Brazilian rosewood. It could also mean it’s cocobolo or even Honduran rosewood, which picked up the nickname “new jacaranda,” confusingly enough, when it started being used as a substitute for Dalbergia nigra.
Which brings us to the matter at hand: the 1974 YW-800G built by K. Yairi, featured in this edition of Vintage Vault. Up for sale on Reverb now through the Tokyo-based seller DK Factory, the YW-800G has an all-rosewood body that makes a striking impression. But what kind of rosewood is it? Do I need a CITES permit if I’m going to buy it?
“For a moment, I thought, is this majestic-looking instrument far more common than I knew?”
Many guitarists know Kazuo Yairi’s name through his long association with Alvarez, starting in the late ’60s. With a small team and time-honored craftsmanship, Yairi earned a reputation as a master luthier, whether his guitars were tagged Alvarez-Yairi, Alvarez (with his signature on the label), or another brand, like his own K. Yairi. In the ’70s, many K. Yairi guitars were Martin copies, and great ones at that. Some resemble the spartan D-18; others are as decked out as a D-45.
So, what should we make of this YW-800G? It has enough abalone in its inlays and binding to go toe to toe with any top-tier Martin. Its ebony fretboard, hand-carved mahogany neck, and Grover tuners fit in with that hallowed lineage. Underneath, Yairi’s unique approach to scalloped X-bracing is still Martin-esque in character. But the outrageous curves of its slotted headstock and bridge, that almost batwing pickguard…. These features aren’t from Nazareth—they’re straight out of Nashville, taken from that city’s own Grammer acoustics, which were then popular with country artists.
I’ll confess, when one of these YW-800Gs recently landed on Reverb, I didn’t think I’d ever seen such a guitar. A few days later, a second one appeared, leading to a quick double take. For a moment, I thought, is this majestic-looking instrument far more common than I knew?
These Grover tuners are one design element that match Martin guitars, which many K. Yairi models mimicked in the ’70s.
Photos courtesy of Reverb/DK Factory
Thoroughly curious, I went back through old Reverb listings and confirmed—this is a rare breed indeed. Only a handful of similar K. Yairis have popped up for sale in Reverb’s decade-long history, ranging in price from about $1,500 to this $2,500 version. (Interestingly, the YW-800G has crossed decades of construction, made as early as 1973, and as recently as 2014.) But back to the question of the hour: What exact wood did Yairi use to make this wonderful rosewood body? The answer is, unfortunately, not fully forthcoming.
There’s a 1980 K. Yairi catalog that shows the model. There, we can tell that it sold for 80,000 yen at the time, or about $400 (roughly $1,500 in today’s dollars). But the specs and features are in Japanese, naturally, which doesn’t help us here. Alvarez-Yairi catalogs from the era written in English provide more clues. They use “jacaranda” and “rosewood” as distinct words, referring to different types of wood. For example: “Three piece back has two panels of jacaranda; center panel is select grain rosewood.”
Given this, and given the budget-friendly price point, I think it’s safe to assume that K. Yairi’s jacaranda is not, in fact, proper Brazilian rosewood (Dalbergia nigra), though you’d be hard-pressed to spot the difference. With such good looks and a beautiful sound, it might not even matter that it’s just some rosewood from Brazil instead—especially if that means it gets through customs unscathed.
Sources: Reverb listings and Price Guide data, K. Yairi’s 1980 Hand Crafted Folk Guitar catalog, Alvarez Guitars’ catalog for the 1976 United States bicentennial, America Sings: Commemorating 200 Years.We’re giving away more gear! Enter Stompboxtober Day 24 for your chance to win today’s pedal from Maxon!
Maxon OD-9 Overdrive Pedal
The Maxon OD-9 Overdrive Effects Pedal may look like your old favorite but that's where the similarity ends. Improved circuitry with a new chip yields the ultra-smooth dynamic overdrive guitarists crave. Drive and Level controls tweak the intensity and volume while the Hi-Boost/Hi-Cut tone controls adjust brightness. Features true bypass switching, a die-cast zinc case, and 3-year warranty. From subtle cries to shattering screams, the Maxon OD-9 delivers a huge range of tones.
