Just a point of clarification. The FG-150 Red Label's were the first Yamaha's manufactured for sale in the USA in and made in 1967. The first FG-150's Yamaha's were the GREEN LABEL manufactured and sold initially only in Japan and made in 1966. Here is a picture of my FG-150 Green label. It is still in perfect condition.
I bought a Yamaha Red Label FSX5 in 2023 and absolutely love it. It’s warm in tone and plays amazing. Such an incredible guitar. Definitely interested in buying a vintage red label. Thanks for this!
Great, I'm getting ready to buy my granddaughter her first guitar and my first thought was Yamaha. I'm getting her a new one and I don't want the fingerboard to feel gritty or action to high. Enjoyed your video and appreciate your help.God bless Rock on and on 🙏🎶🎵❗👀
Bought my FG-150 Red Label new in Canada for $89 in around 1971 when I was 12. Still have it and it is still my favorite guitar. I have a 1977 Martin HD-28 (I got it a couple of years ago, new, never played) and a Rainsong OM both beautiful guitars . I have played Martin new OOO-18's and they do not have the soul of the old Yami. They will in 30 years but not yet. Country Joe played an FG-150 at Woodstock .
My grandmother left me 4 Yamaha Red Label Nippon Gaki. 67fg75, 68fg180, 69fg180, 70fg300. Both of the 180s needed neck resets that i had done before covid hit. The 300 is probably my favorite just because it projects more. I'll never sell them. Been looking into the new "red labels" the fg3 and fg5. Now the newer fg9 is out. The L series guitars are Lovely as well.
I had the same issue and fitted a custom (made myself) carbon tube to cramp the bridge bow down. 14mm ID, 18OD. Length around 290mm. I had to file grooves in it to accommodate cross-members and string pins; and drilled a hole countersink from rear of bridge around 3mm diameter. Stuck a machine screw through and added washers and two nuts. Works great. At first though I got buzzing as the string pins were touching it. A little more filing and I had it sussed
I bought a used FG-180 in 1971 as my first guitar. It is the same as the one in your video, with a dreadnought shape rather than a concert shape. I had no idea what a great guitar it was until I sold it and then went out to buy a new one. I should have known - there was NOTHING I could complain about with that guitar. It was easy to play, sounded good, and I had absolutely no concerns. It was simply great. Now they are calling these "the poor man's Martin". I paid $100 for it second hand in 1971, now they are about $800 on Reverb. I should have kept it.
Nice video. I have a 1966 Green label FG-150 and absolutely love it. Too bad about the neck relief. Heat can be used, but also try a heavier string and see what that does for the relief. It's a fine line to walk though as the extra tension will effect the body and neck angle as well.
Don here from Hamilton NZ on my Wife's tablet-SUSAN, a very interesting video, I just acquired a black Label FG-180,made in Taiwan, it's had very little playing over the years, the neck is straight, Iv'e just put new Martin strings 54-12's and I make it a habit to Downturn a Semitone ( less pull, takes a bit of tension off, neck and bridge love it) It's gotta beautiful sound 😊😊😊
Hi Eugene, Don here from Hamilton NZ ( on my Wife's tablet Susan) great video, I just recently bought an FG 180 ( black Label- made in Taiwan) what a lovely sound, just a little belying, not Serious, not Quite as good a sound as my FG 830 but hey,in the day, wow sure was outstanding. I have an L series Iv'e fixed + that Definitely's up to a Martin for sound, kind regards Don 😊😊😊
Thanks for sharing what we all have to think over when contemplaining about any alterations or repairs on vintage guitars. My thoughts: I would shim the saddle to a hight just enough to free up the strings from the upper frets to get rid of the buzz and see if it works out for you, and then put in a new slightly higher saddle. I would return it to the repair shop then. Didn't the repair guy notice the buzzing when he handed you the guitar over? I am sure he would have suggested to return to the original saddle hight and live with it as is. Remember, your main issue with the (slightly) higher action at 12th fret was playability higher on the fretboard, playability down at the first three frets is not so much an issue of the saddle and can be adjusted at the nut if it wasn't good. With the saddle hight as it is right now after altering it, you can't play the higher frets anyway because of buzz. So to summarize: