Ibanez is a well known Japanese guitar manufacturer owned by Hoshino Gakki. The company has worked in musical instruments for over 100 years. Today, Ibanez makes electric guitars, basses, acoustic guitars, pedals, amps, and accessories. The brand is especially known for the RG, JEM, S, and AZ series, as well as seven string and eight string guitars.
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The Origins of Ibanez – Hoshino Gakki
The story starts with Hoshino. Matsujiro Hoshino founded a bookstore in 1908, selling books, sheet music, and musical instruments. Beginning in 1921, the store began importing instruments from Europe and the United States. In 1929, Hoshino started importing guitars made by the Spanish builder Salvador Ibáñez.
Yoshitaro Hoshino succeeded his father in 1929. He expanded the selection of imported instruments to include mandolins from Italy and drum kits from the German manufacturer Ludwig.
When demand for guitars outstripped supply, Yoshitaro decided to start his own guitar production. In 1935, Hoshino began making its own Spanish style guitars under the name Ibanez Salvador. His four sons joined the family business, leading to the founding of Hoshino Gakki.
The company built a factory next to its headquarters to produce its own line of guitars, with space for up to 30 employees. The Salvador Ibáñez guitar has since become known as the Ibanez. The company exported numerous guitars to other Asian countries. In 1937, its monthly production exceeded 1,000 guitars. The company’s early guitar business was focused on acoustic and classical instruments, not on the electric guitars most players think of today.
World War II interrupted that early work. Hoshino‘s factory was destroyed during the war. In 1955, a new headquarters opened in Nagoya. The company shifted its focus to exports in the post-war period.
Early Ibanez Guitars (1960s-1970s) – The Pre-Lawsuit Era
It was only in 1962 that Junpei Hoshino decided to resume producing his own guitars. A new factory was built, which also produced amplifiers and electric guitars. The company was named Tama Seisakusho in honor of Yoshitaro Hoshino‘s wife.
Ibanez became Hoshino‘s primary brand, but the company also produced guitars for other Western companies. The company also produced drum kits under the Tama brand.
In the 1960s, Ibanez was still not the brand most players know today. The company was growing through exports, and its guitars were entering overseas markets in larger numbers. Early Ibanez guitars from the 1960s often had unusual and sometimes very bold designs. At this stage, Ibanez was still searching for a stable identity in the electric guitar market.
In 1966, it was decided to cease producing guitars for other companies. From then on, the company worked mainly as a brand owner, planner, and distributor, while outside factories handled most of the actual production.
In the mid-1960s, Hoshino used outside builders such as Guyatone and Teisco. After Teisco closed around 1969 to 1970, Hoshino moved most Ibanez production to FujiGen Gakki. By the end of the decade, and especially by the early 1970s, FujiGen Gakki became the main builder for many Ibanez guitars. That relationship would become one of the most important in the brand’s history. Many of the best known Japanese Ibanez guitars were later built there.
Over time, the Japanese guitar industry changed. Many Japanese makers began by following European guitar styles, but later shifted toward American designs. Ibanez followed the same path. By the late 1960s, Ibanez guitars started to resemble well known American models more closely. This shift was part of a larger export trend. Affordable Japanese guitars were becoming more common in the United States and Europe, and demand was growing fast.
Ibanez began making guitars that clearly followed the look of major American brands such as Gibson, Fender, and Rickenbacker. These were not exact reproductions in every technical detail, but they were close enough in appearance to attract players who wanted familiar shapes at lower prices. This made Ibanez much more visible outside Japan. The guitars sold well because they were cheaper than the American originals and still offered solid quality for the price.
In 1967, the first Ibanez guitars were imported to the United States by Elger. These guitars had no logo and were equipped with numerous buttons and switches. In the late 1960s, a metal “spaghetti” logo appeared on the headstock of guitars.
By the 1970s, Ibanez was no longer seen only as a seller of low end import guitars. The brand had moved up in quality and had become a real competitor in the copy market. This is the period many players now call the “Pre-Lawsuit Era.” That label is used broadly, but the actual legal issue was specific.
On June 28, 1977, Norlin, Gibson‘s parent company, filed a lawsuit against Elger in federal court. The case focused on trademark infringement related to the Gibson style open book headstock design. By the time the lawsuit was filed, Ibanez had already started changing some headstocks. The case was settled out of court, and it was officially closed in 1978.
