Neck：Cedro
Fingerboard：Ebony
Finish：Shellac
Tuning Machine：GOTOH
String height：1string　2.7mm／6string　3.8mm

[Profile]
Born in Ueda City, Nagano in 1973. He has been interested in making guitars since he was a college student, and learned how to make guitars from Sakae Ishii, another guitar maker in Nagano, when he was 20 years old. Later, in 2001, he attended a workshop with Jose Luis Romanillos in Sigüenza, Spain, and received instruction from him. Later, in 2001, he attended a workshop with Jose Luis Romanillos in Sigüenza, Spain, and received instruction from him. At that time, he also received a lot of advice from Gerhard Oldiges, who was there as Romanillos' assistant. At that time, he was inspired by their attitude of making guitars using traditional methods and was convinced of the direction he should take. After returning to Japan, he started making guitars in earnest and continues to produce them using traditional Spanish methods.
His instruments, whether original or replica models, consistently have a soft, full sound and a rustic tone that evokes the feel of wood, and have been gaining more and more recognition and popularity in recent years.

[Description]
Satoru Sakuma Production Bouchet Model No. 70 made in 2017 is in stock. This model has been established as a regular lineup item along with the Romanillos model. Satoru Sakuma has meticulously inspected the 'Robert Bouchet' made in 1973, and has focused on reproducing not only the structure but also the tonal characteristics of the instrument. However, he has gone beyond mere 'reproduction' and added his own sensibility to create what can be called a Revised version of this masterpiece among masterpieces. He has successfully combined the pipe-organ-like Bouchet sound, Sakuma's characteristic soft sound, and the characteristics of cedar wood into a French/Impressionist image with a certain darkness and loveliness. The result is a unique Bouchet model.
The entire piece has a thin, delicate shellac finish. There are some scratches around the bridge, and there are also a few playing scratches near the soundhole and on the sides of the fingerboard. The back of the neck is scratched by fingernails from playing, and there are scratches all over the treble side of the neck.