SPECIFICATIONS. L Series. P.O.BOX1, Hamamatsu Japan LS56 CUSTOM ARE LL56 CUSTOM ARE LJ56 CUSTOM ARE LL16-12 ARE LL16M ARE LS16 ARE

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1 SPECIFICATIONS L Series LL56 CUSTOM ARE LS56 CUSTOM ARE LJ56 CUSTOM ARE LL36 ARE LS36 ARE LJ36 ARE LL26 ARE LS26 ARE LJ26 ARE LL16D ARE LL16 ARE LL16L ARE LL16-12 ARE LL16M ARE LS16 ARE LS16M ARE LJ16 ARE LL6 ARE LL6M ARE LS6 ARE LS6M ARE LJ6 ARE Top Soid Engemann Spruce A.R.E. treated Soid Indian Rosewood Back & Side Soid Rosewood Laminated Rosewood Soid Mahogany Laminated Mahogany Neck 5py (Mahogany, Rosewood) + Neck Voute + Rosewood Veneer on back of headstock Fingerboard/ Bridge Soundhoe Rosette 5py (Mahogany, Rosewood) Ebony Rosewood Abaone + Wood Wood (Back & White) She Doube Stripe She Singe Stripe Mape + Abaone / Mape + Abaone Body Binding/ Head Binding Mape + Abaone / Mape Mape / None Mape + Abaone + Back / Ivory Coor Mape + Back / Ivory Coor Ivory Coor + Back / Ivory Coor Body Depth Nut Width String Length mm (3 15/ /16 ) 1-12 mm (3 15/16-4 3/4 ) 44 mm (1 3/4 ) 46 mm (1 13/16 ) 65 mm (25 9/16 ) 634 mm (25 ) Die-cast God (TM-67G) Tuning Machine Coor Finish Die-cast God (SG-31-Y22) Open Gear (Vintage Finish) (SE7XG) Die-cast God (TM-29G) Die-cast God (TMW-28) NT NT, BL NT, BS NT, BS, DT, BL Goss (Nitroceuose Lacquer) Goss (Urethan) Eectronics SRT Zero Impact Pickup (Passive) Standard Hard Case Accessory Hard Bag *Some modes may not be avaiabe in some countries. *Coors shown in this cataog may not be represented exacty as the origina coors due to printing processes invoved. *Specifications are subject to change without notice. P.O.BOX1, Hamamatsu Japan LAG147MW Printed in Japan This document is printed with Vegetabe Oi Ink.

2 Tradition that inspires Crafted using time-honored techniques and construction, the L Series buids on Yamaha s enduring heritage of acoustic instrument design to create instruments that meet and exceed the demands of today s guitarists. Featuring a cassic shape and exquisite mother-of-pear inays, these guitars possess the unique combination of we-rounded tone, superb payabiity and exceent dynamic range exempified by the L Series. For stage performances, high-quaity pickups capture every nuance of your paying, giving you the perfect vehice to harness your inspiration and et your creativity fow. The L Series History L31 L1 L55D L1D L36 LL56 CUSTOM A.R.E. L series 1st mode L series 1st generation L series 2nd generation Yamaha 1th anniversary L Series 3rd generation A.R.E. technoogy Current L Series Nippon Gakki Co., Ltd. (now Yamaha Corporation) is estabished Dynamic guitar No.1 Yamaha fok guitar FG18 FG high-end mode L Series APX Series SLG Series FG15 1st mode APX1 SLG1S Begins production of pianos Begins production of guitars Yamaha eectric guitar L Series 1st generation 1st generation CPX Series SG2 of eectric FG35E acoustic guitars CPX15 Production workshop 1 2

3 Corey Smith Diego Garcia Brian Nutter (Keith Urban) Ben Jaffe (HoneyHoney) Tim Buhm & Nicki Buhm (Nicki Buhm and The Grambers) 3 4

4 L16D/L16/L6 [Rosewood Back/Side] Incorporating some of the refinements found on our high-end instruments, such as tops treated with our excusive A.R.E. processing, a new bracing pattern, and 5-py necks with a thinner, more comfortabe taper enhances the sound quaity and paying ease of the L16 and L6 modes. Rosewood back and sides deivers greater high to ow frequency baance and the newy deveoped SRT Zero Impact Pickup system makes these instruments equay at home in the studio or on stage. L16M/L6M [Mahogany Back/Side] Back and sides of mahogany give these L16 and L6 modes a rich ow to mid-range tone and faster response. Both the 16 and 6 modes instruments are avaiabe in LL and LS body versions so you can choose the body stye that best fits your sound and paying requirements. The newy deveoped SRT Zero Impact Pickup system is aso incorporated in both versions etting you ampify the instrument when needed. LL6 ARE LS16M ARE LS6M ARE Beautifu Abaone Binding (L16D) Based on the LL16, the new LL16D features intricate abaone inay work around the body and soundhoe. In addition to the natura finish, back is aso avaiabe. LL16 ARE LJ6 ARE LL16M ARE LL6M ARE LL16D ARE Dark Tinted (DT) Lineup Back Dark Tinted Brown Sunburst Natura (BL) (DT) (BS) (NT) LL16D LL16/LS16/LJ LL16-12* LL16L** LL6 Back (BL) LS6/LJ *12 strings mode **Left handed mode 6