“Pre-lawsuit” usually refers to Ibanez copy models made before the 1977 Gibson vs Elger case, especially guitars with the Gibson-style open-book headstock.
“Lawsuit era” is a broader and less precise collector term. It is often used for many Japanese copy guitars from the 1970s, even when a specific model was not directly involved in the legal dispute.
In September 1975, Ibanez began using serial numbers on its guitars for the first time.
The Late 1970s-1980s – Golden Years of Ibanez
By the late 1970s, Ibanez was moving away from copy guitars and building a lineup with its own identity. This change had started earlier, but it became much clearer after the lawsuit period. This period is sometimes referred to as the “Golden Years of Ibanez,” and many guitars from this era are highly sought after by collectors.
Artist Series
The Artist series was one of the first major original Ibanez guitar lines. The first models appeared in 1973. Early Artist guitars still lived close to the older copy era in some ways, but the line quickly developed into a real Ibanez family of its own.
Early solid body Artist models such as the 2618 used a mahogany body with a carved maple top, a set neck, and a 24 fret ebony fingerboard. By 1977 and 1978, the 2618 had a Gibraltar bridge, a matching slotted tailpiece, Super 80 Flying Finger humbuckers, a bone and brass nut, and upgraded hardware. They were carved top, set neck, dual humbucker guitars with more deluxe hardware and materials than typical copy era models.
Later Artist guitars became even more feature heavy. The AR300, introduced in 1979, used a mahogany body with a 2 piece flame maple top, a set in 3 piece maple neck with a smooth heel, a 22 fret ebony fingerboard, and two Tri-sound switches, one for each pickup. Those switches gave three modes per pickup, including full humbucker and alternate wiring options. The AR300 also used Super 58 or Super 80 pickups depending on year, plus gold hardware and a Gibraltar bridge system.
The Artist family also included semi hollow models. The 2629, introduced in 1977, used a full sized thinline semi hollow body with f holes, a maple center block, a set maple neck, and a 22 fret ebony fingerboard. In 1979, the AS200 followed with Super 58 humbuckers, a Tri-sound switch for the neck pickup, an ST bridge, and a Quik Change tailpiece.
George Benson Guitars
A very important step came in 1977 with the George Benson GB10. This was the first artist signature model produced by Ibanez. It was a mid sized full hollow single cutaway jazz model with a laminated spruce top, laminated maple back and sides, a set in 3 piece maple neck, and a 22 fret ebony fingerboard. It also used two floating GB special humbuckers, an ebony bridge, and a special tailpiece. It was built as a compact professional jazz guitar with reduced feedback and a more focused stage friendly format.
It gave the company a serious connection to a major professional player and also strengthened its position in the jazz market. The GB10 became one of the longest running guitar models in Ibanez history.
Musician Line
The Musician line was introduced in 1978 and is considered one of the first original Ibanez series.
This line used more complex construction than most earlier Ibanez guitars. It was a high specification line with multi piece construction, active electronics, and more complex control layouts than standard two humbucker guitars.
A good example is the MC400. It had neck through body construction, a 7 piece maple and walnut neck, ash and mahogany body layers, a 24 fret ebony fingerboard, and large body and neck proportions built for sustain. Higher models in the line also used active electronics.
The MC500 also used neck through body construction, but added a carved top, Super 88 humbuckers, two Tri-sound switches, and an active EQ Tone System with gain control, 3 band EQ, and an EQ on off toggle.
Studio Series
The Studio series was introduced in 1978 and ran until 1982. These guitars used a body shape related to the Musician line, but they did not use neck through construction as the standard design. Studio models used set in or bolt on necks instead. Early models also used multi piece bodies made from more than one wood species, and higher end versions had active EQ systems.
A clear example is the ST100. It used a double cutaway body made from mahogany, walnut, and maple, a set in laminated maple neck, a 24 fret rosewood fingerboard, and two V2 humbuckers with a Gibraltar bridge and Quik Change tailpiece. The ST200 added an active EQ 2 Tone System and a sustain block under the bridge.
