Ibanez AM205

1982 model, beautiful burled finish. Stop tail piece, etc. I've had it since 1995 or so. Stock everything, no mods. Can't believe I just saw one on e-bay go for $1,400.

Great axe that has the hottest humbucking pickups of all of my guitars. I've used it with a lot of amps, however it really sings through my old school pearce G2R. Perfect for 80's fusion, it has an awesome bloom that makes the notes melt together. Not as versatile as some of my PRS gear, but it really has an amazing, distinctive voice. Like some of the other reviews, I've found that I use the middle position most often.

Fit and finish are just beautiful. Ibanez really put some amazing craftmanship into these instruments. The neck joint is starting to devolop a few small finish cracks, but nothing major. I have to adjust the truss rod a little more than I'd care to. I cracked up when I read the review that said some guy put some dings ino the guitar face by the input jack. That same guy must have used this axe too. Some pitting on the gold hardware, but this guitar has been played, it's earned it. The volume pot for the treble pickup has just developed a dead spot at 10 where it cuts out. I'll get around to fixing it someday. I've got to ding a few points for the frequent neck adjustments.

I did a lot of fusion gigs with this axe without problem. It was the sax players favorite, which makes sense since it has a real horn-like quality. Built to last with some common maintenance. It will be around for another 25 years.

Never had to call them myself, but it's great to hear all of the good customer support stories here.

I've been playing for over 30 years, and have accumulated a sh*tload of guitars and a garage full of amps. This is a really unique instrument with a great voice, but If it were stolen, I probaly couldn't bring myself to part with the replacement cost. But, if you are looking for an alternative to a 335, I'd really reccomend one. I personally think they look much better, and are really comfortable for a 4 hour gig.

The Ibanez AM205 is a Japanese manufactured 2 pickup (Ibanez Super 58 humbuckers), double cutaway, 22 fret, semi-hollow body electric guitar with burled/quilted mahogany top and back, 24 3/4 inch scale, bone nut, gold hardware (including Velve Tune sealed tuning keys, Quick Change II tailpiece, and Gibraltar bridge), 2 volume and 2 tone controls. The body is about the same size and shape as the Ibanez Artist solid body models (roughly the size of a Les Paul). It is much smaller and easier to handle than a Gibson ES 335 and much lighter than the Artist solid bodies of its era. Mine is a 1982 model. The great thing about the tuning keys is that they operate as either a regular tuning key or a Strat type tuning key. You can put the string through the hole in the side of the post or cut the string and insert it down the center of the post. I did wish for more tonal flexibility i.e. coil taps or phase switch. (See Sound category)

I have owned and operated many guitars over the years including Strats and Les Pauls. I have also owned or tried many guitars trying to split the difference between the two (PRS etc.). Although I loved the way the instrument sounded stock, I decided to have the two pickups tapped to allow either single or double coil sounds. I did this by having push pots (not pull pots) installed on the volume controls (YAY! no drilling into the top!). This made all the difference in the world. The sound really came alive, especially when using the front pickup in single coil mode and the back pickup as a humbucker. Using both as single coils gives a glassy, almost acoustic tone on scooped mid amp settings and a Tele like twang on flat eq amp settings. I highly recommend this mod. It makes this already versatile instrument even more useful. In the instrument's original configuration you can get all those wonderful Larry Carlton 335 tones and it is a great guitar for blues. Without the mod I would still give it a 10.

Since the guitar was over 20 years old when I purchased it, I can't comment on factory set-up or adjustments. Either the guitar had been refretted or the neck binding had shrunk slightly, leaving the fret ends exposed. The frets on these models are installed over the binding unlike a Les Paul. I had the fret ends filed by the same outstanding luthier who did the electronics: Denny Rauen. ( http://www.rauenguitars.com ) This returned the instrument to a smooth as silk feel. I could find no flaws in the finish or fit. The border between the body and the binding is clean and sharp with no bleed through anywhere. The top back and sides are absolutely stunning with a high gloss finish and remarkable depth. The gold hardware does show some signs of wear and oxidization. The action is as adjustable as on any stop tailpiece Tune-O-Matic type bridge set up, but individual string height adjustment is not possible. The bridge curvature is matched well to the neck radius so this is not a problem. The neck is slim to moderate sized with a large radius. You can get the action very low if you like.

