Mother of them all? Tama 3551 guitar

 

Presented here is the Tama 3551. These number codes were 
in use before the later model names such as 8, 10 and 15.
The Tama plant already made their iconic steel strings at that 
time. We will discuss this model as the cooperation between
Masaru Kohno, Juan Orozco and Sakurai started later and
probably some differences between this model and the final
models will come up. Scale: 660 mm Topnut 53 mm.

A remark should be made here as my Juan Orozco model 
nr. 10 has a scale of 650 mm. The scale held at 660 mm
could be a typical Masaru Kohno move. According to AI
all Juan Orozco models were equipped with a 650 mm
scale. The longer scale was in fact popularized by the
Jose Ramirez 1A guitars that even were 665 mm.

What immediately was strange to me is the mentioned price
for this model 3551 when compared to the later 8, 10 and 15 
models. I used the so called unofficial Tama site, sometimes
better known as the Hufschlag site: An interesting source!
http://www.hufschlag.info/html/tama_main.html
This 3551 model was in January 1976 priced at 1258 DM
in USD 595,- The model 3552, at first presumably higher 
in rank, was listed for USD 275,- And to make it complete, 
the models 3553, 3554 and 3555 were listed at USD 245,-
USD 275,-  and USD 295,- Conclusion can be that this
model 3551 was their highest model at that time. In fact
the roses engraved tuners with the butterfly buttons are
pointing in the direction of the later models 10 and 15.

Consulting AI, they gave up the story that when the collaboration
between Kohno, Orozco and Sakurai took place, production methods
were "streamlined" in order to speed up processes and thus make
more profit on still a very good product. We will discuss further
differences between the Juan Orozco model 10 I have in my
possession compared to the Tama 3551. The remark should be 
made that the Juan Orozco model 10 was priced at about 2400
DM in april 1982. Prices in Japan have gone up drastically
in the seventies already.

These tuners were later invariably used on the later Juan

Orozco model 10 and 15. the roses were already there.

No differences here between the Tama model 3551

and the later launched models 8, 10 and 15.

 

The Fleta headform was also a detail that stayed unaltered 

into production as are the double ebony layers in the neck.

Later the earlier Orozco headstock has been reintroduced.

Same thing counts for the rosette and the thickening around

the sound hole from the inside. Ebony fingerboard here.

Always a picture here to show the fret wear on this one.

Though heavily played with some slight nail damage,

these frets can serve you for several years to come.

Here the bridge with the slanted sides is presented. I think

the only minor was a probably by the former owner lowered

bridgebone that had a wide contact area with the strings.

The result then is a somewhat dull tone with less brightness

so I've changed that one with a newly made one. As a correct 

octave pitch sometimes was a problem with these guitars,

I've placed the contact area closer to the sound hole.

The back that is in pristine condition and solidly

executed in rosewood. The inner surface has been 

slightly sprayed. A bit in the Masaru Kohno tradition?

The cooperation between Kohno, Orozco and Sakurai is said 

to be presenting these final lattice bracing in their guitars.

This Tama 3551, most likely from 1974 has exactly the

same lattice bracing and the only difference I could find 

was that the endblock was glued to the back which is not 

the case in my later Juan Orozco nr. 10. 

The number on the inner heelblock most of the time gives 

the exact date of production. In this case the presented number

is 6045656. There is no logical follow up in numbers as the

series starting with a digit 5 could be from 1974 as well 

as 1976. There is a 3550 model registered at the Hufschag

site to be from 1974 with registration number 6045609.

That would be quite close to the guitar here above.

Also the reinforcements for the sides were kept in the later

models for the world market. It is possible that Tama already

copied some ideas of the Masaru Kohno guitars that were

very popular at that time. The sound in fact is a close

copy of these venerable guitars as is the scale.

This way of bracing in fact can't be called an exact lattice 

bracing the way Greg Smallman later introduced but it relies 

more on the older Spanish bracings. Masaru Kohno learnt

from Arcangel Fernandez in the early sixties. Kohno also

studied with Fleta and probably for that reason honoured 

him by adding the typical Fleta head.

Earlier Juan Orozco Model 10 guitar (made in Japan - not TAMA produced))

 

Presented here is a Juan Orozco model 10 guitar with a "later" 
head form but funnily enough the label of the father of Juan Orozco 
who was building guitars in Montevideo already used this kind
of label which makes it quite disturbing. Definitely not made
in the Tama  plant (Ibanez) as there are too many differences.

But let's start with the label used in this model 10 guitar. 
Around the label the wood hasn't been varnished and
I will point out other differences as well.

This strange inner heel construction can't be found on the later
8, 10 and 15 models Juan Orozco later had produced in the 
Tama plant. But let's not forget, the high end Orozco, Tama,
Kohno and Sakurai labelled guitars were invariably built
in a small corner or room where the master builders were 
active and thus could take their time.

Juan Orozco developed his high grade models together with 

Masaru Kohno for the world market and in fact the bracing of 

the soundboard seems to point in that direction as you can

see this guitar already is equipped what later was standard

in the Tama produced models 8, 10 and 15. Lattice bracing.

The so called lattice bracing can be seen here.

The headform that was later the way to go in the Aranjuez labelled guitars.

The axe holders of the tuners were not clinched onto the plate but bowed

out of the mounting plate. Also the square outer ends of the sleeves are 

not there on the later Tama produced guitars and probably no t "roses" 

engraved. The butterfly knobs on the other hand were only used for the

model 15 guitars later in the seventies of the past age.

The back that shows other woods compared to the later

models 8,10 and 15.

The rosette also differs as can be expected.