Performer Series
The Performer series was introduced in 1978 and remained in production until 1982. It was a line of single cut solid body guitars under the PF code. The design was clearly inspired by the Les Paul format, but Ibanez gave it its own shape details, including a slightly different upper horn and a different headstock design.
Early Performer models such as the PF100 and PF200 used mahogany bodies, 22 fret necks, Super 70 humbuckers, a Gibraltar fixed bridge, and a Quik Change tailpiece. Higher models added features such as flamed maple tops, set-in necks, and Tri-sound switching. The Performer series became one of Ibanez’s main lines of single-cutaway guitars released in the late 1970s.
Iceman Guitars
Unlike many older Ibanez guitars, the Iceman was not just another variation on a familiar American shape. It was one of the most visually distinct Ibanez designs of the period. Early versions of that shape appeared in 1975 under model numbers such as 2663, 2663SL, and 2663TC, before the Iceman identity fully settled.
It later became closely associated with Paul Stanley, which helped make it one of the first truly recognizable Ibanez shapes.
A typical late 1970s example is the IC200. It used a mahogany body with binding, a set in 3 ply maple neck, a 22 fret fingerboard, a Gibraltar fixed bridge, a Quik Change tailpiece, and Super 80 Flying Finger humbuckers with individual volume and tone controls.
Roadster Models
The first Roadster models were introduced in 1979. These guitars were clearly closer to the Strat style instruments, but they were not simple repeats of the early copy era.
A model like the RS100 used a double cutaway body with radiused edges, a bolt on maple neck, a 21 fret maple fingerboard, and three Super 6 single coil pickups. The bridge pickup was mounted at an angle. That already gave the guitar a more modern look than a standard vintage style Strat copy.
Higher Roadster models added more technical features. The RS300 had ash body construction, a coil tap toggle, a brass nut, and the Quadra Lock neck joint with machine bolts and inserts. The RS500 went even further with neck through body construction, three Super Tap 6 single coils, a coil tap toggle, a phase toggle, and an Accu Cast bridge with a sustain block.
Roadstar II
Further development began in 1983 with the introduction of the Roadstar II series. The Roadstar II line is especially important because it is the direct predecessor of the later RG family. Early Roadstar II guitars still used bolt on necks and Strat style body logic, but by the mid 1980s they were clearly moving toward more performance focused designs.
A good example is the RS440, introduced in 1984. It used a 22 fret neck, an HSS pickup layout, a Pro Rock’r double locking tremolo, and a locking nut. The bridge humbucker could be split with the Duo Sonic switch.
The RS1300 had an arched birdseye maple top, two Super 58 humbuckers, coil split functionality, and the same Pro Rock’r locking tremolo system. These are very close to the feature set that later became standard in late 1980s Ibanez superstrats.
In other words, the path to the superstrat era did not begin with the RG in 1987. It began earlier with Roadster and Roadstar II in the late 1970s and early 1980s.
The Late 1980s – The Superstrat Era
By the late 1980s, rock and metal players wanted faster necks, 24 fret fingerboards, locking tremolos, and more aggressive body shapes. Ibanez answered that demand at the right time.
The late 1980s were the years when Ibanez made high performance solid body guitars the center of its electric lineup. The groundwork started in 1986, when Ibanez introduced the Edge as its first Floyd Rose licensed double locking tremolo.
JEM Series
The JEM series began with the JEM777, the first Steve Vai signature model for Ibanez. It was introduced in mid-1987 and revealed at the Summer NAMM show in Chicago. This was the first JEM model and the first Steve Vai signature guitar for Ibanez.
The guitar used an American basswood body, a 24 fret maple fingerboard, a one piece maple neck, an HSH pickup layout with DiMarzio PAF Pro humbuckers and a DiMarzio JEM Single, and an Edge tremolo. It also had several details that made it instantly recognizable, including the monkey grip, the lion’s claw tremolo rout, the disappearing pyramid inlays, and scalloping on frets 21 to 24.
The early JEM777 was also unusual in finish and presentation. Ibanez offered it in Desert Sun Yellow, Loch Ness Green, and Shocking Pink. The Loch Ness Green version was made only in 1987 and 1988, with 777 guitars produced, and those guitars were hand numbered and signed by Steve Vai. Early 1987 examples also had a special bridge guard, sometimes called a hand rest, mounted over the tremolo.
