Strong Projection and Clear Top End
The FG/FS9 models deliver the outstanding projection, while providing exceptional clarity and detailed articulation—a unique combination especially suited for accompanying vocals.
Adirondack Spruce Tops with Tapered Edges
FG/FS9 models feature Adirondack spruce top boards with tapered edges, providing structural strength while allowing the body to vibrate more efficiently—a combination that contributes to both power and sensitivity.
Bolt-On Neck Joint
The neck has a new structural design that combines bolt-on and glued construction to increase body vibration and improve maintainability. Neck and body joints are finished and adjusted with high precision.
Elegant, Understated Japanese Aesthetic
The distinctive fingerboard inlays resemble traditional Japanese Kumiki woodworking, while the rope-shaped inlay and purfling on the rosette is a motif deeply rooted in Japanese culture.
Close-up of soundhole with inner label
Rope pattern inlay and purfling on the rosette is a motif that is deeply rooted in Japanese culture
Scientific Approach Integrated with Luthier Techniques
When designing the FG/FS9 models, we employed cutting-edge acoustic and 3D-structural measurement processes to more fully understand how physical structure affects acoustic characteristics. Repeated prototypes were built by our custom shop’s skilled luthiers.
Body Shapes and Styles
FG/FS9 models offer two body shapes: dreadnought style for FG and concert style for FS. The FG's larger, broader body responds superbly to strumming, with powerful lows and projective tones, while FS's smaller body produces balanced tone with a sensitive response that enhances subtle and detailed arpeggios.
Atmosfeel™ Pickup and Preamp System
Yamaha Atmosfeel three-way pickup system, built into the FG9 RX, FG9 MX, FS9 RX, and FS9 MX, uses a piezo sensor in the bridge to capture low frequencies, a microphone for low and midrange, and our proprietary, thin synthetic sheet soundboard transducer for high frequencies.The result is a full, natural sound with simple controls that make it easy to get great plugged-in tone.
The preamp controls let you blend the microphone sound into the premixed pickup sound. The microphone sound particularly complements solo performers and chordal players, while a lower blend may be preferred by fingerstyle players and guitarists who need to cut through a full band.
The bass knob controls a peaking EQ. The center frequency rises when boosting and lowers when attenuating, so that low frequencies, which could be problematic on stage, can be removed but never added.