I would accept the action at the 12th as it was (it was ok for me for a vintage folk guitar) and be able to play rather than accept the buzz. All my vintage guitars have a "higher" action at the 12th to start with compared to modern liking, but had been so for 40 years plus, so I assume they were meant to be this way. You can get used to this. For fingerstyle at the higher frets they are a pain, but you would take another guitar for that anyway. Just to add: You are right, restoring a neck relief when the rod is nonfunctional, can be done with pressing the heated neck, but this must be done carefully by a repair guy who is experienced in this technique to avoid warping the neck or damaging the fretboard. I doesn't need a lot to make it good again, just the right equipment. Proper humidification can probably restore some of the neck relief with strings at pitch and truss rod loosened enough. I would also NOT consider a neck reset on this guitar or any old Yamahas from the late 60s and early 70s. Those old Gakki Yamahas can be extremely difficult to get the neck out without breaking something! They used a kind of hide glue that is unususally difficult to get softened up by steam, they used it everywhere, not only inside the dove tail joint. To get steam everywhere the glue is, is very difficult. And the dove tail joint's pocket is not where you think it'd be. In addition to the dove tail joint there is a hidden split dowel going vertically from below the fretboard down into the heel, which itself is a separate piece of wood glued to the body of the guitar. This all makes removal of the neck a tough job! The repair guy's philosophy to only do what is essentially neccesary and avoid major alterations if any possible is respectable. He is right, when he says, that the bellying behind the bridge on this FG-150 is perfectly fine as is the responding amount of sinking around the soundhole. As a matter of fact, I am looking for exact this when I check a vintage guitar, because this can indicate a very responsive and well projecting guitar compared to the stiff topped overbuilds we so often see today (manufacturers put warranty over sound this way). Of course if it has too much of a belly and the bridge is tilting forward, it shoots the intonation off and that's bad. I do not quite agree that high end acoustics with responsive tops are bellying more than yours. If bellying is all over acceptable limits it can indicate failure of braces (braces that came loose), but then look for other damages as it is likely the guitar has had a blow or been dropped, or it is a climate issue (humidity).
This is great and most of the same concerns I had on my fg-75. I fixed a soundboard hole in my fg-75 then did a sunburst on the top to hide where the woodgrain lines were patched (quarter size hole). My guitar needed a complete refinishing, but it was in good enough shape to deserve the effort. I replaced the three frets nearest the headstock. I attempted a moisture (wet towel inside) + woodclamps over a 2x12 board and this brought my action down about 1mm. Would have been more had I been patient enough to leave it clamped down longer. It plays quite nicely to suit me now, quite far up the fretboard. I might clamp it down again for several more weeks then use lighter gauge strings. I had one clamp on the bottom of the guitar (with a padded board across the soundboard) and another clamp midway on the fretboard. Kind of sketchy I admit, but it made a difference. Just be very gradual clamping and seal in the moisture for weeks before even clamping a little.
I am not a luthier but I do set up my own guitars and do fret levelling etc. Here are some thoughts about the neck relief issues that you have. 1st you could try heavier gauge strings which would put more tension on the neck. That's easy option. 2nd option is level the frets with some back bow in the neck by putting some tension in the truss rod so that when you relieve the tension you will automatically create relief. 3rd and most drastic option would be to remove the fingerboard and fit a dual action trussrod. I wouldn't recommend this but it would be easier and less invasive than removing the neck. Also resetting the neck would not deal with the relief issue, it would only affect the break angle of the neck. Personally if it was my guitar I would not play it with that fret buzz, I would however sort it out because it's a great guitar and piece of guitar heritage. I would go for option 2. IMO an easy and cheap fix. Hope you get it sorted out.