RG Series
Ibanez released the RG550 in 1987 as a more affordable version of the JEM idea. It was the first true RG model with the new body shape, although it was initially sold as part of the Roadstar Deluxe line before the RG family fully separated.
The RG550 kept the basic JEM formula. It had a basswood body, a thin Wizard maple neck, 24 jumbo frets, an HSH layout, and an Edge double locking tremolo. Its stock pickups were Ibanez V1, S1, and V2 units, and it used simple dot inlays instead of the JEM‘s disappearing pyramids. It also dropped the monkey grip and the lion’s claw rout. So the RG550 was not a different concept. It was the stripped down production version of the JEM design.
The RG570 was introduced in 1989. It became one of the main Japanese made RG models of the classic era. Like the early RG550, it kept the core RG formula, including the HSH layout and a double locking tremolo, but it used a rosewood fingerboard instead of maple. The model stayed important long enough to be reissued later in 2013 and again in 2017 to 2018.
Saber Line
The other major new line was the Saber, later shortened to S. The first model was the 540S, introduced for 1987 as the PRO540 Saber in the Roadstar Pro line. The key difference from the RG was the body. The 540S used a very thin mahogany body with an arched top and back that came to a sharp edge, which made the guitar lighter and sleeker than most other superstrats of the time.
It still used the same basic Ibanez late 1980s performance formula, with a Wizard neck, a double locking tremolo, and hot IBZ/USA pickups made by DiMarzio. The standard 540S used an HSS layout with an F2 humbucker at the bridge and C2 stacked single coils in the middle and neck positions.
The early 540S also had a less standard control system. On 1987 models, each pickup had its own on off switch, and the volume control had a push pull coil split for the bridge humbucker. Ibanez later simplified this. In the United States, 1988 models used a three way toggle for the bridge pickup and coil split function, while European 1988 models already used a five way selector. By 1989, the five way lever switch had become the standard setup worldwide.
The Saber was not the only new shape in 1987. The first Roadstar Pro lineup also included the Radius, Power, Turbot, and Ballback. The Power, Saber, and Radius models shared several core features in 1987, including DiMarzio made IBZ/USA pickups, Edge tremolos, and a control layout based on mini toggles instead of a normal pickup selector. The Radius also introduced the tilt neck joint, which later appeared on early RG models.
These guitars shaped the modern Ibanez identity. The JEM brought signature styling and high performance features. The RG became the main production model and grew into one of the brand’s best known electric guitar families. The S series offered a slimmer and lighter body with a very sleek shape. From this point on, Ibanez became strongly associated with fast playing electric guitars for rock and metal players.
The 1990s – The Seven-String Era
In the 1990s, the guitar market changed. Alternative rock became mainstream, and many players wanted guitars that looked and felt different from the bright, sharp shred models of the late 1980s.
Ibanez continued to produce the RG, JEM and S models, but also introduced new series. This decade brought the first production seven string line, a new long running Joe Satriani series, and a retro styled line that looked very different from late 1980s superstrats.
Since the early 1990s, Ibanez guitars have also been manufactured in South Korea, with the EX series introduced in 1991. Because the quality of Korean guitars proved to be just as high as that of Japanese ones, Ibanez began producing other models in South Korea in 1994. Today, Ibanez guitars are also manufactured in China.
By the end of the 1990s, Ibanez was no longer only a metal focused guitar brand. It had a wider shape range, more artist lines, and more room for alternative and non shred players.
Universe Series
The Universe series began in 1990. It was developed with Steve Vai and became the first seven string electric guitar line offered by a major guitar company. In simple terms, the Universe took the late 1980s Ibanez superstrat idea and added a seventh string. That gave players a lower range without changing to a different type of guitar.
The first key model was the UV7. It was introduced in 1990 and built in Japan by FujiGen. It used an Edge 7 tremolo, which was only offered on the first 1990 Universe models. From 1991, Ibanez replaced it with the Lo Pro Edge 7. The UV7 is also known as the green dot Universe because of its green fretboard inlays. Related early models included the UV7P, which used disappearing pyramid inlays, and the UV77, which used a swirl finish.
JS Series
The JS series was launched in 1990 with three models: JS1, JS2, and JS3. This was the start of the Joe Satriani signature line. These guitars were based on the older Radius design and gave the Ibanez lineup a smoother, rounder shape than the sharper RG and JEM models.
