Other variations include the ST 55 (similar to the ST 50, but with individual volume/tone knobs), the ST 105 (same as the ST 55, but with a 3-piece maple/mahogany body), the ST 200 (a maple/ash body outfitted with the “EQ-2 Tone System”), and the top-of-the-line ST 300 and its Tri-Sound pickups. Other features include a mahogany body, laminated-maple neck, rosewood fretboard with dot inlays, nickel-chrome hardware, and master volume and master tone knobs governing the pickups. The ST 50 was the entry-level model in the Studio series. Regardless, it wasn’t a sound for everyone and some players replaced the pickups on these Studio models with something softer-the same thing you did by swapping in a set of Lollars. According to Ibanez marketing materials from the era, the pickups deliver “scorching output.” Many players have described the output as warm, while others have used “muddy” to describe the V-2 tone. I’m guessing the re-fret you had done helped the compound radius play even better.įor pickups, Ibanez outfitted the ST 50s with their V-2 humbuckers.
IBANEZ GUITAR SERIAL NUMBER CHECKER SERIES
Many people have described the Studio series as comparable to Gibson SGs sonically, but the longer scale makes them more akin to playing a Strat. The Studio models featured slightly offset, double-cutaway construction with a set neck, 24 frets, and an unusual 25 1/2" scale. Your guitar, an ST 50, was part of the Studio series introduced in 1979. The modifications you made to your guitar are tasteful, and we aren’t talking about a high-quality vintage instrument from the ’50s or ’60s. When the lawsuit centering around the assertion that Ibanez was copying Gibson’s designs was settled shortly after it was filed in 1977, the company was already producing several of its own designs, and by 1979 Ibanez’s entire catalog was void of any obvious copies. I’ve written about early Ibanez guitar history in previous columns and touched on the company’s infamous “lawsuit” models in both, so I encourage readers to check those articles out for more information on Ibanez’s interesting background. That said, guitar collectors might look at it a little differently since they are interested in the investment aspect as well. An inexpensive early 1990s Washburn acoustic/electric is still my player of choice. Trash or treasure?įirst of all, I like telling all guitarists that if you find a guitar that sounds and plays well-regardless of how much you paid for it-it’s a treasure. So I’m very curious what you think of my guitar. I’ve played the guitar often over the years and I love the feel and sound, which I believe is because of the compound radius. It is in very good condition overall, but I had some work done, including installing Lollar pickups, all new wiring and switching, a new nut, Grover tuners, and I had it re-fretted. I bought this guitar from a small shop on Sunset Boulevard in 1986 for $200.
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