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Introducing the All New L Series
Introducing the All New L Series
As it passes the quarter century mark, the L-Series
undergoes a major revision resulting in 16 all new
models. In redesigning the series, our master
craftsmen have produced instruments that deliver
robust low-end response even when using light gauge
strings. Excellent playability, outstanding quality and
a their unique Yamaha sound are sure to satisfy all.
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New Bracing Designs
All L-series guitars benefit from a new non-scalloped bracing design that delivers
tone that is thick and well focused. The #36 and #26 model instruments feature
a square bracing design which utilizes side braces to connect the top brace
with its opposite brace on the back. This arrangement transmits string resonance
to the back much quicker, causing the entire instrument to come alive with
bass response, which the player feels as well.
Body Selection
Whether you prefer a full-sized LL dreadnought, small-sized LS body, auditorium-
sized LJ, or versatile LX acoustic-electric, the choice is yours. Each of these
body styles is represented in
each class letting you choose
the instrument that meets your
requirements for sound, style,
and affordability.
Bridge
The bridges on all new L-Series guitars offer
more overall mass than their predecessors
to deliver greater tone from these
instruments. Their designs feature smooth
lines and edges to keep the playing surface
unencumbered.
Cutaway Body
Venetian cutaways offer access to the upper frets
while adding beauty to these fine instruments.
Tuners
The vintage style brass tuners found on all
#26 model guitars present these instruments
with a classic look.
Multilayered Reinforced Neck
The five-piece necks on the #36 and #26 models are carved from a single
laminated block that features two layers of padauk—an extremely hard wood
used for marimba tone bars—sandwiched between three layers of mahogany.
Using a mixture of woods in this manner creates a neck that is exceptionally strong
and stable. The #16 and #6 model instruments utilize similar 3-ply design of rosewood
between two layers of mahogany.
LL LS LJ
Square Bracing
5 ply 3 ply
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Caring For Your Yamaha Guitar
Wood is a living material, and this fine acoustic instrument, being made from
wood, will naturally react to changes in humidity, by contracting and expanding.
For this reason, humidification is a very important issue in caring for your guitar.
When making guitars we pay very close attention to the wood’s moisture content,
carefully managing it throughout the entire manufacturing process. After
purchasing the wood, we allow it to dry naturally until its moisture content
reaches 12% to 13%. The wood is then moved into a seasoning room where
further drying brings the moisture content down to a level somewhere between
6% and 8%. From this point we start manufacture of the instrument, and maintain
moisture content at 8% until the instrument is complete, to keep the wood
stable all through production. So, after creating an instrument in optimum
conditions such as these, we ask that you, the owner of this fine instrument,
consider the environment in which you keep your guitar and provide it with
adequate humidification.
When the guitar is not being used, keep it in its hard case, and store it in a
location that varies little in temperature, has a low humidity level, and is not
exposed to direct sunlight. Optimum humidity in the room should be between
40% and 50%. In areas or seasons in which humidity is low, we recommend
that a humidifier be used to control the humidity. If you do choose to use a
humidifier for this reason, please control the humidity level carefully.
Sudden variations in temperature or humidity can cause irreparable damage to
the guitar. Never leave the guitar in an automobile for a long period of time,
likewise never leave the instrument in the car trunk. And when traveling by air
we recommend that the instrument be carried onto the plane rather than
checking it in as baggage at the counter.
Taking the time to follow the advice given above will extend the life and ensure
the quality of your guitar.
* Please be forewarned.
You may notice a white, powder-like substance in the finish on the instrument’s rosewood
sides or back. This is lime found naturally in the wood’s grain (from the soil in which the
tree grew) and it will not have any effect on the instrument’s sound or quality.
Caring for your guitar’s lacquer finish
(#36 models)
The lacquer coating is thin and delicate making it an optimum finish for fine
instruments such as this guitar. However, the finish is susceptible to changes in
temperature, humidity, and the handling of the instrument.
To keep your guitar both looking and sounding beautiful for as long as possible,
please pay close attention to the following points.
1 Do not place the guitar directly onto the rubber cushions often found on guitar stands,
etc. Such contact can damage the lacquered surface. If such a stand is used, place some
cloth over the rubber cushions to prevent contact between the rubber and guitar’s surface.
2 When storing the instrument in its hard case, place a few packets of silica gel inside the
case and store the case in a location where it will not be exposed to direct sunlight. Also,
storing the instrument in the hard case for long periods of time is not advised. Open up
the case occasionally to let the air circulate through the case.
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TUNING MACHINE TENSION ADJUSTMENT
The tuning machines have spring-loaded mechanisms which automatically take
up wear, preventing backlash. However, it is possible to adjust the amount of
pressure required to turn the machines. Each machine has a tension adjustment
screw, as illustrated.
•
Clockwise screw rotation
tightens the machine. The
tuning machines should be
adjusted to the extent that they
are firm, but can turn smoothly.
This adjustment is normally
unnecessary, and excessive
tightening can lead to premature
tuning machine wear.
TRUSS ROD ADJUSTMENT
The curvature of the neck should be slightly concave. Clockwise rotation of the
nut tightens the rod and corrects for too much concave bow. Counterclockwise
rotation of the nut loosens the rod and corrects for too much convex bend. Make
any adjustments gradually. Allow five to ten minutes for setting, and check the
curvature after each 1/2 turn of the truss rod nut.
NOTE: Unless you have experience with truss rods, we suggest that you
entrust this adjustment to your dealer.
If too much
convex bend
If too much
concave bow
concave
convex
q
q
Loosen
Tighten
If too much
convex bend
If too much
concave bow
•
q
•
q
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