Neck：Mahogany
Fingerboard：Ebony
Finish：Polyurethan
Tuning Machine：YAMAHA
String height：1string　2.6mm/6string　3.1mm

[Profile]
Yamaha (founded in 1887 in Hamamatsu City, Shizuoka), the world's largest manufacturer of musical instruments and boasting an overwhelming market share in the musical instrument manufacturing and music business alone, was also an early proponent of the classical guitar. In 1966, Yamaha established the Guitar Research Department and began research and development of handcrafted guitars in order to stimulate the classical guitar market in Japan. The following year, Yamaha invited Eduardo Ferrer, who at the time was a mentor in Granada, Spain, to provide guidance on traditional Spanish construction methods, and in 1973, invited Manuel Hernandez (Hernandez y Aguado) to provide technical guidance. The result of these intensive training programs was the Grand Concert (GC) series, which continues to this day as a high-spec series of Yamaha classical models.

[Description]
Toshiro Kato 1978, GC20S #2709 of the YAMAHA Grand Concert Series is now in stock.
Starting in 1967, the GC series was designed by Hideyuki Ezaki, Toshiro Kato, and others under the direct guidance of Manuel Hernandez, and the epoch-making GC30 (with separate craftsmen for A, B, and C) released in 1974 laid the foundation for YAMAHA's classic line. The brand's ability to respond to the unprecedented boom of the time and the growing demand for guitars made in Spain (with the marketing slogan 'authentic guitars') was incredible, and a full lineup was introduced to the market. The GC20S is a high-spec model using Central and South American rosewood for the back and sides, and gained popularity as the second highest spec model after the GC30, which uses Brazilian rosewood. Photogenic wood grain is used for the back and sides, and reddish-brown cedar is used for the sound board. The appearance of the rosette and purfling with a butterfly design based on yellow is luxurious and powerful, reminiscent of the Ramirez type Madrid School. The sound is a bit rigid, but it is powerful with plenty of echoes, and the variety of expressiveness makes it a fine piece that shows the maker's honest respect for Spain. The responsiveness is good, and the player feels comfortable with the full sound. There are no cracks or other major repairs. The treble side of the sound board has some minor dents and scratches, but they are commensurate with the age of the instrument.