Description
Launched in 1973, Yamaha's third generation of SG six-strings changed the perception of the Japanese guitar, from copies to serious instruments on a par with their US equivalents.
Developed in close association with Carlos Santana, the classic SG2000 arrived on the scene in 1976 and was characterised by impeccable Japanese craftsmanship, individual double-cutaway styling and various original construction and hardware features.
The SG2000's newfound star association, coupled with those unique, sustain-enhancing features - such as Yamaha's T-Cross neck-thru system and bridge Sustain Plate - propelled the SG into the hands of many other top players, such as Robben Ford, Larry Carlton and even Bob Marley.
The SG1802 is certainly the most vintage-y offering, and with its twinkling gold top finish, teardrop pickguard and high-output Seymour Duncan P-90-style single-coils, it certainly references the look of Gibson's famous Kalamazoo single-cutaway.
Alongside this, the 1800's neck profile follows that of a late fifties Gibson profile - it's chunky in the palm without being over clubby and slims marginally towards the first few frets. Coupled with large, highly polished frets and a flatter-than-Gibson fingerboard radius, the premium rosewood fingerboard makes for a super slick playing surface.
But, as we said, all three 1800 models feel slightly different: this 1802 feels lighter and more delicate compared to the 1820 and 1820A, which both have a tighter, gutsier feel. It's subtle, but noticeable.
Moving up the neck, Yamaha has trimmed down its SG headstock shape and this1802 features the classic Yamaha SG flowery inlay on the headstock face.
Somewhat remarkably, each of the 1800 trio comes in at 4kg (8.8lb) on the scales, not an ounce between them (how's that for consistency?), hardly surprising for a guitar with a max body depth of 56mm. It's on the weighty side for sure, but we've played many heavier Les Pauls over the years.
Strapped on, the heel positioning of the forward strap button does induce some forward lean on a strap; however, those used to Gibson- style double-cuts will feel right at home here.
As with all the 1800s the 1802 also employs Yamaha's IRA (Initial Response Acceleration), a method of 'playing in' the guitars by "applying specific vibrations to the completed guitars," says Yamaha. "It also shortens the time needed for the guitar to adapt to your playing style and it delivers excellent sustain."
