The Yamaha Super R’nroller 400 is a Japanese-made instrument from the late 1970s, manufactured by Nippon Gakki. The SR-400 was introduced in November 1976 and remained in production until 1979. The series was intended primarily for the Japanese domestic market and is an interesting example of Yamaha’s build quality from this period.
The body is made from sen, a Japanese variety of ash. The neck is attached with four bolts, and both the neck and fingerboard are maple. The guitar has 21 frets, a 25.5” scale and the distinctive large 1970s-style headstock. Its construction produces an open and responsive sound with a clear attack, defined low end and good dynamics.
The guitar is equipped with three Yamaha R-11 single-coil pickups, a three-way selector switch and traditional Volume, Tone and Tone controls. The pickups sound clear and articulate without becoming excessively sharp. The instrument responds well to playing dynamics, remains defined on clean settings and works naturally with light overdrive.
The defining feature of this guitar is the body refinish completed in our workshop. A thin Sonic Blue nitrocellulose finish was applied over the original factory sunburst and then tastefully aged. The original burst is visible through selected areas of wear, creating the convincing appearance of an old guitar refinished many years ago. The lacquer displays checking and wear and will continue to age naturally with further use.
The guitar has undergone a complete restoration and service. It was disassembled, thoroughly cleaned and checked both mechanically and electrically before receiving a professional setup. The frets, nut, electronics, hardware, neck, string action and intonation were inspected and prepared for regular playing.
Work carried out:
disassembly and thorough cleaning
nitrocellulose body refinish
aged finish with selected areas of the original factory sunburst exposed
fret inspection and preparation
fingerboard cleaning and inspection
nut inspection
electronics cleaning and testing
pickup and selector-switch inspection
hardware cleaning and inspection
neck and bridge adjustment
pickup-height adjustment
string-action and intonation adjustment
final professional setup and playing test
Specifications:
model: Yamaha Super R’nroller 400 / SR-400
made in Japan by Nippon Gakki
model production period: 1976–1979
body: sen, a Japanese variety of ash
neck: four-bolt maple
fingerboard: maple
number of frets: 21
scale length: 25.5”
pickups: 3 × Yamaha R-11 single coils
pickup selector: three-way
controls: Volume, Tone, Tone
bridge: vintage tremolo with chrome cover
tuners: Yamaha trapezoid-style
hardware: chrome
colour: Sonic Blue Nitro over the original factory sunburst
finish: aged nitrocellulose lacquer
complete restoration and service
professional setup
ready to play
Why buy from us?
This is not a random guitar from an online classified ad, described entirely in superlatives but arriving as a project requiring further repairs and expenses. The instrument has been genuinely prepared for playing — its frets, nut, electronics, hardware, neck, string action and intonation have all been checked.
You are buying from a company with more than 10 years of experience specialising in the restoration, servicing and preparation of Japanese instruments. Our work is supported by excellent, independently verifiable customer reviews. The guitar has been fully serviced, professionally adjusted and is ready to play immediately.

Japanese-made Squier Stratocaster, serial number K014834, manufactured in 1990–1991 at the highly regarded FujiGen factory. Its black body, one-piece maple neck and white plastics create a classic old-school Stratocaster appearance with a strong “Blackie” vibe.
Japanese Squiers from the 1980s and early 1990s have earned an excellent reputation. Fender began Japanese production in 1982, entrusting it to FujiGen, a factory already highly experienced in building remarkably accurate versions of American instruments. The early JV series quickly established the reputation of Japanese Fender and Squier guitars, while the later models continued the same tradition of precise manufacturing.
Today, vintage Made in Japan Squiers are viewed very differently from modern entry-level instruments carrying the same logo. Well-preserved FujiGen examples are becoming increasingly appreciated by players and collectors of Japanese guitars.
This guitar is most likely an SST-33 or its export-market equivalent. Specifications associated with this series include:
basswood body,
one-piece maple neck and maple fingerboard,
21 frets,
25.5-inch scale length,
three ceramic single-coil pickups,
five-way pickup selector,
traditional Volume–Tone–Tone controls,
six-screw vintage-style tremolo bridge,
sealed Gotoh tuning machines,
manufactured by FujiGen in Japan.
Just like the Japanese Squier Telecaster we recently listed, this guitar is surprisingly difficult to distinguish from a considerably more expensive Fender Japan Standard from the same period. The body, neck, pickups and hardware look virtually the same. It is simply a very solid Japanese Stratocaster from a time when the Squier logo certainly did not automatically mean a cheap beginner’s guitar.