The best known early model was the JS2, also called the Chromeboy. It was introduced in 1990 and became one of the most famous Satriani models. The chrome plated finish made it stand out immediately, even inside a lineup that already included bright JEM colors and other flashy late 1980s designs. So the JS line gave Ibanez a second major signature series, but with a different body style and a different visual direction from the Vai based guitars.
Talman Series
The Talman series was introduced in 1994. This line moved away from the sharp superstrat look and used a more retro design. Talman was inspired by vintage guitars such as Fender Telecasters and Danelectros. Many Talman models used single coil pickups, and many also used lipstick style pickups. Ibanez marketed the line with the tagline the Classic Alternative.
A good early example is the TC530, introduced in 1994. It’s a retro styled Talman model reminiscent of a Telecaster or a Danelectro. The original electric Talman run lasted from 1994 to 1998, with one Paul Gilbert signature model continuing into 1999.
Prestige
The Prestige line started in 1996 with the RG3070. From the start, Prestige was built as a high end Japanese guitars. Most Prestige models were made in Japan by FujiGen. The idea was not to create a completely separate guitar family, but to offer higher grade versions of existing Ibanez lines with better build quality, more refined finishing, and stronger specs.
The first Prestige model, the RG3070, already showed that this was not just a standard RG with a new label. It was made in Japan and is best known for its unusual green fingerboard, created with a thin film over a maple board. In the first years, Prestige remained a relatively small line. Until 2003, only a limited number of models carried the Prestige name.
Important early examples included the RG3120 and the RG2020X. The RG3120, introduced in 1997, became one of the best known early Prestige guitars. The RG2020X model has a bridge with a piezo pickup added.
So in the 1990s, Prestige was a top level production tier for players who wanted a Japanese made Ibanez without moving into custom territory.
J Custom
The J Custom line also began in 1996, but it was a different idea from Prestige. While Prestige was a regular high end production tier, J Custom was built as a more exclusive Japanese line with smaller production numbers and more upscale materials.
Early J Custom guitars were made in Japan by FujiGen, and later some were also produced by Sugi. The line is defined by features such as exotic wood tops, more elaborate fretboard inlays, and more individualized finishing work.
The first J Custom models were based on the RG guitars. Early examples included models such as the RG1302, RG1508, RG1808, and retailer spot models like the HRG1802S and KRG1502. These guitars often used features such as ebony fingerboards, flame maple tops, abalone inlays, Lo Pro Edge tremolos, and more specialized finishes. Some early J Custom models were also made specifically for Japanese retailers and did not appear in regular export catalogs. That is an important difference from Prestige.
So, J Custom was not just a more expensive production line. It was more exclusive branch of the Ibanez lineup.
GIO
In 1998, Ibanez introduced the first GIO models. This line was created for players who wanted Ibanez quality at a more affordable price. GIO models were based on existing families. For example, GRG models were based on the RG series, and GSA models were based on the SA series. They kept the general look of the higher lines but used simpler specs and lower cost production.
Thus, the 1990s were a time when Ibanez expanded its line in several directions. Universe added seven-string guitars. JS expanded its signature line with a sleeker body. Talman introduced retro models for an alternative era. Prestige and J Custom created new high-end instruments. GIO opened the brand to a wider audience of aspiring players.
The 2000s – The Lineup Boom
By the 2000s, Ibanez already had strong core lines such as RG, S, JEM, and JS. The next step was to widen the lineup around them. Ibanez did this in two main ways. First, it expanded into more price levels. Second, it built clearer groups for different types of players.
At the same time, Ibanez expanded its hollow body and premium offerings. The Artcore line was introduced in 2002 and gave the company a large, affordable semi hollow and hollow body range. On the higher end, Prestige and J.Custom gave Ibanez stronger Japanese made instruments. Both lines began in 1996, but they became more prominent in the 2000s. Special Prestige catalogs began to be published in 2003.
SA Series
The SA series was introduced in 2000 as a simpler and more affordable branch of the S family. It kept the general double cutaway idea, but the guitar itself was different. The body was thicker than the original Saber, the back was flat, and the bridge was a synchronized tremolo instead of the more expensive locking tremolo systems used on many older S models.