Great video. Excellent guitar. I thought I'd just mention. I'm not sure if you're aware of the John Miner neck reset method, using steam and clamping the guitar for a few weeks? He's an Aussie luthier, and has a video about this on UA-cam. I used the method to reset the neck on my 1970 red label FG-140. It's been superb ever since. And when you have cheaper guitars, it doesn't always make sense to spend hundreds on a neck reset. Happy playing and good luck 🤞
If you use heavier strings it should pull more relief into the neck, but it would also put more stress on the guitar. What guage of strings are you using?
To fix the relief issue I would remove the fingerboard and install a double action rod as was mentioned by ianbooth4255. Neck resets on these old Yamaha’s is no easy task.
Good video. I bought an FGX5 about a year ago and it’s awesome…comparable to my D18. Can a new truss rod be installed when you reset the neck? It sounds really good. At least you can play everything you want on the lower end of the neck for now.
Re the relief. Does it have light gauge strings on it now? If it does, put on a set of mediums or heavies at least for a while, and that prolonged steady additional force might get you some relief.
I just got an fsx5 . I was planning on buying a new guitar for over a year, doing research. Without a doubt the red labels are the best bang for your buck.
As a Japanese, I am proud to be loved for YAMAHA's guitar.A large amount of FG has been exported since the 60's. It's heartbreaking to see FG of that era here. It was also known in Japan that a band called America (Ahorse with no name♫) used FG at the time. The roots of the YAMAHA guitar design are the guitar designed in a unique style that takes into account Japanese physique and Japanese climate, and is still extremely popular. However, it has been said that there is a problem with the neck of models such as FG and LL in Japan. It was often said by professionalmusicians. Therefore, the design was revised in early 2000 and the neck structure of LL has been renewed to this day.I think you will understand well if you can actually see it. Respecting the old style that was popular in the FG series, it has become a total veneer in recent years and its neck has become more stable than before. There is also a model with a newly developed pickup system, so it is very popular. FG is reasonably priced and selling best now. If you have a chance, please try it. Thank you! from 🇯🇵🙇♂️
I've grown to love Yamaha guitars over the years. The value is incredible, and the quality control is excellent. I have an LSTA, and it inspires me each time I pick it up. I'll play for hours! It's a Chinese model, but they cut no corners with this guitar. I'd like to play some of the higher end Japanese acoustics but have no store here locally that carries them. It's become a requirement that I play a guitar before I purchase, especially acoustics.
Sorry for the late reply. I’m proud of being loved all over the world as a Japanese. Recent FG has issued an order production model only in Japan, 9 using Red Spruce. It’s an incredible sound. This is still expensive for professional users. It seems to be exported to overseas agencies. Did you check it?
You could try next size heavier set of strings to put some relief in the neck. Another option would be to refret, because it's possible the frets are too tight in the slots causing back-bow (this could change in drier climate), also when the frets are out the fretboard can be leveled.
Didn't see it mentioned here but early Yamaha FGs unless model number 500 1500 and so on are all laminate tops and side and should be impervious to get humidity I wouldn't store it in a freezer and bring it to the desert but aside from that I have 2 that stay out year round
Interesting. While I appreciate that the luthier wants to respect this legacy instrument by maintaining the structural originality, in my opinion we serve the instrument best when we return them to the most desirable playing condition, whatever that takes. This guitar wants to be played and it deserves to be played. It has paid its dues.
That being a 66 and from Japan it may be possible to reset the neck I've heard 70 and older after 70 most luthiers won't do a reset because of the glue used later on
As the labels, it's a little difficult to find your way around ! Red label, Green label, Orange label, Black label, White label 🤔. But, so many treasures in the Yamaha models from the 60's !
5 6/64 is a low action coming from 7/64 at very least you could shim saddle to 6/64 ..still very playable ,may elininate some fret buzz, worth a shot, good luck
If it had fret buzz at 7/64ths, and still buzzed at 5/64ths, why would you want to shim the saddle back up to 6/64ths? That does not seem to make any sense.