The traditional SSS configuration provides the complete range of classic Stratocaster sounds: a bright and responsive bridge pickup, the characteristic tones of positions 2 and 4, and a warmer neck pickup. The one-piece maple neck adds attack, definition and a quick response.
The guitar has survived in remarkable condition – looking at it, it is genuinely difficult to believe that it is now over 35 years old. The finish, neck and hardware all present exceptionally well, and the overall condition can confidently be described as near mint. Naturally, there may be minimal signs consistent with the instrument’s age, but for a Japanese Stratocaster from the early 1990s, this is an exceptionally well-preserved example.
The guitar has undergone a complete inspection and restoration in our workshop:
fret levelling and polishing,
fret-end dressing,
nut adjustment,
finish polishing,
hardware cleaning and polishing,
electronics cleaning and servicing,
installation of a new output jack,
a new set of strings,
complete setup and tremolo adjustment.
Our workshop has specialised in restoring vintage Japanese guitars for over 15 years. We know their common issues and exactly what needs to be corrected after the factory and several decades of use. The guitar has been thoroughly inspected, adjusted and is ready to play, without the uncertainty of buying from an unknown private seller.

A late-1970s Yamaha Studio Lord SL500 – a very solid Japanese-built Les Paul-style guitar originally produced exclusively for the domestic Japanese market. The model was introduced in 1976, while this particular example, judging by its 003981 serial number, was most likely manufactured in 1979, during the final production period of the first Studio Lord series.
The SL500 features an agathis body with a beautifully figured maple top and a set maple neck. Agathis provides a warm, full sound with a strong midrange, while the maple top adds definition and a more immediate attack. It is a very effective combination for this type of guitar – powerful and substantial, yet still clear and articulate, even with heavier overdrive. Other specifications include a rosewood fingerboard, body and neck binding, trapezoid inlays, 22 frets and a traditional 24.75” scale length.
The electronics consist of two original Yamaha L2 humbuckers, a three-way pickup selector and individual Volume and Tone controls for each pickup. The pickups have a proper old-school character. Their moderate output preserves plenty of dynamics, midrange clarity and sensitivity to picking. They sound open and defined on a clean channel, while overdrive brings out a thick midrange and classic rock character without sacrificing articulation.
One of the strongest features of this particular guitar is its unusual Whisky Burst finish. The centre has a deep amber whisky colour which gradually fades into dark, smoky brown edges. It looks considerably more distinctive and elegant than the familiar bright red Cherry Sunburst finishes. The cream binding and naturally aged hardware complement its smoky vintage appearance perfectly.
The guitar remains in very good condition for an instrument approaching 50 years of age. It retains its original Yamaha pickups, tuners, bridge and tailpiece. There are some minor signs of use and natural patina on the chrome hardware, but overall the instrument is well preserved, complete and presents very nicely.
The guitar has received a complete service in our workshop, including:
fret levelling and polishing,
fret-end dressing,
nut correction,
fingerboard cleaning and conditioning,
electronics cleaning,
installation of a new output jack,
polishing of the finish and hardware,
a new set of strings,
complete setup.
The neck is properly adjusted, the electronics work as they should and the guitar is ready to play immediately.
For over 15 years, our workshop has specialised in restoring vintage Japanese guitars. We know their common issues and understand exactly what needs to be corrected after the factory and after several decades of use. The buyer receives a properly inspected, serviced and adjusted instrument rather than an unknown guitar imported from Japan and listed without preparation.
Specifications:
made in Japan, most likely in 1979
agathis body
beautifully figured maple top
set maple neck
rosewood fingerboard
22 frets
24.75” scale length
approximately 43 mm nut width
2 × original Yamaha L2 humbuckers
2 × Volume, 2 × Tone
three-way pickup selector
original Yamaha die-cast tuners
Whisky Burst finish
serial number: 003981

A Japanese-made Squier Telecaster from the highly regarded Silver Series, manufactured in the early 1990s. Serial number K031104 dates the instrument to approximately 1990–1991. This was a period when Squier guitars were still being produced in Japan and shared a considerable amount of their construction with contemporary Fender Japan models.
The guitar features a basswood body and a maple neck with a maple fingerboard. Its traditional 25.5” scale length, 21 frets and vintage-style fingerboard radius provide the familiar feel associated with older Telecaster designs. Electronics consist of two single-coil pickups, a three-way selector and standard Volume and Tone controls. The guitar is fitted with a six-saddle bridge and enclosed tuning machines.