5 Hiroshi Sakurai Assistant Manager, Guitar Design Section L56/36/26 Guitar Designer For the deveopment of this mode update, we put a ot of thought into the optimum design and conducted numerous acoustic simuations and other tests, improved the raw sound, and particuary emphasized enriching the midde-ow tone range. A part of this deveopment was the incrediby thin coat of paint over the entire instrument, and we fee that musicians wi reay be abe to fee the wood of the neck. Kenta Hori Section Manager, Guitar Production Division, Yamaha Hangzhou factory in China L16D/16/6 - Production Supervisor Japanese craftsmanship has aso taken root in this factory through technica training in Japan and reguar day-to-day communications. In addition, we continue to streamine the work process at an everincreasing pace through a greater understanding of the probems that empoyees face, and take pride in the fact that we can provide products to our customers with Yamaha Quaity at prices they can afford. I am quite sure that customers wi be very satisfied with this L-series. Go out and pick one up, strum a few notes, and you wi be convinced. Shintaro Yasuura Supervisor, Guitar Production Division, Yamaha Music Craft in Japan L56/36/26 - Production Supervisor At Yamaha Music Craft our craftsmen create each and every guitar with time and care using a soid base of traditiona techniques whie aso incorporating modern processing machinery. One of the processes uses a very time intensive traditiona production method invoving a new cear-coe primer coat containing a stone powder, Chak Fier* in order to improve the response and dynamic range of the instrument. We wi continue to pursue the creation of truy great guitars without compromise. * L56/36 modes ony. Konyo Saito Supervisor, Guitar Design Section L16D/16/6 Guitar Designer We have improved the very essence of Japanese-made high-grade guitars with the positioning of the braces, the neck shape, A.R.E. processing of the face veneer, and other innovations. We used passive pickups so as not to spoi the raw sound of the guitar body, and aso to make it possibe to use on stage. We reay want musicians who ike an authentic acoustic sound onstage try out this series. 7 8

6 LL56 CUSTOM /LL36/LL26 Yamaha s origina LL Series acoustic guitars are known for their rich voume, wide dynamic range, and superior tona baance. A favorite of professionas around the gobe, the LL series has evoved again with the introduction of the top-of-the-ine LL56 Custom. Ornatey decorated, each mode is individuay crafted by the hands of our skied craftsmen. 56 Custom The L Series Fagship Mode The L Series fagship modes, the LL56 Custom, LS56 Custom, and LJ56 Custom, are crafted using ony the finest, hand-seected materias, the most advanced designs, and the highest eve of ski and technoogy. Each mode is adorned with god tuning pegs and abaone binding making every instrument a beautifu piece of art. LS56 CUSTOM /LS36/LS26 Yamaha s sma-bodied LS series acoustic guitars have enjoyed a ong and fruitfu history. Whie recent refinements to the neck shape have provided greater performance and payabiity, a new bracing design and use of Yamaha s excusive A.R.E. process aow the instruments to produce even greater voume from their reativey sma bodies. Known for its exceent tona baance, the LS ets you express even the most detaied nuances of fingerstye paying. LS56 CUSTOM ARE LS36 ARE LS26 ARE LL36 ARE LL56 CUSTOM ARE LL26 ARE LJ56 CUSTOM /LJ36/LJ26 The size and shape of the LJ body offers guitarists greater paying comfort when seated. Known for its wide dynamic range, crisp resonance, cear ow-end tone, and strong presence, the series features a new bracing pattern and utiization of Yamaha s excusive A.R.E. process to bring out more ow-end and mid-range tone, improving the overa sound of the instrument. For strumming or paying ead, the LJ is a versatie instrument that does it a. LJ56 CUSTOM ARE LJ36 ARE LJ26 ARE 9 1

