Neck：Cedoro
Fingerboard：Ebony
Finish：Shellac
Tuning Machine：SLOANE
String height：1string 2.9mm／6string 4.2mm

[Profile]
Born in 1951 in Hokkaido, Japan. Miura began crafting guitars in Sapporo in 1973. In 1980 and 1984, he traveled to Granada, Spain, where he studied traditional Spanish guitar-making techniques under the renowned luthier Antonio Marín Montero (1933–). After returning to Japan in 1985, he established a workshop in Sendai and began crafting under his own brand. Due to his training with Antonio Marín, his brand is often regarded as a direct descendant of the Granada school in Japan. While firmly grounded in traditional Spanish guitar-making methods, Miura also practices modern techniques, such as double-top construction, earning high praise for his work.

[Description]
Takashi Miura 2000 Model 344/140 C/AG - Used
This instrument showcases the fine materials typical of Miura’s brand, resulting in a robust and dignified appearance. The tone differs from the Granada tradition he studied with Marín, featuring a slightly more restrained and stoic sound, with a balance leaning towards the higher frequencies, giving it a somewhat flat overall acoustic response.

The bracing structure consists of two solid harmonic bars above the soundhole (near the neck) and one below (near the bridge). Thin reinforcement plates are applied around the soundhole, with short braces on both the high and low sides connecting them to the adjacent side braces. The lower harmonic bar is installed at an angle, sloping downward from the bass side to the treble side. Below the waist of the top, seven symmetric fan braces are placed with two closing bars at the bottom, slightly asymmetrical in length, with the treble side being just a bit longer. These bars are arranged in an inverted “H” shape, rather than the usual V shape. One of the fan braces extends through the soundhole bar and reaches the edge of the soundhole, while the outer braces penetrate both the closing bars and the bottom.

The resonance is tuned slightly above G.

There are some minor playing marks around the high-end of the soundhole, and some light scratches on the fingerboard and bridge area, but they are not very noticeable. The sides and back show fine weather checking and some wear from clothing contact during playing, but these do not significantly affect the appearance. There is a small chip (5mm x 1.5cm) on the neck heel inside the body, but it doesn’t impact the structural integrity. The neck and frets are in good condition and the playability is excellent. The neck shape is a thin, flat D-shape, and the fingerboard has 20 frets. String height is set at 2.9mm/4.2mm (1st/6th string at 12th fret), with saddle compensation ranging from 1.5 to 3.0mm, allowing for further adjustments if desired.