While my main instrument for both practice and live is my trusty Gibson SG, my most prized possession at the moment is a guitar I picked up second-hand nearly ten years ago. I was looking at the time for something with a Gibson-esque sound but back then my student budget wouldn’t stretch that far. The next best thing, I was told, was one of the Japanese copies but to go for a used instrument to get more for my money.
My beloved Ibanez and my cheap-and-cheerful Tanglewood acoustic
The money in question was £400 iirc, although I’ve been told since then that similar models go for considerably more than that these days. Basically it’ll gain value the longer I keep it as long as I look after it but quite honestly I’ve no intention of selling it just yet.
Ibanez started out making cheap knock-offs of the classic US designs but by the late 70s the quality had risen quite substantially; even now Ibanez and Yamaha produce some really nice guitars for very little money, which is something to bear in mind given the RRP of American models. According to the serial number, my guitar was made at the end of 1980, the period during which the Artist line was first sold. It’s a two-humbucker, solid mahogany body with a maple cap and sunburst finish; the layout of the controls and the appearance in general are clearly inspired by Gibson’s Les Paul range, except there is a double cutaway at the heel of the neck, much like an SG.
As you’d expect, the Artist has a very Les Paul-type sound: in comparison with my SG it’s thicker and woodier, with a pronounced bottom end and a little more treble. These two aspects of the tone mean it’s a little softer and mellow – SGs are renowned for their midrange punch but the combination of the thicker body and, I’m guessing, Ibanez’s pickups (V-2s in this case, since it’s an AR 100 CS), make this one louder yet more balanced.
Needless to say the mahogany and maple construction means the body is very heavy: I’ve always used a padded leather strap to prevent it giving me a sore shoulder! The weight is worth it though because the tone is smooth and the sustain is superb; I’d say it’s perfect for the 70s-inspired classic rock thing, which is I’m guessing what the designers had in mind at the time. The quality of the tone is best demonstrated by the fact that I’m actually reluctant to use too much distortion or many effects when playing this guitar: the high notes are sweet and clear, while the lower ones are rich and full of clout. A mild overdrive and a little delay make for wonderful lead lines, while I can coax out solid palm muted power chords with a bit more gain.
Part of the playability of this guitar is I think down to the neck. Gibsons are notoriously chunky but the Artist has a flatter fretboard and a thinner neck – it’s the most comfortable one I’ve ever played on. The fret wires are smooth and because the neck’s cross section is a little smaller than its rivals, it’s easy to play lead licks quickly and smoothly. In all the time I’ve owned it I’ve fitted 0.09 gauge strings, moving up to 0.10s fairly recently; the glue-on neck is probably not intended for heavy gauge strings, but quite honestly it’s more of a rock player’s guitar than one for jazz players.
Only now am I experiencing a bit of string choke higher up the fretboard, which probably means an action adjustment. Considering all I’ve done in almost a decade is replace the pickup selector switch and machine heads, it’s standing up pretty well. Cosmetically it’s been through the grinder a bit: there are chips, bumps and scrapes everywhere (some my fault, many not) and one of the rotary control knobs needs replacing. Structurally it’s sound though: for a guitar that’s older than I am all the regular maintenance I need to do is routine cleaning and string replacement.
Not only does this guitar sound great but the build quality is excellent. The wear and tear doesn’t detract from the fact that it’s beautiful old thing, apart from a peculiar feature around the tone and volume knobs: at some point they were removed, a hole cut in the body and the knobs remounted, in their original positions, on an unsightly yellowed plastic plate. Whether it was damage or someone’s misguided idea about a cosmetic improvement, I don’t know; personally I don’t like it at all but it doesn’t affect how the guitar sounds or plays.
Seriously, ‘sup with that?
The Artist range has been recently reissued (some including extra controls such as coil tap switches) and as far as I can tell the same loving care and attention has been paid to the quality of the structure and finish as the 70s and 80s originals. As far as things like binding, inlays, gold (yes, gold) plated hardware and that wonderful sunburst colour are concerned, I don’t think Gibson can compete – not in this price bracket, anyway. My style of playing these days is starting to call for the brightness of Fender-style single coil pickups but for that classic rock tone you can only get from the old two humbuckers and mahogany body it’s absolutely perfect. It’s a bit battered and bruised now, but I still can’t bear to part with it.
I have an 1980 artist”. Ilove it & would part with my 2009 les paul custom before I would my artist. I used a 72 Gibson sg (2) mini humbuckers sence i was about 17 .I’m 49 now”. I had no idea where i was lacking untill i bought the Paul.It’s very full body of tone & even balances from string to string no matter witch pickup select or effect it is going through handed instant authority to every thing it toutched. I use a guitar once a week or more & after all these years i decided to buy my sport car (Les Paul).
Then i got this old beat up black with white binding artist for 400 & it is every thing & more than the 4000 coustom is. If I had bought the artist first,, I can’t say i would have spent that kind of $$ on another guitar. I would give up my coustom …My 68 Rickenbacker… my 72 SG before i would part with my magic sound maker. This guitar makes Me sound impressive”