A classic bass guitar from the legendary Yamaha BB series, made in Japan in the 1980s – a period widely considered one of the best in the brand’s history. This instrument represents top-tier Japanese craftsmanship: precision, durability, and timeless design. It’s one of the few basses with a non-“standard” body shape that’s so instantly recognizable.
From the very beginning, the BB series was designed with professional players in mind – not as a copy of Western designs, but as an evolution of them. The characteristic, slightly larger body, refined ergonomics, and strong focus on quality quickly earned these instruments worldwide recognition.
Whenever I list Yamahas from this era, I always say the same – in my opinion and based on my experience with Japanese instruments, these are some of the best-built guitars of that time. Frets, fit and finish, hardware quality, wood – everything is just right.
The body is made of alder, the neck is maple with a rosewood fretboard, featuring a really solid bridge and tuners, and a pickup with Alnico magnets. The nut is bone, and the frets are slightly larger than on most guitars from that period, which means they rarely need immediate replacement. This is not a “project” instrument – it’s a fully ready, well-equipped bass.
This particular example is in great condition for its age (around 40 years old) – only minor dings and scratches, as you would expect, possibly from display use. Overall, a very well-kept instrument.
Plenty of sound samples online:
https://www.youtube.com/results?search_query=yamaha+BB+japan
Work done on the instrument:
fret leveling, crowning, and polishing
body polish
hardware polishing
electronics cleaning and servicing
fretboard cleaning and conditioning
nut adjustment
new jack socket
new strings
professional setup

One of my favorite Japanese basses. This instrument features many ergonomic and well-thought-out design solutions that in no way conflict with the classic “vintage” bass philosophy. It makes playing easier, offers a very wide tonal palette, and at the same time can deliver a truly old-school, classic bass sound.
What do I mean by “ergonomic solutions”?
Contoured pickups – the pickup covers are rounded on the top. This results in more even string-to-string volume, and the pickup housing itself works perfectly as a ramp. Both pickups share this profile.
Coil-configuration switches – two switches allow different coil wiring options. One setting delivers a classic Precision-style “bell-like” tone, while the other produces a more modern sound, slightly in the direction of a Music Man. Both pickups have their own switching options.
Unusual neck pickup design – the magnet layout is similar to a P-Bass, but the coils span the full width of the pickup. A thinner 0.05 mm wire (instead of the typical 0.06 mm) allows for more windings. As a result, despite the large magnets, the pickup does not sound muddy (unlike, for example, a Seymour Duncan SPB-3). It remains very articulate, with a solid low end and a well-balanced frequency response.
Bridge pickup – tap-coil design – two coils on a single bobbin, also switchable between two wiring options. In addition, the pickups can be combined in various configurations, further expanding the tonal possibilities.
Bridge & construction
The bridge is worth mentioning as well — essentially a Japanese take on the “BadAss” style bridge. Made of zamak (just like the original BadAss), and likely even heavier. The bridge is recessed into the body, contributing to excellent sustain.
The bass features an alder body, maple neck, and rosewood fingerboard.
This is a factory-equipped instrument done right: smart wood selection, a massive bridge, excellent Alnico pickups, precise neck-to-body fit, and oil-bath tuners. There is absolutely nothing here that needs upgrading or replacing. In this price range, it’s a real killer deal. Highly recommended.
Work performed on the instrument:
fret leveling, rounding, and polishing
body polish
hardware polishing
electronics cleaning and maintenance
fingerboard cleaning and conditioning
nut adjustment
new strings
new output jack
full professional setup

Fantastic Jazz Bass made in Japan in the 1980s. This instrument is lively, bright, and resonant – truly worth your attention. It’s not a budget guitar at all; everything is solid and very well made.
The body is crafted from beautifully figured maple in a natural amber finish. The neck is also maple with a rosewood fingerboard featuring pearl markers and cream binding.
On the headstock you’ll find large, high-quality tuners and a bone nut.
Electronics are the classic passive setup: 2x volume + tone with single-coil pickups on alnico magnets.
It has a vintage-style bridge made from proper steel, not the cheap pot metal you see on modern axes where the coating wears off from adjusting intonation.
Also worth mentioning is the nitrocellulose pickguard!
The instrument is in very good condition for its age – both visually and technically.
The neck is typical of Japanese basses – slim and comfortable. Tonally it easily outperforms instruments costing several times more.
Highly recommended!
Work performed on the guitar:
Fret leveling, rounding and polishing
Polishing of the lacquer
Polishing of all hardware
Cleaning and servicing of the electronics
Cleaning and conditioning of the fingerboard
Nut adjustment
New strings
New output jack
Professional setup
All the work done preserves the guitar’s vintage character and authenticity. It still looks properly old-school and vintage, but is now clean and well-maintained!

Classic violin bass made in Japan in the 1970s-80s. In my opinion, a much cooler option than any Chinese copies etc. for much higher prices. This axe has real vibe and character!
The body is made of maple/birch laminate. The neck is maple with a rosewood fingerboard – freshly planed, with new frets and a bone nut.
On board are two classic pickups – copies of Hofner with vintage output around 4 kΩ. Apart from the obviously mega-fat sound, they also add a slight crunch in the upper range.
Overall, I always smile to myself when I pick up this bass, because it’s light and tiny, yet the sound is really huge, fat and sticky.
Despite its age, the Greco looks fantastic – you really have to look hard to find any dents or scratches. Extremely aesthetic.
The bass is incredibly comfortable and lightweight – highly recommended!
Our samples: https://www.youtube.com/watch?v=7weusNygjus
Work done on the instrument:
Fingerboard planing and new frets
Polishing the lacquer
Polishing the hardware
Cleaning and servicing the electronics
New jack socket
New strings
Pro set-up