I have used this guitar on gigs without a backup because if I break a string I can change one in about 10 seconds due to the Quick Change tailpiece, which has slots instead of holes like a Gibson type. The finish and hardware are durable and the diamond shaped strap buttons hold the strap on securely (some models came with boomerang shaped strap buttons). The guitar is built to last and I have every confidence in it. I won't be using it without a backup anymore, because I recently purchased another one!

Before I purchased this guitar I found a 1984 Ibanez AM255 in a pawnshop for $400. The only difference is that the AM255 has a tremolo bar on it. BEWARE! This tremolo system is the most complicated piece of junk I have ever seen. After I broke a string I could only change it by taking the saddle apart for that string (the top of the saddle unscrews from the bottom). Getting the saddle back on was time consuming, to say the least. Even though I have used Strat, Maestro, Bigsby, Floyd Rose and Kahler tremolo systems, I could not find any other way to do it. Thinking that there must be an easier way I called Ibanez USA and talked to a tech. I asked for a manual for the tremolo and then asked the tech if there was an easier way to do it. He told me (I'm paraphrasing here) "Not really, that was one of the worst tremolo designs the company ever did." I decided that 5 minutes of sheer frustration per string change was too much, even though I loved the sound and feel of the guitar, so I sold it and started looking for a 205. Tech support was very helpful and they did send me the tremolo manual. All of this was for a guitar they stopped making 17 years before.

I've been playing for 30 years and making my living at it. I own many guitars and basses and amplifiers. This guitar sounds great through all my various setups and has become my main axe for everything but straight-ahead jazz. You could certainly play that on the AM205, but I prefer a hollow body with flatwound strings for that style. The guitar really shines with a little distortion. It has great sustain for lead playing. With the coil taps it makes a great guitar for funk and R&B. This is a great instrument and a bargain at any price.

Early 80's model with gold hardware & PRS pickups (HFS neck & Treble in bridge)...The rest is original- -a little banged up but nothing major & the binding has yellowed considerably giving it that "relic" look...very cool...Frets feel like jumbos & with the ebony fretboard make playing very easy (bends & the like are really smooth feeling).

I use this guitar for most of my smooth, R&B jazz band gigs & so I have it strung with medium gauge Thomastik flatwounds & I play it through a GK 250ML/II & a Bogner 1-12" or Matchless 2-12" & I use a Boss ME-33 & Mr. Crybaby Vol/Wah...The sounds I attempt to cover are:Wes-Benson octaves, Carlton-Ford fusion & Metheny-Scofield tones.

For +20 yrs. it is in great playing condition- -Gold hardware has oxidized & the binding has now yellowed to give it a very relic'd look to the guitar...

Ditto from the previous statements...I always play with a back-up just as a pre-cautionary measure & NOT out of doubt for this guitars' reliability.

+33 yrs. of playing & this guitar will never be sold or traded...If the good Lord is willing & the creek don't rise- -I'll be another old fart playing another f-hole guitar & just loving it.

Features have been covered in detail by other reviewers. But to simply list features doesn't go far enough in my opinion. I have to say the mahogany burl on the front/back of most of the AM205s I have seen is stunning. The mother of pearl inlay on the headstock and ebony fretboard is top craftsmanship. Back in the 80s Ibanez workers seemed to pore over each (high end at least) instrument and endeavor to make each one a point of pride for the Ibanez brand. The label visible through the F hole is hand signed by the individual who finished the guitar. The company brochure from the time called this instrument the "Stage Master" Artist Series.

