2026 So Kimishima “Luna” CD/AR

This 2026 So Kimishima “Luna” is a new cedar and African rosewood classical guitar from the Sakurai-Kohno workshop in Tokyo, Japan, and a sister model to Kimishima’s flagship “Sol”.

So Kimishima, Grandson of Masaru Kohno

A grandson of Masaru Kohno – the greatest classical guitar luthier from Japan – So Kimishima has been part of the Sakurai-Kohno workshop since 2007, working and training alongside the great Masaki Sakurai. His guitars clearly show the influence of both Sakurai and Kohno, yet Kimishima puts his own personality into them. The “Luna” belongs to his newest, very personal generation of models, which marks a new phase in his output with several design modifications and improvements.

Double Sides with “Peones”

Chief among them are double sides with embedded “peones”, each one individually fit into a notch in the sides where they attach to the top. The result is a stronger bond between soundboard and sides – better structural support, and a richer, louder sound, since the vibration stays isolated in the soundboard instead of being lost to the sides.

Ebony-Reinforced Neck and Cashew Finish

Inside the neck, a system of ebony panels (the same material is used for the elevated portion of the fingerboard that attaches to the top) now provides reinforcement and stability, replacing the “double T-brace” system (visible from the neck) of earlier Kimishima, Sakurai and Kohno guitars. The top is French polished and the body receives a single coat of cashew, no longer applied over a lacquer sealer coat as before, for a finish with better lifespan, appearance and durability. The back of the head has also been re-shaped and given a rosewood veneer for improved stability.

Frets, Tuners and Armrest

For the left hand, new taller frets with rounded edges make playing easier – you’ll notice it most when barring or using vibrato and glissando. Look closely and you’ll see that frets 1–19 are silver nickel while the 20th is EVO gold, a harder material that Kimishima believes gives a cleaner, more brilliant C natural. New Gotoh tuning machines customized to his specifications and a rosewood armrest for comfort complete the package.

Kohno’s Sound, Kimishima’s Bracing

Kimishima bases his guitars largely on the sound of Masaru Kohno’s 1950s–1960s instruments, adding the design ideas and techniques he learned from his master, Masaki Sakurai. What sets him apart from other Kohno/Sakurai models is that he varies the bracing design according to the tonewood, nuancing each top to its inherent strengths. Like every instrument from this workshop, the result is a beautiful, classic design – perfectly executed. The “Luna” model is the slightly more affordable version of his “Sol” model: structurally it is identical, with some simpler inlay work and less flashy materials, but the quality of build is the same.

Sound

Like the “Sol”, the cedar top gives a warm and fat sound and still keeps the clarity and balance of its spruce counterpart. The power (rivaling many double-top guitars) is there for any concert situation, ensemble settings included. All in all, a very charming and powerful concert guitar that we can recommend to anyone looking for a top-quality professional instrument.

Orfeo No. 15: The Guitar in Japan

Masaru Kohno: Japan’s Great Guitar Maker

Not only the most important luthier to emerge from Japan, Masaru Kohno (1926–1998) is also one of the best worldwide. He was born in 1926 in Mito City, Japan, and in 1948 he graduated from the Tokyo College of Arts and Crafts with a degree in woodcraft. It was during this time that he became interested in guitar construction, and in 1960 he traveled to Spain to learn the craft. Kohno apprenticed for six months at the workshop of Arcángel Fernández in Madrid, and although neither could speak a word of the other’s language, they managed to communicate – Kohno’s apprenticeship consisted mostly of sitting in the back of the shop and quietly, but attentively, observing the master at work. Upon his return to Tokyo he established his own workshop and quickly gained recognition among Japanese guitarists. His international debut came in 1967, when he was awarded the Gold Medal at an international guitar-making competition in Belgium, judged by, among others, Ignacio Fleta, Robert Bouchet, Joaquín Rodrigo and Alirio Díaz. Since then, many players of world renown have used Kohno guitars, among them Julian Bream, Oscar Ghiglia and Sharon Isbin.

Masaki Sakurai (1944–2025) and the Sakurai-Kohno Workshop

Kohno’s nephew Masaki Sakurai was born in Tokyo on May 10, 1944, and joined his uncle’s workshop in 1966. In 1988 he won First Prize at the 4th International Guitar Making Competition in Paris. After Kohno passed away in 1998, Sakurai took over the workshop, carrying on its legacy under the name Sakurai-Kohno, and the guitars built since have maintained the high levels of quality, precision craftsmanship, meticulous attention to detail and beauty of tone that made Kohno guitars world renowned. Masaki Sakurai passed away in 2025 at the age of 81. GSI is proud to be the only dealer in the USA for guitars from the Sakurai-Kohno workshop.

So Kimishima: The Next Generation

So Kimishima, Masaru Kohno’s grandson, has been a member of the Sakurai-Kohno workshop since 2007, where he worked and trained with Masaki Sakurai. Although clearly influenced by the designs of both Sakurai and Kohno, he infuses his own personality into his guitars, which are based largely on the sound of Masaru Kohno’s guitars from the 1950s and 1960s. One feature sets his work apart from other Kohno and Sakurai models: he uses different bracing designs according to the tonewood of the top, nuancing each soundboard to its inherent strengths.