Neck：Mahogany
Fingerboard：Ebony
Finish：Lacquer
Tuning Machine：GOTOH
String height：1string 2.7mm／6string 4.0mm

【Profile】
Shunpei Nishino was born in 1947 in Hitachi City, Ibaraki Prefecture, Japan. He began making guitars in his teens and, at the age of 17 in 1964, became an apprentice in the workshop of Tsunesaburo Kurosawa. In 1969, Nishino established his own workshop in Tokorozawa. From early in his career, he devoted himself to studying the guitars of Hermann Hauser I, applying this knowledge to create instruments with outstanding acoustic balance.

Among Japanese luthiers, Nishino was one of the first to produce electro-acoustic guitars. Thanks to his exceptional craftsmanship, he has also received commissions in the acoustic guitar field, producing a small number of high-quality models. However, Nishino’s hallmark and artistic philosophy are most clearly expressed in his Hauser-style guitars. Each instrument maintains the beauty of construction, the rich tonal colors, and the excellent acoustic balance worthy of the Hauser name. The materials used are also of a quality rarely seen at this price point, making Nishino’s guitars among the best in Japan for cost-performance.

【Description】
This listing is for a used but well-maintained 2024 Shunpei Nishino Model N3. This model closely follows the specifications of the famous Hauser Model 35 and is the best-known and most widely distributed model in Nishino’s lineup. The guitar is in excellent condition, with only a minor dent near the bass side of the soundhole and a small ding near the lower bout, along with some very light surface wear. The neck, frets, and tuning machines are all in good playing condition.

The neck shape is a standard D with moderate thickness, designed for a comfortable fit favored by Japanese players. The fingerboard extends to 20 frets, accommodating modern performance demands. String action measures 2.7 mm on the first string and 4.0 mm on the sixth string at the 12th fret. There is 1.5 to 3.0 mm of saddle height remaining, allowing further adjustment to lower action if desired. Even as it is, the neck’s carefully set insertion angle and moderate string tension provide comfortable playability.

The internal bracing of the soundboard is traditional Hauser style: one harmonic bar each above and below the soundhole, with a thin reinforcement plate placed between the upper harmonic bar and the neck block, covering approximately the diameter of the soundhole. Additional concentric reinforcement plates surround the soundhole. The fan bracing consists of seven symmetrical braces, with two V-shaped closing bars at the lower bout supporting the ends of the fan braces. A thin reinforcement plate is placed beneath the bridge plate. The resonance is tuned slightly above G.

This structure is based on Hermann Hauser’s Segovia model, with acoustic balance reflecting the same principles. The design creates a tonal architecture in which all sounds align perfectly within a single phase, producing a well-defined and keyboard-like tonal line. This is no mere external replica but a truly thoughtful and masterful interpretation unique to Nishino.