I'm not a thrash n' trash player by any means. I'm a blues man. My AM205 supports the blues and rock I play very well. It is not a metal lead guitar and was never intended as such. The strength of this instrument is baratone tone, deep, rich, sustained, "voice." One reviewer wrote that he uses his AM205 for an acoustic sound and picks up his strat for lead work. That sums it up. I play my AM205 through valve amps of all types, but seem to get the most out of it through a vintage 1963 Gibson Mercury II head (2x6L6gc)and curious closed cab (1x10" and 1x15" speaker) design. If I want to make this guitar growl I use an 808 mod TS-9 Ibanez Tube Screamer and maybe a compressor, but that's it.

There were no flaws with this guitar at time of manufacture. I bought it in a pawn shop back in 1992 and the first owner(s) disgraced themselves by putting one or two small dings in the finish near the cord jack as if trying to stab in a cord in the dark or maybe while drunk. They should have respected this fine guitar, but then I probably wouldn't have been able to afford it as mint. The action is as good as a Gibson ES335, maybe better. It's low and responsive with a variety of string sets from 9s to 11s. I'm happy with the Super 58 pickups but growing frustrated with the volume pots not being of the same quality to match the rest of the guitar. I may replace the pots someday soon and I might even have an electric guitar tech soup up the bridge pickup. Frankly the bridge pickup on my AM205 could use more balls. But I play with the selector switch in the center position and use the volume controls to mix the pickup sensitivity. Works for me. Now for the good part -- if you are a person of diminutive stature (female perhaps) with smaller hands, you certainly want to pick up and play an AM205. It's a 3/4 size copy of the Gibson ES335 and is easy to heft and play on stage for 3 forty-five minute sets without breaking your back. The neck is D shaped and thin enough for short fingered folks to grab just about any chord in any position on the neck. Again, the action is set low and you can play the upper register as easily as lower. I'm a fan of Open G tunings and the AM205 responds perfectly to the harmonics that are created. (That's what I love about hollow body guitars in general).

Will this gutar withstand live playing? Oh you bet! The finish is holding up very well although the gold covers on the Super 58s are looking very ratty, that's not Ibanez' fault. The strap button at the neck did begin to work itself loose a few years ago but I filled the hole with a good industrial epoxy, re-drilled the screw hole and re-set the button. No problem since. Would I use this guitar on a gig without a backup? NEVER go to a paying gig without a backup guitar and amp. But no, this guitar has never failed except for broken strings.

Never delt with them.

I've been playing since age 13 and I'm 55. "If it were stolen or lost, would you buy it again or get something else?" (I love reading the answers to this question in the reviews.) If it were stolen, I'd feel sick to my stomach. Then I'd go find the S.O.B. and make sure his heavy lifting days are over. I bought the AM205 because when I saw it hanging up in the pawn shop it seemed to speak to me. (I know, I'm a little loony). These AM205s are getting hard to find. Now that collectors and players are seeking them out, the price is upward of $800 to $1,000 for one in good used condition if you can even locate one. I'll never sell this guitar. If I have the dough I'll probably find another one for backup.

1984 Japan model, semi-acoustic small-body 335 style, 22 frets, burled magogany top/back/sides (absolutely stunning), 2 'super 58' humbuckers, gold hardware, tuneomatic bridge and stop tailpiece. Neck is reasonably thin - not as thin as some modern Ibanez guitars - but still plays very nicely even for my big hands (prefer more chunky necks). Pickups have since been replaced with Duncan Custom (bridge) and Duncan Jazz (neck).

I play this guitar through a Kitty Hawk valve rack setup, and it works beautifully. The sound suits jazz and rock without being too oriented in either direction. You can get a great jazz sound, but not the pure 'jazz box' sound of a Gibson L5 or similar; you get a fantastic rock or hard rock sound using the bridge pickup through a good valve amp too and I use this a lot for my original work which is all rock/hard rock. It's hard to get the subtleties in between though - for soul/funk stuff I'm more likely to use my strat. The semi-acoustic body really gives it dynamics and lets the sound breathe, but you don't get the natural sustain/compression that you would get from a good solid body instrument.