There is also an interesting point worth mentioning. When we compare this guitar with a Japanese Fender Standard from the same general period, which now costs considerably more, it becomes difficult to identify where the major practical difference is supposed to be. The pickups and hardware look essentially the same, the body and neck materials are also comparable, and following a complete workshop service, the fretwork, nut, overall fit and playability are genuinely on a similar level.
We are not suggesting that the logo on the headstock has no collector value, but as a working instrument, this Squier performs exceptionally well. It is a very solid Japanese Telecaster which, once properly prepared, gives little reason to regard it as a clearly inferior guitar simply because of the name on the headstock.
The guitar shows normal signs of use consistent with its age. Its black finish, matching black pickguard and maple neck create a simple and classic appearance.
Work completed:
– fret levelling and polishing
– fret-end dressing
– nut adjustment
– polishing of the finish and hardware
– cleaning and servicing of the electronics
– installation of a new output jack
– new strings
– complete setup and adjustment
The guitar is fully prepared and ready to play immediately after unpacking.
The instrument comes from our workshop, which has specialised in restoring vintage Japanese guitars for over 15 years. We know exactly which factory details require attention, understand the typical issues found in older instruments and know how to bring them to a condition in which they can perform at their full potential. The buyer receives a thoroughly checked, adjusted and properly prepared guitar rather than an unknown instrument with an uncertain history and technical condition.

Some guitars are classic, predictable and designed according to established rules. Then there is the Teisco TG-64, also known as the ET-320 – a guitar that looks as if a group of Japanese designers in the mid-1960s had been given complete creative freedom.
For years, Teisco was associated with wild and inexpensive Japanese guitars intended to catch the eye and give young musicians access to an electric instrument. Today, the situation is completely different. The most interesting models have become highly desirable among collectors and musicians tired of endless variations on the Strat, Tele and Les Paul. The TG-64 was also one of the more elaborate designs in the Teisco catalogue, featuring three pickups, a vibrato system and electronics capable of producing a surprisingly wide range of sounds.
Its greatest attraction is the set of three original Teisco single coils with distinctive square Alnico pole pieces. They sound completely different from traditional Fender-style pickups: powerful, direct, slightly raw and packed with characterful midrange. They are excellent for surf, garage rock, blues, alternative music and anything that calls for a guitar with its own unmistakable voice.
Each pickup is activated by a separate push-button switch, allowing them to be combined freely. It is a far more interesting and visually appealing solution than a conventional pickup selector. An additional slider activates a bright/bass-cut filter, while the remaining controls are volume and tone. The guitar is also equipped with its original Teisco vibrato.
The construction is equally full of ideas typical of the golden age of Japanese bizarre guitars. The mahogany body features the distinctive cut-through “Monkey Grip”. Was it really necessary? Probably not. Does it look fantastic? Absolutely. Other details include an aluminium pickguard with etched stripes, an asymmetrical 4+2 headstock and a bound rosewood fingerboard with side-mounted block markers.
The guitar has a mahogany neck attached with four bolts, a bound rosewood fingerboard, 22 frets and a 24.75″ scale. Most importantly, the neck has undergone a comprehensive restoration. The fingerboard was levelled before new frets were installed. As a result, the guitar plays like a proper instrument ready for regular use rather than merely an interesting 1960s display piece.
Old Teisco guitars can look fantastic, but they usually require considerably more work than conventional designs. Factory fretwork, uneven fingerboards, temperamental electronics, hardware and difficult vibrato systems mean that buying an untouched example is often only the beginning. By purchasing this instrument from us, you avoid the typical problems associated with these guitars. Everything has been thoroughly inspected, corrected and set up by a workshop with over fifteen years of experience restoring Japanese instruments.
The guitar retains natural scratches, dings and finish wear appropriate for an approximately 60-year-old instrument. Nothing here needed to be artificially aged – this appearance was earned through decades of actual use and suits the character of the guitar perfectly.
Work performed:
fingerboard levelling,
installation of new frets,
fret levelling and polishing,
fret-end dressing,
nut adjustment,
fingerboard cleaning and conditioning,
finish polishing,
hardware polishing,
electronics cleaning and servicing,
bridge and vibrato cleaning and adjustment,
new strings,
complete professional setup.
Specifications:
made in Japan, circa 1965–1966,
mahogany body,
mahogany bolt-on neck,
bound rosewood fingerboard,
24.75″ scale length,
22 new frets,
3 × original Teisco square-pole Alnico single-coil pickups,
electronics: individual pickup switches, bright/bass-cut filter, volume and tone,
adjustable roller bridge,
original Teisco vibrato,
sunburst finish,
etched striped aluminium pickguard,
distinctive “Monkey Grip” body cutout.