I think you have your labels and years mixed up a little…. The first FG 150s , That ended up( some of them) in the USA, were green label…! I have a 1967 green label FG 150. My dad purchased for me in 1967….🎶🎸👍🏻 the red label I believe were the actual ones they sold in 1968 on up in the USA .. But some of the early sold in Japan only models ended up being sold in the USA … this is what I have! You can see and hear it on my channel .. The Jeff Galey Channel 🎶👍🏻🎸
Nice find - and right in your own family! I don't have a "Red Label", but I recently picked up a left-handed '79/'80 FG335 which would be similar to this one in many ways (although maybe the body is bigger - 16" across the lower bout). For being all laminate guitars, these things sound impressive. When I play mine next to my Martin D-28, the Yamaha has more midrange punch and even volume. The D-28 has more bass, but the Yammy "cuts" better. I think yours sounds much better than that particular Martin (and I don't think it's jsut the old strings - that Yamaha's tone has aged well). I got the FG335 for $150 recently, and mine needed some work too: high action and wasn't sure I wanted to spend the money on a neck reset. The tech who worked on mine removed the bridge and shaved it down a bit (it had plenty of height). I had previously replaced the nut with bone and also later replaced the saddle with a Martin style compensated bone saddle. I also replaced the original tuners with a set of Schertler open back tuners, which are about the best I've found. These are a great find; I'll be keeping my eye out for more of them.
Just a point of clarification. The FG-150 Red Label's were the first Yamaha's manufactured for sale in the USA in and made in 1967. The first FG-150's Yamaha's were the GREEN LABEL manufactured and sold initially only in Japan and made in 1966. Here is a picture of my FG-150 Green label. It is still in perfect condition.
I bought a Yamaha Red Label FSX5 in 2023 and absolutely love it. It’s warm in tone and plays amazing. Such an incredible guitar. Definitely interested in buying a vintage red label. Thanks for this!
Great, I'm getting ready to buy my granddaughter her first guitar and my first thought was Yamaha. I'm getting her a new one and I don't want the fingerboard to feel gritty or action to high. Enjoyed your video and appreciate your help.God bless Rock on and on 🙏🎶🎵❗👀
Bought my FG-150 Red Label new in Canada for $89 in around 1971 when I was 12. Still have it and it is still my favorite guitar. I have a 1977 Martin HD-28 (I got it a couple of years ago, new, never played) and a Rainsong OM both beautiful guitars . I have played Martin new OOO-18's and they do not have the soul of the old Yami. They will in 30 years but not yet. Country Joe played an FG-150 at Woodstock .
My grandmother left me 4 Yamaha Red Label Nippon Gaki. 67fg75, 68fg180, 69fg180, 70fg300. Both of the 180s needed neck resets that i had done before covid hit. The 300 is probably my favorite just because it projects more. I'll never sell them. Been looking into the new "red labels" the fg3 and fg5. Now the newer fg9 is out. The L series guitars are Lovely as well.
I had the same issue and fitted a custom (made myself) carbon tube to cramp the bridge bow down. 14mm ID, 18OD. Length around 290mm. I had to file grooves in it to accommodate cross-members and string pins; and drilled a hole countersink from rear of bridge around 3mm diameter. Stuck a machine screw through and added washers and two nuts. Works great. At first though I got buzzing as the string pins were touching it. A little more filing and I had it sussed
I bought a used FG-180 in 1971 as my first guitar. It is the same as the one in your video, with a dreadnought shape rather than a concert shape. I had no idea what a great guitar it was until I sold it and then went out to buy a new one. I should have known - there was NOTHING I could complain about with that guitar. It was easy to play, sounded good, and I had absolutely no concerns. It was simply great. Now they are calling these "the poor man's Martin". I paid $100 for it second hand in 1971, now they are about $800 on Reverb. I should have kept it.
