Ibanez AS-200 Semi-Hollow Body Electric Guitar (1979)
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Item # 12449
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Ibanez AS-200 Model Semi-Hollow Body Electric Guitar (1979), made in Japan, serial # L794584, antique sunburst finish, laminated maple body, mahogany neck with ebony fingerboard, black gig bag case.
This Ibanez AS200 is one of the very best semi-hollow body electric guitars to come out of Japan in the late '70's. Branded Ibanez and built by FujiGen Gakki it is essentially their take on the Gibson ES-335, or more accurately the ES-347, due to the addition of a coil-tapping feature. The AS200 replaced the similar 2630, which has more rounded horns; at the time the Japanese companies were coming out of the "lawsuit/copy" era and attempting to give their obviously derivative designs a more original character. This model was part of the Artist series, Ibanez' top professional line of the time.
This 1979 AS200 features a semi-hollow, double cutaway body with a subtle tiger maple top with bound soundholes. There is 3-ply binding on the top and flamed maple back. The body has a maple center block; the set-in mahogany neck is topped with a bound 22-fret ebony fingerboard with Epiphone-derived pearl and abalone split block position markers. This carries an odd half bone and half brass nut, which is somehow a very 1970s idea!
The hardware includes a pair of the then-new Ibanez Super 70 humbucking pickups with gold covers; these are wired to individual volume and tone controls with a "Tri-Sound" switch for the neck pickup offering a wide range of tones. Other hardware includes the Tune-O-Matic derived ST bridge, a "Quik Change" tailpiece with slots in the top, a multi-bound tortoise plastic pickguard, "Sure Grip" knobs with rubber collars and Ibanez' own "Velve-Tune" machines with pearloid buttons
This was one of Ibanez' best designs of the time, managing to evoke the feel and sound of the Gibsons it was based on without aping them exactly. This model was most famously used by John Scofield, and his subsequent JSM100 signature model is based on his original 1970s AS200. This is a very nicely made, thoroughly professional instrument and one of the best Japanese electric guitars of the era.
Overall length is 41 3/4 in. (106 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 1 3/16 in. (3 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 11/16 in. (43 mm.).
This now 45 year old guitar shows signs of light use but remains all original and in excellent playing condition. The finish has some light scuffing and a couple of shallow scratches here and there; that's about it. There are a couple of light checks in the finish off the jack (but no cracks to the wood) and a few tiny flaked spots along the heck heel joint with the back and upper side. The gold plating is worn away in spots, most heavily on the tailpiece. The large '70s frets show hardly any wear and this is an excellent playing guitar, one of the best Japanese instruments of the period when several of these makers really stepped up their game to challenge the slumping Gibson company with truly world class, professional grade guitars. Excellent Condition.
This Ibanez AS200 is one of the very best semi-hollow body electric guitars to come out of Japan in the late '70's. Branded Ibanez and built by FujiGen Gakki it is essentially their take on the Gibson ES-335, or more accurately the ES-347, due to the addition of a coil-tapping feature. The AS200 replaced the similar 2630, which has more rounded horns; at the time the Japanese companies were coming out of the "lawsuit/copy" era and attempting to give their obviously derivative designs a more original character. This model was part of the Artist series, Ibanez' top professional line of the time.
This 1979 AS200 features a semi-hollow, double cutaway body with a subtle tiger maple top with bound soundholes. There is 3-ply binding on the top and flamed maple back. The body has a maple center block; the set-in mahogany neck is topped with a bound 22-fret ebony fingerboard with Epiphone-derived pearl and abalone split block position markers. This carries an odd half bone and half brass nut, which is somehow a very 1970s idea!
The hardware includes a pair of the then-new Ibanez Super 70 humbucking pickups with gold covers; these are wired to individual volume and tone controls with a "Tri-Sound" switch for the neck pickup offering a wide range of tones. Other hardware includes the Tune-O-Matic derived ST bridge, a "Quik Change" tailpiece with slots in the top, a multi-bound tortoise plastic pickguard, "Sure Grip" knobs with rubber collars and Ibanez' own "Velve-Tune" machines with pearloid buttons
This was one of Ibanez' best designs of the time, managing to evoke the feel and sound of the Gibsons it was based on without aping them exactly. This model was most famously used by John Scofield, and his subsequent JSM100 signature model is based on his original 1970s AS200. This is a very nicely made, thoroughly professional instrument and one of the best Japanese electric guitars of the era.
Overall length is 41 3/4 in. (106 cm.), 15 3/4 in. (40 cm.) wide at lower bout, and 1 3/16 in. (3 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 11/16 in. (43 mm.).
This now 45 year old guitar shows signs of light use but remains all original and in excellent playing condition. The finish has some light scuffing and a couple of shallow scratches here and there; that's about it. There are a couple of light checks in the finish off the jack (but no cracks to the wood) and a few tiny flaked spots along the heck heel joint with the back and upper side. The gold plating is worn away in spots, most heavily on the tailpiece. The large '70s frets show hardly any wear and this is an excellent playing guitar, one of the best Japanese instruments of the period when several of these makers really stepped up their game to challenge the slumping Gibson company with truly world class, professional grade guitars. Excellent Condition.