The Guyatone EB-9 Sharp 5 Bass (sometimes just called Guyatone Sharp 5 Bass or EB9 Sharp Five) is a signature bass from the late 1960s, created specifically for the iconic Japanese instrumental band The Sharp 5 – Japan’s answer to The Ventures. The band played eleki/surf rock in true ’60s style, and Guyatone (one of Japan’s oldest brands, active since 1933) built an entire Sharp 5 series for them: the LG-350T guitar and the perfectly matching EB-9 bass.
The model debuted around 1967–1968 and quickly became an icon of Japanese luthiery. Its distinctive offset shape (clear influences from Mosrite and Fender Jaguar), high build quality for the era, and stunning colors made these basses highly sought-after by collectors and players chasing that unique vintage vibe. This isn’t just another „Japanese copy” – it’s an original, high-class instrument that actually rocked stages in Japan during the golden age of surf and spy-movie soundtracks.
Current specs after full restoration:
Body: alder/mahogany laminate
Neck: maple – super slim and fast „racecar” profile
Fingerboard: rosewood with decorative binding, new medium-jumbo frets
Scale length: 33.5” (850 mm)
Nut width: 40 mm
Pickups: 2 × single-coil, vintage output (low, classic)
Electronics: 3-way toggle switch, master volume + master tone
Tone & Feel
With those two single-coils, this bass delivers punchy, clear tone with that signature „twang” and surfy attack – perfect for instrumental rock, psychedelia, garage rock, or even modern pedal setups. The original-style pickups have lower output (around 6–7 kΩ), giving beautiful vintage dynamics while responding amazingly to overdrive, fuzz, or distortion. Playability is outstanding – slim neck, low action, and surprisingly good sustain for a ’60s instrument.
What we did to this example:
The bass underwent a complete professional restoration:
Old finish stripped from neck and body, new nitrocellulose lacquer applied in a gorgeous pastel purple
Fingerboard leveled, new medium-jumbo frets installed
Hardware cleaned and polished, but we kept the original patina – the new nitro was lightly aged for character
Brand-new pickguard made + new headstock logo
Fresh electronics, new strings, and a super-soft, player-friendly setup
These basses are hugely desirable – overseas (e.g., on Reverb) they fetch serious money, and most surviving examples are in rough shape. Here you get an instrument that not only looks phenomenal but is fully functional and ready to play right out of the box!
Highly recommended!
Hard case not included in the sale.

The SB-500 debuted in the mid-1970s (e.g., examples from 1977) as a bass aimed at professionals and amateurs seeking a solid instrument at a reasonable price. It was used by many musicians in Japan and abroad, especially in rock, funk, and jazz, thanks to its „growly” sound and durability. In those times, Yamaha copied elements from Fender but added its own innovations, like a massive die-cast bridge, tuners, and ergonomic pickup covers, which gave it a unique character. The model with transparent brown finish (often called „brown” or „mocha-brown”) was popular because it highlighted the natural wood grain. Today, the SB-500 is a collector’s rarity – auction prices range from 500 to 1500 USD, depending on condition, and examples from 1976-1978 are considered „early specs” with the best materials. After 1982, the series evolved into more modern lines like BB or TRBX, but the SB-500 remains a symbol of the golden era of Japanese vintage basses.
Construction and Technical Specifications
The Yamaha Super Bass SB-500 is a 4-string electric bass with a solid body construction. Its design is inspired by the Fender Jazz Bass, but with a unique, slightly „wonky” body shape (asymmetrical horns) and characteristic „dirty-70s charm.” Here are the key details, with emphasis on your specifications:
Body: Made from nato (wood from the mahogany family, often confused or called mahogany due to similar properties – dense, resonant, providing warm sound). Typically 2-piece, weighing about 4.5 kg, which gives solid resonance. Shape: double cutaway, with a 3-layer black pickguard. It’s not lightweight wood, so the bass has a „meaty” feel.
Neck: Maple (maple), one-piece (1-piece), bolt-on (bolted to the body). Profile: somewhat chunky, similar to a Precision Bass, but comfortable (slightly thicker than a standard Jazz). Nut width: About 43 mm. Number of frets: 20-21. Scale: Long scale, about 34″.
Finish: Transparent brown lacquer (brown or translucent brown), which highlights the natural wood grain. It’s gloss (shiny) polyurethane.
Electronics and Hardware:
Pickups: JB-type (Jazz Bass style), original Yamaha 8-pole single-coil, passive. Two pickups: bridge and neck, providing versatile sound.
Electronics: Simple – 2 volumes (for each pickup), 1 tone.
Bridge: Die-cast, high-mass.
Tuners: Flower pedal type (open, in vintage style).
Sound and Playability
The SB-500 is famous for its „growly” and punchy sound – deep low-end, tight sound, with high sound pressure and midrange. Nato/mahogany provides warmth and sustain, the maple neck adds attack and clarity, and the transparent lacquer doesn’t affect the tone but visually emphasizes the wood. The bass is versatile: strong in rock (like P-Bass), funky in slap (like Jazz), but with a unique low-end. A delicate touch allows for nuances, and heavy attack – for aggression. Compared to Fender, it has more mids and growl, making it ideal for vintage sound. The weight and nice chunky neck make it comfortable for long sessions.
Condition and Maintenance
The guitar has undergone a full renovation, specifically:
Fret leveling, crowning, and polishing,
Lacquer polishing,
Hardware polishing,
Electronics cleaning and maintenance,
New jack,
New strings,
Pro set-up.
Despite several decades, the instrument is really well-maintained and has normal signs of use for a several- or dozen-year-old guitar.
I recommend it!