Nice video. I have a 1966 Green label FG-150 and absolutely love it. Too bad about the neck relief. Heat can be used, but also try a heavier string and see what that does for the relief. It's a fine line to walk though as the extra tension will effect the body and neck angle as well.
got one too third hand but it has no issues beautiful guitars
Don here from Hamilton NZ on my Wife's tablet-SUSAN, a very interesting video, I just acquired a black Label FG-180,made in Taiwan, it's had very little playing over the years, the neck is straight, Iv'e just put new Martin strings 54-12's and I make it a habit to Downturn a Semitone ( less pull, takes a bit of tension off, neck and bridge love it) It's gotta beautiful sound 😊😊😊
Hi Eugene, Don here from Hamilton NZ ( on my Wife's tablet Susan) great video, I just recently bought an FG 180 ( black Label- made in Taiwan) what a lovely sound, just a little belying, not Serious, not Quite as good a sound as my FG 830 but hey,in the day, wow sure was outstanding. I have an L series Iv'e fixed + that Definitely's up to a Martin for sound, kind regards Don 😊😊😊
Thanks for sharing what we all have to think over when contemplaining about any alterations or repairs on vintage guitars. My thoughts: I would shim the saddle to a hight just enough to free up the strings from the upper frets to get rid of the buzz and see if it works out for you, and then put in a new slightly higher saddle. I would return it to the repair shop then. Didn't the repair guy notice the buzzing when he handed you the guitar over? I am sure he would have suggested to return to the original saddle hight and live with it as is. Remember, your main issue with the (slightly) higher action at 12th fret was playability higher on the fretboard, playability down at the first three frets is not so much an issue of the saddle and can be adjusted at the nut if it wasn't good. With the saddle hight as it is right now after altering it, you can't play the higher frets anyway because of buzz. So to summarize: I would accept the action at the 12th as it was (it was ok for me for a vintage folk guitar) and be able to play rather than accept the buzz. All my vintage guitars have a "higher" action at the 12th to start with compared to modern liking, but had been so for 40 years plus, so I assume they were meant to be this way. You can get used to this. For fingerstyle at the higher frets they are a pain, but you would take another guitar for that anyway. Just to add: You are right, restoring a neck relief when the rod is nonfunctional, can be done with pressing the heated neck, but this must be done carefully by a repair guy who is experienced in this technique to avoid warping the neck or damaging the fretboard. I doesn't need a lot to make it good again, just the right equipment. Proper humidification can probably restore some of the neck relief with strings at pitch and truss rod loosened enough. I would also NOT consider a neck reset on this guitar or any old Yamahas from the late 60s and early 70s. Those old Gakki Yamahas can be extremely difficult to get the neck out without breaking something! They used a kind of hide glue that is unususally difficult to get softened up by steam, they used it everywhere, not only inside the dove tail joint. To get steam everywhere the glue is, is very difficult. And the dove tail joint's pocket is not where you think it'd be. In addition to the dove tail joint there is a hidden split dowel going vertically from below the fretboard down into the heel, which itself is a separate piece of wood glued to the body of the guitar. This all makes removal of the neck a tough job! The repair guy's philosophy to only do what is essentially neccesary and avoid major alterations if any possible is respectable. He is right, when he says, that the bellying behind the bridge on this FG-150 is perfectly fine as is the responding amount of sinking around the soundhole. As a matter of fact, I am looking for exact this when I check a vintage guitar, because this can indicate a very responsive and well projecting guitar compared to the stiff topped overbuilds we so often see today (manufacturers put warranty over sound this way). Of course if it has too much of a belly and the bridge is tilting forward, it shoots the intonation off and that's bad. I do not quite agree that high end acoustics with responsive tops are bellying more than yours. If bellying is all over acceptable limits it can indicate failure of braces (braces that came loose), but then look for other damages as it is likely the guitar has had a blow or been dropped, or it is a climate issue (humidity).