7 LJ (Medium Jumbo Body) LL (Yamaha Origina Jumbo Body) LS (Sma Body) BODY SELECTION Whether you prefer a fu-sized LL origina jumbo, sma-sized LS body, or medium jumbo-sized LJ, the choice is yours. Each of these body styes is represented in each cass, etting you choose the instrument that meets your requirements for sound, stye, and affordabiity. LL (Yamaha Origina Jumbo Body) LL56 CUSTOM, LL36, LL26, LL16D, LL16, LL16-12, LL16L, LL16M, LL6, LL6M * The LL16D is a deuxe version of the LL16. This traditiona Yamaha body stye is known for its rich voume, a wide dynamic range, and exceent tona baance. Its beautifu transparent tone is the resut of a design that has been refined by artists around the gobe. LS (Sma Body) LS56 CUSTOM, LS36, LS26, LS16, LS16M, LS6, LS6M The sma-bodied LS has a ong history with Yamaha. Featuring exceent tona baance, it deivers a big, confident sound for its size, yet it is aso idea for deicate passages and highy recommended for fingerstye guitarists. LJ (Medium Jumbo Body) LJ56 CUSTOM, LJ36, LJ26, LJ16, LJ6 The LJ body shape is designed to provide guitarists with a comfortabe fit when seated. Whie voume output is a itte ess than the LL, the LJ offers a wide dynamic range, a ow-end with strong presence, and a crisp tone that accommodates a wide range of paying styes from ead to strumming. ROSEWOOD MAHOGANY CHOICE OF ROSEWOOD OR MAHOGANY BACK AND SIDES The ineup now incudes modes with back and sides of mahogany (LL16M/6M, LS16M/6M) etting you choose according to your paying stye and tona needs. Rosewood modes offer we-baanced tone from ow to high, whie mahogany provides rich ow-end with quick response. Rosewood series Mahogany series Body shape LL Body LS Body LJ Body LL Body LS Body Grade #16D/#16 : A Soid LL16D LL16 LS16 LJ16 LL16M LS16M #6 : Soid Top LL6 LS6 LJ6 LL6M LS6M 11 12

8 H 5-Py Necks (L56/36/26/16D/16/6) New 5-py neck designs are constructed of rosewood and mahogany pies with a doube-action adjustabe rod. The design integrates the neck, head, and body into a singe unit creating a powerfu, rich sound. This approach aso creates a strong, stabe neck that resists twisting. The L56/36/26 feature a sim voute on the neck, providing greater strength and an improved sihouette. H A.R.E. & New Bracing (L56/36/26/16D/16/6) A modified non-scaoped bracing design retains the L series characteristic bright tone whie enhancing the ow end. Treating the tops with Yamaha s excusive A.R.E. process gives the instrument a rich, vintage quaity tone making it sound as though you d been paying it for years, from the very first moment you pick it up. A.R.E. [Acoustic Resonance Enhancement] L16D/16/6 modes L56/36/26 modes Neck Spacing H NECK AND FINGERBOARD (L56/36/26/16D/16/6) A reevauation of string spacing, string height, fingerboard binding, and neck taper ed to a new neck shape that better fits today s traditiona-stye payers. The new design offers stabe grip and smooth payabiity over the fu ength of the neck. A.R.E. (Acoustic Resonance Enhancement) is an origina wood reforming technoogy deveoped by Yamaha. Instruments made with woods processed with this technoogy produce a distinct tona richness, just ike vintage instruments that have been payed for years. A.R.E. technoogy uses precisey controed humidity and temperature to manipuate the moecuar properties of the wood into a more acousticay idea condition (simiar to the moecuar characteristics of woods in instruments that have been payed for years). The process is chemica free, making it an environmentay friendy process as we. The foowing aterations ead to their corresponding acousticay idea conditions: Enhanced ow range sustain produces rich sound and thick tone. Increased high range response and decay produces a sharper tone and simutaneousy contros sonic dissonance. String Height Neck taper: Thinner Fingerboard Binding Appied chamfer to the fingerboard binding H SRT Zero Impact Pickups (L16D/16/6) The SRT Zero Impact Pickup system is a newy deveoped passive type pickup configuration designed to minimize the eectric system s impact on the tone and traditiona appearance of the instrument. The system utiizes individua piezoeectric eements for each string to faithfuy reproduce the dynamic sound of the L Series and give the instrument outstanding presence when paying in a band. * The system does not incorporate contros or preampifier in the guitar body. Connect the pickup system to an externa preamp via the output jack in the endpin. H Lacquer Finish (L56/36) Lacquer finish is carefuy appied in mutipe ayers using a precise, thorough technique. This approach resuts in a finish that does not inhibit the wood s abiity to vibrate deivering outstanding response and rich sound. Speciay formuated to bring out the best tone possibe, this acquer (nitroceuose acquer) is used on the L56 and L36 ines. The graphs shown beow are from actua acoustic spectra measurements taken under controed conditions with a current L series guitar and a new L series guitar with A.R.E. Notice the enhanced ow range sustain and improved high range attack on the A.R.E. guitar. It is aso cear that high range dissonance has a shorter deay after the attack. This is hard proof that A.R.E. is effective at producing the desired changes in the wood s acoustic characteristics. These instruments have received high marks from a great number of musicians, and most of their evauations are identica to evauations for guitars that have been payed for years. Comments such as exceent resonance, warm, mature, we setted, and cear were common terms used in the evauations. Reative Leve [db] Time [s].3 Norma Guitar 1 5 Frequency [khz] Reative Leve [db] A.R.E. Guitar Time [s] 5 1 Frequency [khz] Enhanced ow (mid) range sustain, increased power Voume increases as the coor changes to red, and decreases as the coor changes to bue. Patents aready registered Japan Patent # United States # US B2 and other countries Patents Pending Europe (2 countries) Enhanced high range response 15 Increased high range decay