2026 So Kimishima “Sol” CD/AR

This 2026 So Kimishima “Sol” is a new classical guitar with a cedar top and African rosewood back and sides, made in Tokyo, Japan, at the Sakurai-Kohno workshop – the flagship model of Masaru Kohno’s grandson.

So Kimishima, Grandson of Masaru Kohno

So Kimishima is the grandson of the greatest classical guitar luthier from Japan, Masaru Kohno, and has been a member of the Sakurai-Kohno workshop since 2007, where he has worked and trained with the great Masaki Sakurai. Although clearly influenced by the designs of both Sakurai and Kohno, Kimishima also infuses his own personality into his guitars. This is his newest, very personal model, which he calls “Sol”, and it represents a new phase in his output by introducing several design modifications and improvements.

Double Sides with “Peones”

This includes the use of double sides with embedded “peones” that are individually fit into notches in the sides that attach to the top. This creates a stronger bond between the soundboard and the sides, which not only adds better structural support but a richer, louder quality of sound due to the vibration being isolated to the soundboard and not lost to the sides.

Ebony-Reinforced Neck and Cashew Finish

He has also introduced a system of ebony panels in the neck (including the material used for the elevated portion of the fingerboard that attaches to the top) for improved reinforcement and stability, in place of the previous “double T-brace” system (which can be seen from the neck) on previous generations of Kimishima, Sakurai and Kohno guitars. The finishing now uses French polish for the top and a single coat of cashew for the body, which is no longer applied over a lacquer sealer coat as before – this will improve the lifespan, appearance and durability of the finish. The back of the head also now features a rosewood veneer and a re-shape to ensure improved stability.

Frets, Tuners and Armrest

New, taller frets with rounded edges improve playability for the left hand – especially noticeable when barring or using vibrato and glissando techniques. A close look will reveal that the 1st–19th frets are of silver nickel, but the 20th is EVO gold, which Kimishima believes will produce a cleaner, more brilliant C natural due to the harder gold material. Finally, the guitar is fitted with new Gotoh tuning machines, customized to Kimishima’s specifications, and a rosewood armrest for improved comfort.

In the Tradition of 1950s–60s Kohno Guitars

Based largely on the sound of Masaru Kohno’s guitars from the 1950s–1960s, he adds design ideas and techniques learned from his master, Masaki Sakurai. The most unique and different feature from other Kohno/Sakurai models is that Kimishima uses different bracing designs according to the tonewood being used, as he believes the different sound characteristics of each guitar’s top material can benefit from nuancing it to its inherent strengths. As with all instruments that come from this workshop, his instruments reveal a beautiful, classic design – perfectly executed. The “Sol” model is now his top, flagship model and features his most precious and aged materials, along with additional inlay work not just in his personal rosette design but also in the center seam in the back and sides and the front headstock veneer.

Sound

The cedar top has a warm and fat sound while still retaining the clarity and balance of its spruce counterpart. There is plenty of power (rivaling many double-top guitars) here for any concert situation, including ensemble settings. Overall, a very charming and powerful concert guitar which 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.