Features
Improved circuitry with a new chip yields ultra-smooth dynamic overdrive
Drive and Level controls tweak the intensity and volume
Hi Boost/Hi Cut tone controls adjust brightness
True bypass switching
Die-cast zinc case
AC/DC operation (order optional Maxon AC210N adapter)
Product Specs
Input: 1/4" mono jack
Output: 1/4" mono jack
Power: 9V DC, 6 mA, center pin minus (not included)
Dimensions: (WxDxH) 74 mm x 124 mm x 54 mm
Weight: 580g
Fender’s Greasebucket system is part of Cory Wong’s sonic strategy.
Here’s part two of our look under the hood of the funky rhythm guitar master’s signature 6-string.
Hello and welcome back to Mod Garage. In this edition, we’re continuing our journey through the Fender Cory Wong Stratocaster wiring, bringing it all together.In the previous installment, the last feature on the funky 6-stringer’s signature axe that we discussed was the master volume pot and the corresponding treble-bleed circuit. Now, let’s continue with this guitar’s very special configuration of the tone pots.
Tone pot with Fender Greasebucket tone system:
This 250k tone pot is a standard CTS pot with a 90/10 audio taper found in all U.S.-built Fender guitars. The Cory Wong guitar uses the Fender Greasebucket system, which is added to the pot as a ready-to-solder PCB. The Greasebucket PCB is also available individually from Fender (part #7713546000), though you can use conventional electronic parts for this.
Fender introduced this feature in 2005 on some of the Highway One models and some assorted Custom Shop Strats. The Greasebucket name (which is a registered Fender trademark, by the way) is my favorite of Fender’s marketing names, but don’t let it fool you: Your tone will get cleaner with this modification, not greasy and dirty.
According to Fender, the Greasebucket tone circuit reduces high frequencies without adding bass as the tone knob is turned down. Don’t let that description confuse you. A standard Strat tone control does not add any bass frequencies! As you already know, with a passive system you can’t add anything that isn’t already there. You can reshape the tone by deemphasizing certain frequencies and making others more prominent. Removing highs makes lows more apparent and vice versa. In addition, the use of inductors (which is how a passive pickup behaves in a guitar circuit) and capacitors can create resonant peaks and valleys (band-passes and notches), further coloring the overall tone.
Cory Wong bringing the funk onstage.
This type of band-pass filter only allows certain frequencies to pass through, while others are blocked. The standard tone circuit in a Strat is called a variable low-pass filter (or a treble-cut filter), which only allows the low frequencies to pass through while the high frequencies get sent to ground via the tone cap.
The Greasebucket’s band-pass filter is a combination of a high-pass and a low-pass filter. This is supposed to cut high frequencies without “adding” bass, which has mostly to do with the resistor in series with the pot. That resistor means the control will never get to zero. You can get a similar effect by simply not turning the Strat’s standard tone control all the way down. (The additional cap on the wiper of the Greasebucket circuit complicates things a bit, though; together with the pickups it forms an RLC circuit, but I really don’t want to get into that here.)
The standard Fender Greasebucket tone system is used in the Cory Wong Strat, which includes a 0.1 μF cap and a 0.022 uF cap, along with a 4.7k-ohm resistor in series. These are the values used on the PCB, and without the PCB it looks like the illustration at the top of this column.
Push-push tone pot with preset overwriting function:
The lower tone pot assigned to the bridge pickup is a 250k audio push-push pot with a DPDT switch. The switch is used to engage a preset sound by overwriting the 5-way pickup-selector switch, no matter what switching position it is in. The preset functionality has a very long tradition in the house of Fender, dating back to the early ’50s, when Leo Fender designed a preset bass sound on position 3 (where the typical neck position is on a modern guitar) of the Broadcaster (and later the Telecaster) circuit. Wong loves the middle-and-neck-in-parallel pickup combination, so that’s the preset sound his push-push tone pot is wired for.
The neck pickup has a dedicated tone control while the middle pickup doesn’t, which is also another interesting feature. This means that when you hit the push-push switch, you will engage the neck and middle pickup together in parallel, no matter what you have dialed in on the 5-way switch. Hit the push-push switch again, and the 5-way switch is back to its normal functionality. Instead of a push-push pot, you can naturally use a push-pull pot or a DPDT toggle switch in combination with a normal 250k audio pot.