In short, the SA line provided a simpler, modern guitar for players who wanted the feel of an S-style instrument.
Artcore
One of the most important new lines of the decade was Artcore. It was introduced in 2002. The reason for the line was simple. Ibanez already had a long history with hollow and semi-hollow guitars, but in the 2000s the company wanted to offer that kind of guitar at a more accessible price. It was meant to combine quality workmanship with affordability and to offer both traditional jazz box models and semi-hollow guitars for rock players.
The AM73 was introduced in 2002 as a smaller semi-hollow with an arched laminated maple body, set-in mahogany neck, 22 frets, two Artcore humbuckers, and a Tune-o-matic style bridge with a Quik Change tailpiece. The AS73 used a larger semi-hollow body and followed the more familiar ES style format.
Jet King
The Jet King series began in 2003. This line moved in a different direction from both the RG and S families. The idea was a more retro, pawnshop style guitar inspired by the kind of quirky Japanese and department store instruments sold in the 1960s.
The first model, the JTK1, had a body shape loosely related to an SG, but with rounded asymmetric horns. Later Jet King models changed shape. Starting with the JTK2 in 2004, the series moved closer to the look of offset guitars such as a Jazzmaster or Jaguar.
This made Jet King one of the clearest non-superstrat directions of the decade. It was built for players who wanted an Ibanez that looked more vintage, more offbeat, and less tied to the shred image of the brand
SZ Series
The SZ series was introduced in 2003. It was related to the S family, but it was not just a normal S with a different bridge. The SZ had a thicker body, a flat back, a set-in neck, a 25.1 inch scale, and a Gibraltar III fixed bridge. So compared to the original Saber, the SZ felt more like a heavier fixed bridge guitar with a more solid and traditional construction.
The SZ320 used a mahogany body with a maple top, a set-in mahogany neck, two humbuckers, and the Gibraltar III bridge. The SZ520QM pushed the line further with a quilted maple top, body binding, and later Duncan Ibanez pickups.
RGA Series
The RGA series began in 2005. This was a new branch of the RG family. The key difference was in the name itself. The A referred to the arched top body. In other words, the RGA kept the fast neck and modern RG layout, but added a more contoured top instead of the standard flat RG body.
The first two models were the RGA121 and the RGA321F. The RGA321F added a flamed maple top and DiMarzio made pickups.
Xiphos
The Xiphos series appeared in 2007. This was one of the most aggressive Ibanez designs. The body shape was part of the broader X family, but Xiphos had its own sharp, symmetrical, metal oriented look. Most early models followed the same formula: neck through body construction, mahogany body wings, DiMarzio D Activator pickups, and either a Gibraltar Custom fixed bridge or an Edge III tremolo.
The first model was the XPT700, which used a neck through design, mahogany wings, 24 frets, reversed sharktooth inlays, DiMarzio pickups, and an Edge III tremolo. A hardtail version, the XPT700FX, followed a year later. Ibanez also added the XPT707FX, a seven string version.
So the 2000s were not mainly about repeating the old RG formula. This was the decade when Ibanez added several new guitar directions around its core lines. Artcore covered affordable hollow and semi-hollow guitars. Jet King brought in retro offset style models. SZ added thicker fixed bridge guitars. RGA gave the RG family an arched top version. Xiphos pushed farther into extreme metal design. This made the Ibanez lineup much wider in both shape and function than it had been in the 1990s.
New RG Models
In the 2000s, several key models of the RG series guitars were also released.
RG1570
The RG1570 was introduced in 2003. It replaced the classic RG570 and became one of the main Japanese Prestige RG models of the 2000s. The key change was the Edge Pro tremolo, which replaced the original Edge used on earlier RG570 models. In practical terms, the RG1570 was a modernized continuation of the old Japanese RG formula. That is why it is one of the most important RG models of the 2000s.
RG2027X
The RG2027X was introduced for 2000. It was a seven string Prestige RG made in Japan. What made it stand out was not only the extra string. It also used a Double Lo Pro Edge 7 tremolo with a built in L.R. Baggs piezo system, dual output jacks, and a mahogany body. So the RG2027X was a more advanced model with both electric and acoustic style output options.