This is great and most of the same concerns I had on my fg-75. I fixed a soundboard hole in my fg-75 then did a sunburst on the top to hide where the woodgrain lines were patched (quarter size hole). My guitar needed a complete refinishing, but it was in good enough shape to deserve the effort. I replaced the three frets nearest the headstock. I attempted a moisture (wet towel inside) + woodclamps over a 2x12 board and this brought my action down about 1mm. Would have been more had I been patient enough to leave it clamped down longer. It plays quite nicely to suit me now, quite far up the fretboard. I might clamp it down again for several more weeks then use lighter gauge strings. I had one clamp on the bottom of the guitar (with a padded board across the soundboard) and another clamp midway on the fretboard. Kind of sketchy I admit, but it made a difference. Just be very gradual clamping and seal in the moisture for weeks before even clamping a little.
I am not a luthier but I do set up my own guitars and do fret levelling etc. Here are some thoughts about the neck relief issues that you have. 1st you could try heavier gauge strings which would put more tension on the neck. That's easy option. 2nd option is level the frets with some back bow in the neck by putting some tension in the truss rod so that when you relieve the tension you will automatically create relief. 3rd and most drastic option would be to remove the fingerboard and fit a dual action trussrod. I wouldn't recommend this but it would be easier and less invasive than removing the neck. Also resetting the neck would not deal with the relief issue, it would only affect the break angle of the neck. Personally if it was my guitar I would not play it with that fret buzz, I would however sort it out because it's a great guitar and piece of guitar heritage. I would go for option 2. IMO an easy and cheap fix. Hope you get it sorted out.
Great video. Excellent guitar. I thought I'd just mention. I'm not sure if you're aware of the John Miner neck reset method, using steam and clamping the guitar for a few weeks? He's an Aussie luthier, and has a video about this on UA-cam.
I used the method to reset the neck on my 1970 red label FG-140. It's been superb ever since. And when you have cheaper guitars, it doesn't always make sense to spend hundreds on a neck reset.
Happy playing and good luck 🤞
What’s involved in ordering a vintage FG Yamaha from Japan into the US? Do you have to pay duty fees or taxes or import fees?
If you use heavier strings it should pull more relief into the neck, but it would also put more stress on the guitar. What guage of strings are you using?
To fix the relief issue I would remove the fingerboard and install a double action rod as was mentioned by ianbooth4255. Neck resets on these old Yamaha’s is no easy task.
What song were you playing when you demonstrated the picking? Beautiful 👍
Good video. I bought an FGX5 about a year ago and it’s awesome…comparable to my D18. Can a new truss rod be installed when you reset the neck? It sounds really good. At least you can play everything you want on the lower end of the neck for now.
Re the relief. Does it have light gauge strings on it now? If it does, put on a set of mediums or heavies at least for a while, and that prolonged steady additional force might get you some relief.
I just got an fsx5 . I was planning on buying a new guitar for over a year, doing research. Without a doubt the red labels are the best bang for your buck.
I'm sitting here reading comments with my FSX5 in my lap. I also have a Red Label FG-150.
As a Japanese, I am proud to be loved for YAMAHA's guitar.A large amount of FG has been exported since the 60's. It's heartbreaking to see FG of that era here. It was also known in Japan that a band called America (Ahorse with no name♫) used FG at the time. The roots of the YAMAHA guitar design are the guitar designed in a unique style that takes into account Japanese physique and Japanese climate, and is still extremely popular.
However, it has been said that there is a problem with the neck of models such as FG and LL in Japan. It was often said by professionalmusicians. Therefore, the design was revised in early 2000 and the neck structure of LL has been renewed to this day.I think you will understand well if you can actually see it. Respecting the old style that was popular in the FG series, it has become a total veneer in recent years and its neck has become more stable than before. There is also a model with a newly developed pickup system, so it is very popular.
FG is reasonably priced and selling best now. If you have a chance, please try it. Thank you! from 🇯🇵🙇♂️
I've grown to love Yamaha guitars over the years. The value is incredible, and the quality control is excellent. I have an LSTA, and it inspires me each time I pick it up. I'll play for hours! It's a Chinese model, but they cut no corners with this guitar. I'd like to play some of the higher end Japanese acoustics but have no store here locally that carries them. It's become a requirement that I play a guitar before I purchase, especially acoustics.