Here we go for the wiring. For a much clearer visualization, I used the international symbol for ground wherever possible instead of drawing another black wire, because we already have a ton of crossing wires in this drawing. I also simplified the treble-bleed circuit to keep things clearer; you’ll find the architecture of it with the correct values in the previous column.
Cory Wong Strat wiring
Courtesy of singlecoil.com
Wow, this really is a personalized signature guitar down to the bone, and Wong used his opportunity to create a unique instrument. Often, signature instruments deliver custom colors or very small aesthetic or functional details, so the Cory Wong Stratocaster really stands out.
That’s it! In our next column, we will continue our Stratocaster journey in the 70th year of this guitar by having a look at the famous Rory Gallagher Stratocaster, so stay tuned!
Until then ... keep on modding!
The Keeley ZOMA combines two of iconic amp effects—tremolo and reverb—into one pedal.
Key Features of the ZOMA
● Intuitive Control Layout: Three large knobs give you full control over Reverb Level, Tremolo Rate,and Depth
● Easy Access to Alternate Controls: Adjust Reverb Decay, Reverb Tone, and Tremolo Volume withsimple alt-controls.
● Instant Effect Order Switching: Customize your signal path. Position tremolos after reverb for avintage, black-panel tone or place harmonic tremolo before reverb for a dirty, swampy sound.
● True Bypass or Buffered Trails: Choose the setting that best suits your rig.
Three Reverb and Tremolo Modes:
● SS – Spring Reverb & Sine Tremolo: Classic spring reverb paired with a sine wave tremolo for that timelessblack-panel amp tone.
● PH – Plate Reverb & Harmonic Tremolo: Smooth, bright plate reverb combined with swampy harmonictremolo.
● PV – Plate Reverb & Pitch Vibrato: Achieve a vocal-like vibrato with ethereal plate reverb.
Reverb: Sounds & Controls
● Spring Reverb: Authentic tube amp spring reverb that captures every detail of vintage sound.
● Plate Reverb: Bright and smooth, recreating the lush tones of vibrating metal plates.
● Reverb Decay: Adjust the decay time using the REVERB/ALT SWITCH while turning the Level knob.
● Reverb Tone: Modify the tone of your reverb using the REVERB/ALT SWITCH while turning the Rate knob.
Tremolo: Sounds & Controls
● Sine Wave/Volume Tremolo: Adjusts the volume of the signal up and down with smooth sine wavemodulation.
● Harmonic Tremolo: Replicates classic tube-amp harmonic tremolo, creating a phaser-like effect withphase-split filtering.
● Pitch Vibrato: Delivers pitch bending effects that let you control how far and how fast notes shift.
● Alt-Control Tremolo Boost Volume: Adjust the boost volume by holding the REVERB/ALT footswitch whileturning the Depth knob.
The ZOMA is built with artfully designed circuitry and housed in a proprietary angled aluminum enclosure, ensuring both simplicity and durability. Like all Keeley pedals, it’s proudly designed and manufactured in the USA.
ZOMA Stereo Reverb and Tremolo
The first sound effects built into amplifiers were tremolo and reverb. Keeley’s legendary reverbs are paired with their sultry, vocal-like tremolos to give you an unreal sonic experience.
Your 100 Guitarists hosts are too young to have experienced SRV live. We’ve spent decades with the records, live bootlegs, and videos, but we’ll never know quite how it felt to be in the room with SRV’s guitar sound.
Stevie Ray Vaughan was a force of nature. With his “Number One” Strat, he drove a veritable trove of amps—including vintage Fenders, a rotating Vibratone cab, and a Dumble—to create one of the most compelling tones of all, capable of buttery warmth, percussive pick articulation, and cathartic, screaming excess. As he drew upon an endless well of deeply informed blues guitar vocabulary, his creativity on the instrument seemingly knew no bounds.
Your 100 Guitarists hosts are too young to have experienced SRV live. We’ve spent decades with the records, live bootlegs, and videos, but we’ll never know quite how it felt to be in the room with SRV’s guitar sound. So, we’d like to spend some time imagining: How did it feel when it hit you? How did he command his band, Double Trouble? The audience?
SRV was mythical. His heavy-gauge strings tore up his fingers and made a generation of blues guitarists work a lot harder. And his wall of amps seems finely curated to push as much air in all directions as possible. How far did he take it? Was he fine-tuning his amps to extreme degrees? Or could he get his sound out of anything he plugged into?