NGD- Ibanez Artist

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gonzo

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1977 Ibanez Artist 2618

A new guitar purchase-- really an old guitar, but new to me:

i walked into GC to look at Les Paul Doublecuts.
they didn't have any.

what they DID have, was a 1977 Ibanez Artist 2618, priced out at $899 (which is about $400 cheaper than anything i've found on Ebay)....
i talked them down to $599.
really good condition, one small chip out of the finish on the back, and the pickup selector knob is broken off, but the selector still works fine.

looks like the original frets. no checking in the finish, it's beautifully worn, gold finish is coming off the hardware at a very normal rate, for a 34 year old guitar.

serial # E775404
Mahogany Body with Maple top
Maple neck Ebony fretboard with dot abalone markers
Machine Head Smooth tuners
Pickups Super 80
Controls 2 vol, 2 tone, 3 way pickup selector
Harmonomatic bridge
Hardware Gold
Finish Antique Brown
24 frets all in pristine condition. NO wear at all on frets or fingerboard.



Almost just like the one i bought in 1979, which was a 2619, meaning, it had block inlays and a phase switch on the bridge humbucker.
i wished i had never sold it.
this sorta makes up for it.
this is the SECOND time i went into a store shopping for a Gibson Les Paul, and left with an ibanez Artist.
LOL

77ibanezartistsm.jpg



Built in Japan in 1977. Research on Ibanez can be difficult as they supported all sorts of numbering systems and numerous factories in different countries. This was the second year of production for this model. Based on the “E” designation in the serial number, it would have been built in May of 1977. The Ibanez Artist was only built with these specs for four years, from 1976 through 1979. Sometime in 1979 they cheapened all of the appointments and changed the model to the AR200, which made the earlier models hard to find and very much in demand by serious Ibanez players.

The guitar features a mahogany body with a carved solid maple top, hard maple set neck, bound ebony fretboard, abalone dot fretboard inlays, original Flying Fingers ceramic pick ups, and gold plated
hardware and pick ups. The finish is a rich antique brown sunburst. It came with a hard shell case, but I can not say for sure if it is the original case because it does not say Ibanez on it.

Having said that, in 1977, Ibanez may not have been putting their name on the outside of their cases like they do now. Bottom line is it’s a nice plush lined archtop, very well padded case that fits the guitar like it was made for it. The lining inside is lime green, if that sheds any light on the originality of it, and amazingly, it DOES NOT stink! LOL

whoever had this before me, possibly the original owner, took incredibly good care of it, and did not play it very much.

info, i'm not sure of:
This guitar was made at the Terada Plant, Japan, 1977, Production Number: 5404 .

I was actually shopping for a Gibson Les Paul, back in '79, when i bought my original 2619. I had just finished about 6 months of demo’ing every les paul I could get my hands on, waiting to find the right one. This guitar has a nice warm tone and sustains for miles. It’s actually the closest thing i've found to a Les Paul without being made by Gibson. This Ibanez is the only guitar I’ve ever heard that can compare to the Les Paul, which amazes even me. The Flying Fingers pickups are killer.


a pic from the original 1977 catalog:
02.jpg
 
Sweet Axe man!

Is that the Ibanez that has the brass block in the body under the bridge?

Someone in the distant past hacked up the Les Paul I own and put one of those brass blocks in it. I have since taken it out (kinda miss it!).

Enjoy!
 
no, this one just has the posts.......
i think the brass block under the bridge started happening on the 1979 versions?

ibanez was trying to improve on the gibson bridge, i'm sure.....

this one, is more like a tune-o-matic than the ultimate ibanez version, i think that one was called a Gibralter II bridge.....
 
i'll tell you, this guitar is making me rethink a few things, for sure...

for one, the Henries output is supposedly about 4.6, about half of what my hottest humbucker (lawrence 500L) puts out....
and i REALLY like the way it responds to the boogie.
like the input of the boogie, and THAT output, were made for each other.

also, the frets...
they're super wide, twice as wide as my regular 'jumbos'......

and real flat, the way gibson used to crown their frets on the 'fretless wonders'....
you know what i'm talking about?
man, i can pull off riffs on that thing that i haven't done in years.
 
picked up a wide lock-strap for it today.

i've always liked the dimarzio strap-locks, because they solve the 'locking' part of it in a rather elegant way....

but i didn't know they made a 3" wide version, so that's what i picked up, since this guitar is fairly heavy.

my other strap systems, are either 2" wide dimarzio strap locks, or regular 2" wide straps with the dunlop locks on it.
either work quite well.

the dimarzio is a little less profile, on the connection to the guitar, and it's cool to just unbuckle it.
sometimes, i fight with the dunlop snap-in system.
 
did a song with this axe, posted in the rigs and tones forum......
if you're interested....
 
A very good friend of mine has the super deluxe inlayed version of this guitar and he has loved it since the day he bought while overseas in Japan in the early 1980's. GREAT sounding and playing guitar. Congrats!
 
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