The bridge, here with the non slanted short sides of

the string tie block s opposed to the Tama produced

guitars, most likely later in time. I'd like to thank

George LaPoint for his contributions that makes it

easier to identify these guitars.

The "forgotten" models 58, 60 and 62 in the Juan Orozco Range

 The slanted short sides are on both the model 60 and 62 not 
present. The headform also differs from the models 8, 10 and 15 
though their headstock also changed over time. I think it is a wise 
decision to put an extra story around the higher models of that range 
(58, 60 and 62) here.The models 60 and  62 also are equipped with 
superior tuners.

As the model 60 and 62 haven’t been mentioned on the Dutch 

pricelist further in this Blog it is likely also because of remarkable 

structural differences showing that they are not from the Tama / 

Ibanez factories but made somewhere else. That also makes it 

harder to place them on the so called “quality ladder”. The model 

62 here beyond has been equipped with Brasilian rosewood 

sides. No ebony reinforcement lines in the neck and other tuners 

as well. And even the slots for the rollers are certainly executed 

otherwise but anyway different from the models 8, 10 and 15.

The later "Artesano" branded guitars will be discussed here

as well but hey are in no way equal in quality to the guitars

equipped with a Juan Orozco label. Thanks to the different

persons that shared their instruments with me in order to be

able to tell the readers more about this brand.

MODEL 58. (1972)

This model 58 has been made by Juan Orozco II and

is an entirely different instrument compared to the later 

Japanese guitars, also made by different luthiers. 

About that later here. Cheaper woods so to see.

The back shows us also not the later widely used

rosewood but possibly related to rosewood.

What makes everything clear in this case is the 

label used for this guitar. Made by the father of

Juan Orozco III

A nice carved headstock indeed but poor tuners as

the axe holders are not clinched on to the base plate

but bowed out of the plate.

And definitely not an ebony fingerboard

Also a different bridge. The short slanted sides aren't

there and most likely even painted black?

MODEL 58. (1981)

This later 58 model bears the marks of the later 

models 60 and 62 presented here though not the

well known Cashew nut finish used by Ibanez /

Tama.  The name is derived from the color these

finishes are showing. More luthiers did this.

The later headform with the rather square ending

slots for the rollers.

These axe holders are clinched to the plate. Better quality!

No short slanted sides on this bridge so definitely 

not from the Ibanez / Tama luthiers.

MODEL 60

 

A model 60 Juan Orozco guitar with a genuine label.

Comparable with the model 10 by Hoshino Gakki 

(Ibanez / Tama) but made somewhere else. 

Apart from differences Juan Orozco was using the same label.

Sometimes metal and sometimes "golden"

tuners but even between earlier and later models 

of the same number and same luthier differences

simply are there. 

The bridge with the the two white stripes which

could stand for a certain luthier, but who???

MODEL 60 (1990)

Though stamped by Juan Orozco, presented here is a later

Artesano guitar. The headform is also there but according

to the label: Made in Spain.

Good tuners as they are clinched.

In fact made after the golden Era of the

Japanese made guitars around 1980

Probaly Juan Orozco has sended some designs

to the company who made these guitars.

Among them the parallel sound braces.

The rosette can be studied here.

And a bridge design as is common.

I doubt the use of real ebony for the finger-

board as it looks a lot like rosewood to me.

MODEL 62 (1977)

Presented here a model 62 from 1977 luxury in

every detail.

Provided with the well known Orozco label.

The model 62 equipped with Brasilian rosewood sides 

and back. A luxury guitar in every aspect and comparable

with the model 15 made by the Tama / Ibanez workshops.

Beautifully purfled headstock covering.

And the same counts for the rosette in all its' details.

MORE INFORMATION:

According to Juan Orozco’s published statements, he cooperated with several Japanese makers since 1969 through early 1980s. He mentioned names Tamura, Matsuoka, Yairi and workshops Takamine and Hoshino Gakki. Hoshino Gakki and Takamine Gakki were closely cooperating with Masaru Kohno workshop. Some Juan Orozco models made by Hoshino Gakki luthiers were exact copies of Kohno guitars. The parallel sound bars on the top are one of the things you are able to compare.

The 58, 60 and 62 numbered guitar are certainly not copies of Kohno guitars. Their scale, cedar top, construction method and material selection suggest that it was most likely made by Hiroshi Tamura. Hiroshi has mastered “double back” construction and used it to make his P80 and P100 models (sold in early/mid1970s). A comparison between these guitars can always be done.

Juan Orozco III (born on April 14th, 1937 and died February 15th 2020) was a Spanish luthier and guitar impresario who lived in New York from 1965 to 1995, where he had a famous guitar shop at 56th Street (in the vicinity of Carnegie Hall). This address was actually the third location of Juan’s guitar shop. Since 1960s his shop was moved twice to new locations. Juan was also known as the maker of Aranjuez guitar strings and guitar cases. He was also known as organizer of guitar concerts. He befriended many other luthiers and guitar virtuosos.

Juan was the third generation in family of guitar makers. Juan’s father (Juan Orozco II) built guitars in Spain, Uruguay and Brazil and his son was also actively involved in these workshops.

Between 1969 and 1983 Juan Orozco closely cooperated with several famous Japanese luthiers (Ryoji Matsuoka, Hiroshi Tamura, Sadao Yairi, Masaru Kohno, Masaki Sakurai, Takamine Gakki and Hoshino Gakki. (Gakki in Japanese means Musical Instruments Company)

With many thanks to others, including Dariusz Marczak and others presenting their guitars on the site of REVERB which is a great place to sell and buy guitars. Dariusz made me wanting to make this addition.