Yamaha FG9M

A high-end dreadnought with intercontinental origins.

October 2, 2024

Yamaha guitars are known around the world as high-value instruments. Founded and headquartered in Japan, the company operates factories in several countries and has an R&D facility in Southern California. While Yamaha has a well-deserved reputation as a builder of great, affordable guitars of all styles, the company is also known for its high-end models, including acoustic flattops, the latest of which are the FS9M and FG9M. These are built in collaboration with the company’s senior acoustic builder Andrew Enns (for an introduction to Andrew, check out this Fretboard Journal podcast episode, as well as the Tone Story video produced by Yamaha) in California and Yamaha’s flagship manufacturing facility in Japan. I recently checked out the concert-size FS9M, and in this video, I’m joined by San Francisco Bay Area flatpicker Jim Nunally to demo the FG9M dreadnought.

Although the FG9M has several distinctive elements that set it apart from vintage-style dreadnoughts, Yamaha’s goal was to create a guitar with a traditional voice. In order to get on the right footing from the start, the guitar was built with an Adirondack spruce top and mahogany back and sides as well as scalloped X-bracing (a rosewood FG9R is also available). Yamaha also tapers the top’s edges to allow it to vibrate more freely, and the guitar is very lightly built, with a lower overall weight that feels lighter than many mahogany dreadnoughts. Like the FS9M, the guitar has a newly developed bolt-on neck joint as well as cosmo black open-back Gotoh SXN510 tuning machines.

The FG9M’s familiar FG body is similar to a traditional dreadnought in size, but it has slightly different proportions, making it instantly recognizable as a Yamaha dreadnought, especially when paired with Yamaha’s distinctive, slightly V-shaped peghead. However, the guitar’s most eye-catching elements are its wooden fingerboard inlays, which are inspired by the Japanese Kumiki tradition. Eliminating the need for separate side dots and position markers in the face of the fingerboard, these narrow rectangular inlays are placed on the bass side of the fingerboard, a perfect combination of form and function. Though familiar from other guitars, the rope-style inlay used for the purfling and double-ring rosette is also rooted in Japanese woodworking styles.

The FG9M is a very responsive and open-sounding guitar with a lot of tonal elasticity. Jim Nunally and I found it to be capable of serious dreadnought roar when pushed, but it also has great detail and tonal complexity when played with a softer touch. I enjoyed playing it fingerstyle, and found that it was easier to get rich, dynamic tone than with many dreadnoughts. Listening to Jim flatpick the guitar, I was treated to classic mahogany dreadnought sounds, and I would have no hesitation putting the FG9M up against similar instruments around its price point.

With its distinctive looks, great craftsmanship, contemporary feel, and classic dreadnought tones, the FG9M is an impressive guitar. Yamaha may not be the first name that comes to mind for those thinking about purchasing an excellent dreadnought, but the FG9M may very well change that perception.