Sorry for the late reply. I’m proud of being loved all over the world as a Japanese. Recent FG has issued an order production model only in Japan, 9 using Red Spruce. It’s an incredible sound. This is still expensive for professional users. It seems to be exported to overseas agencies. Did you check it?
You could try next size heavier set of strings to put some relief in the neck. Another option would be to refret, because it's possible the frets are too tight in the slots causing back-bow (this could change in drier climate), also when the frets are out the fretboard can be leveled.
Didn't see it mentioned here but early Yamaha FGs unless model number 500 1500 and so on are all laminate tops and side and should be impervious to get humidity I wouldn't store it in a freezer and bring it to the desert but aside from that I have 2 that stay out year round
Interesting. While I appreciate that the luthier wants to respect this legacy instrument by maintaining the structural originality, in my opinion we serve the instrument best when we return them to the most desirable playing condition, whatever that takes. This guitar wants to be played and it deserves to be played. It has paid its dues.
What about going 1 starting gauge heavier? Might get a tiny bit of relief that way
That being a 66 and from Japan it may be possible to reset the neck I've heard 70 and older after 70 most luthiers won't do a reset because of the glue used later on
Is 7/64ths really THAT much on the bass side?
Are you using a really thin pick here?
I just got a FG 140 is that the first one they made red label from Japan? I got it for 50$
Look in the sound hole at the neck block for the serial number the first number is the year 1 is 71 based on the color of the label
As the labels, it's a little difficult to find your way around ! Red label, Green label, Orange label, Black label, White label 🤔. But, so many treasures in the Yamaha models from the 60's !
5 6/64 is a low action coming from 7/64 at very least you could shim saddle to 6/64 ..still very playable ,may elininate some fret buzz, worth a shot, good luck
If it had fret buzz at 7/64ths, and still buzzed at 5/64ths, why would you want to shim the saddle back up to 6/64ths? That does not seem to make any sense.
Don't use a screwdriver. The metal used on the truss nut is very soft on most early yamahas.
10mm ring spanner with a thin wall will do it.
I think you have your labels and years mixed up a little….
The first FG 150s , That ended up( some of them) in the USA, were green label…! I have a 1967 green label FG 150. My dad purchased for me in 1967….🎶🎸👍🏻 the red label I believe were the actual ones they sold in 1968 on up in the USA ..
But some of the early sold in Japan only models ended up being sold in the USA … this is what I have!
You can see and hear it on my channel .. The Jeff Galey Channel 🎶👍🏻🎸
Never use a screwdriver on a nut
Nice find - and right in your own family! I don't have a "Red Label", but I recently picked up a left-handed '79/'80 FG335 which would be similar to this one in many ways (although maybe the body is bigger - 16" across the lower bout). For being all laminate guitars, these things sound impressive. When I play mine next to my Martin D-28, the Yamaha has more midrange punch and even volume. The D-28 has more bass, but the Yammy "cuts" better. I think yours sounds much better than that particular Martin (and I don't think it's jsut the old strings - that Yamaha's tone has aged well).
I got the FG335 for $150 recently, and mine needed some work too: high action and wasn't sure I wanted to spend the money on a neck reset. The tech who worked on mine removed the bridge and shaved it down a bit (it had plenty of height). I had previously replaced the nut with bone and also later replaced the saddle with a Martin style compensated bone saddle. I also replaced the original tuners with a set of Schertler open back tuners, which are about the best I've found. These are a great find; I'll be keeping my eye out for more of them.
🤘
If you think your guitar is bad. Have a look at Willie Nelson's. It's the imperfections that make it unique.
His guitar is as gross looking as Willie and his singing is but he's a good song writer.
Yamaha winner.
＄100
Needs moisture..give it a month of humidity see what happens
does not sound good.
Well.... I'm glad you shared your though.