RG2228
The RG2228 was introduced in 2007. It was Ibanez’s first mass produced eight string guitar. It was built in Japan as part of the Prestige line and used a 27 inch scale, an Ultra-8 Prestige neck, a fixed FX Edge III-8 bridge, and active EMG 808 pickups. This model is one of the most important RG guitars ever made because it pushed the series into the eight string market and helped define Ibanez‘s role in extended range guitars.
Modern Ibanez
In the 2010s, player tastes became broader. Many guitarists still wanted high performance features, but they also wanted more versatile guitars. Ibanez answered with the Premium line. This line was created as a higher spec Indonesian instruments with more attention to detail than standard models. It sat above many standard production guitars but below the top Japanese lines.
The biggest new electric line of the decade was AZ. It kept the modern Ibanez approach to playability, but it moved toward a more classic shape. It features a Super All Access Neck Joint, ergonomic body contours, and a body shape inspired by the classic Stratocaster. The AZ line helped Ibanez reach players who wanted a modern guitar without the sharper superstrat look of the RG.
In the 2020s, Ibanez still supports its core lines such as RG, S, AZ, JS, and PIA/JEM/UV. At the same time, it has added newer concepts like the headless Q or Quest series, which was introduced in 2021.
Premium
The Premium line was introduced in 2011. This series was created to fill the gap between the standard models and the Japanese high end lines. In practical terms, Premium became the upper Indonesian instruments. These guitars are built with better materials, more detailed finishing, and higher level hardware and electronics than many regular production models. So the Premium is important for players who wanted a more refined guitar, but not as expensive as the Prestige or J Custom.
Premium is not one single guitar family. It’s a quality level used across existing lines such as RG, RGA, and S. That is what made it useful inside the lineup. Ibanez did not need to invent one new body shape. Instead, it offered more upscale versions of its established designs. In the modern lineup, Premium still works as the bridge between the standard range and the Japanese top end.
AZ Series
The AZ series was introduced in 2018. This line is one of the most important modern changes in the whole Ibanez electric guitar range. Many players wanted an Ibanez that still felt modern, but looked less extreme than an RG and used a more traditional bridge and neck shape. The AZ answered that demand. It kept the company’s focus on playability, but used a more balanced body shape, a smoother Oval C style neck feel, and a more classic overall design.
Guitars such as the AZ2204 use a Gotoh T1502 tremolo, roasted maple neck, ergonomic body contours, and a deep neck heel for upper fret access. In other words, the AZ is not a vintage copy. It’s a modern Ibanez take on the more traditional double cutaway guitar. This is why the series became so important so quickly. It gave the company a strong line for players who wanted versatility, comfort, and a less aggressive look.
Q Series
The Q or Quest series was introduced in the 2020s as a headless line. The reason for this series was also very direct. More players were interested in compact guitars, lighter instruments, and more technical playing styles. Instead of turning an older model into a headless guitar, Ibanez built the Q as a new design from the ground up. That is one of the main points of the series.
The Q line uses several features that separate it from older Ibanez guitars. These include the Mono-Tune bridge, a proprietary string locking system, and pickups such as the Q58 humbuckers and R1 single coils. The body is compact and strongly shaped for balance and comfort. So the Q series is not just an RG without a headstock. It is a different kind of modern Ibanez, built for precision and contemporary playing styles.
AZES
The AZES line is a newer and more affordable branch of the AZ family. This series was built for players who wanted the AZ idea in a simpler and easier format. One of its practical differences is the 25 inch scale, which sits between the shorter and longer common electric guitar scales. Ibanez also markets this model as a suitable option for young and shorter players.
Today, Ibanez is a broad guitar company with a much wider lineup than it had in the 1970s or 1980s. The company still produces the fast, modern guitars that made the brand famous, but also offers more traditional and specialty models.
Interest in Ibanez guitars has only grown in recent years. Longtime Ibanez artists, such as Steve Vai and Joe Satriani, remain part of the brand. But many modern musicians also choose Ibanez as their instrument of choice, including guitarists such as Tim Henson, Scott LePage, and Ichika Nito.
As it was 100 years ago, Hoshino Gakki‘s headquarters are still in Nagoya, where its research and development department is also located. And Ibanez guitars remain among the most admired and recognized in the music community.