I purchased this seconh hand from a professional golfer here in Melbourne and it had been little use for probably 10 years, so was in very good condition but needed a good setup. I was happy with the guitar when trying it out but after a good setup I was astounded with the playability of the guitar. Very low action and plays beautifully, even with heavier (11-49) strings. The gold plating on the hardware has been lost in some places over the years, but I have looked after this guitar so the rest of it is in very good condition. There are some minor flaws in the finishing (some finish overrun onto the binding) but these are very few and very minor. The burled mahogany looks fantastic - I used to teach in guitar shops and hang this up on the overhead racks when I was on my breaks and would be guaranteed to have customers asking about it within minutes! Overall the workmanship is excellent. The pickups needed to be replaced - there seemed to be a problem with the bridge pickup so I replaced this with a Duncan Custom. The Duncan Jazz in the neck also works well, although it's only a slight improvement over the original stock pickup.

I've used this guitar as a backup to my strat since 1994 and never had a problem, despite the obvious difference in sound. I also use it as my main guitar on most original gigs, or when doing jazz work. I would always carry a backup (just in case of string breakage) but may look into getting graphtech saddles fitted as these have virtually eliminated string breakage on my strat. The guitar will certainly last and is very durable, but it's such a nice looking instrument that I'm probably a bit more careful with this than my other guitars.

n/a

Love it. Would cry if stolen. I'm determined to look after this guitar (as I am with all my others); it's in fabulous condition and is a stunning looking guitar and I'd like it to stay that way. At some point soon, I'll add a graphtech FAAS piezo bridge to it. This should give a little bit more versatility in sound and give me some acoustic tone to blend in -should sound awesome for jazz. I would never sell this guitar - I've bought a lot of guitars over the years but this one and my strat are the only ones I've retained. Looks great, sounds great and plays great... enough said.

Mine is a 1984 AM205 - from the Ibanez 1984 catlogue -

Body: Burl Mahogany T/B/S
Length: 1030mm (40.5")
Width: 385mm (15.1/8")
Depth: 58mm (2.1/4")
Neck: Scale 24.75"
Nut: 43mm Bone
Fingerboard: Ebony Block Inlays
Hardware: Quick Change II Tailpiece
Velve Tune Machine Heads
Electronics: 2 Super 58 gold cover pickups
3 Way Pickup Toggle selectors

This is a double cutaway, reasonably heavy guitar similar in size to an LP, solidly constructed and stilkl looking good afte 17 years.

Because I mix electric and acoustic playing I use a Laney EA120 amp - nice combo if you need to do both and I play the electrics through a Zoom 505 multi fx pedal.
The sound from this guitar is summed up as warmth, warmth, warmth. Doesn't scream much but that's not my style.
If it needed any improvement it would be a bit more clarity on the neck pup but that's more nitpicking than anything else.

The guitar had been pro set up when I got it and I've seen no need to change it. The neck isn't as fast as some but it's a smooth player that rewards accuracy rather than speed.
The finish (apart from the gold parts) is still superb without chips or nicks of any kind.

I've found this to be reliable and would expect that it will still be playing fine in another 17 years. It's weight is a minor drawback for extended playing but then if you use it after an Ibanez SG twin neck then it feels feather light !!

Not required

This is a guitar I purchased some 2 years ago and its been quite difficult to judge wether it was a good deal or not, since I found no information on internet about it. I started this review in order to maybe get some info from people who know of it.
It was made in 1983 ij Japan, 22 frets, 3 way selector, separate volume and tone controls for boh hambuckers. H/H combination.
Normal Artist features for an Ibanez I guess.

It sounds very good, it is versatile, you can play straight-ahead jazz, blues and rock. I run it straight into a Fender DeVille amp for a jazzy tone I need.

My knobs are a bit noisy nowadays, so I'll give it a 7.

I live in Bosnia, no support here even for Sony TVs.