Ibanez AS50

It's basically a Gibson ES 335-clone, as everybody knows. Mine's an AS50/AV from 1991 and was made in Korea. It has all the necessary features and sports a lovely warm "antique violin" sunburst. It's all original and still in near mint condition, despite heavy playing. It has aged very gracefully and still looks georgeous to me. Don't believe the people who claim the Korean made models are inferior to the Japanese. This is nonsense. In fact, the first generation Japanese models were very poor quality instruments, though they fetch high prices. It was only around '77/'78 that the Japanese had gained enough expertise to begin to turn out really good guitars, and that's when they started to seriously hurt the American competion, often outclassing them at half the price. However, guitar players seem unwilling to spend the amount of money on their instrument that keyboardists and even bassists take for granted, so when the cost of producing guitars in Japan began to climb in the mid 80-ies, the makers began to look elsewhere for cheaper manufacturing sources. Korea, with its suitable climate for guitar building (much more so than China or Taiwan, who are actually disastrous in this respect) was an obvious choice. So when the Japanese moved their operations over there, they took all their technical expertise and all their knowhow with them. It's not as if they had to start all over: they had it all down pat by then. No wonder they immediately achieved a very high level of perfection, in fact a straight continuation of their Japan made models. However, on the market these instruments are generally rated lower than those made in Japan, though they are every bit as good. This makes especially the first generation (roughly from '88 till mid 90-ies) Korean made guitars of the Japanese majors truly outstanding value for money. You cannot go wrong with these.

The sound of this guitar is really sweet. The original pu's give a very warm, full, rich tone, loaded with harmonics. It has great sustain and a nice fat bottom, without cannibalizing the trebles. I also have a Gibson ES 335 and so can compare the two guitars: the Gibson sounds a bit rougher, has more edge to it, a little more bite, but it's also a bit thinner, harsher. The Ibanez actually has more output than the Gibson, yet the tone is richer, warmer, rounder. I'd say the Gibson is more a bluesguitar, the Ibanez more a jazzguitar, although you can play both on both guitars, of course. I prefer the Ibanez to the Gibson, because of it's intimate, seductive and more personal voice. It outplays any ES-335 I've ever played and the Epi's aren't even close.

Setup is a strictly personal matter. I bought the guitar secondhand and adjusted it to my needs and preferences, just as I would have done with a new guitar. The building quality of this guitar is truly outstanding. Nothing is less than firstclass. It's better made than the Gibson, which, I'm sad to say, is far from flawless. (I don't understand that a major brand can cut corners in such a miserable way. Don't they earn enough money convincing middle-aged dentists that they need a 4000 dollar Les Paul reissue?) I've played it through a large variety of amps incl. a 1968 Fender Tremolux, a 1964 Ampeg Reverb-Rocket, a Polytone Mini Brute II, a Peavey Delta Blues, various Line 6-es (don't care for them), a Carvin Bel Air, a couple of Marshalls, and a heap of cheap study-amps. It sounds like itself through all of these, makes even the miserable little solidstates shine.

I've used this guitar intensively for 11 years, both at home, in class, live, at rehearsal and in the studio. It performs perfectly in all situations and it's as solid as a house. Never had the slightest issue with it. It will easily outlive me and still sound terrific 50 years from now. In fact, probably even better. It's that kind of guitar, it's that well made.

Never had to deal with the company.

I've been playing for more than 30 years, 20 of them professionally. My main love is rootsmusic (both electric and acoustic) and jazz, but I've done just about everything else, excepting metal. For money, yes, but hey: a guy's gotta pay the rent, right? So when they ask me, I play pop, and rock & roll, punk, blues, r&b, funk, disco, fusion, soul, bossa, worship, avantgarde, folk, country, singersongwriter, you name it, usually in someone else's band and/or in the studio. I teach guitar and also write music to order. I own and have owned tons of stuff. I currently have about 25 acoustic guitars (the great brands: Martin, Taylor, Gibson, Santa Cruz, Collings, Lakewood, Lowden, Breedlove, Larrivee, Goodall), two Weissenborns, a few vintage axes for special purposes (Gibson, Martin, Kalamazoo, Epiphone, Levin), the Gibson ES 335 mentioned above, some jazzboxes (Gibson ES 175, H??fner New President, Ibanez 2355, Epiphone Emperor Regent, Aria Herb Ellis, Yamaha AEX 1500), a nice Fenix late 80-ies telecaster, a few Fender tele's and strats in various states of usage, a whole bunch of amps (see above), a collection of stompboxes etc. etc. and all the rest of the paraphernalia of the profession. It looks like a music shop at my house, but man, it's what I do, it's my living. I love this Ibanez AS50/AV so much my girlfriend is jealous of it. It's one of the best bargains I ever struck and I will never do away with it. Truly fatastic value for money. Get one while the going is still good, because one day soon people are going to wake up to these sleeping beauties and then their prices will rise and rise and rise...

I bought my AS 50 in 1981. It is brown sunburst,made in Japan, a downsized 335 styled semi accoustic. The pickups are still original, humbuckers. Original tuners (which have functioned well all these years). The neck has typical Ibanez quality - thin and easy to play.

The humbuckers produce are suited for "all-round rock", blues and jazz, but the sound is not that rich and full compared with similar guitars I have tried or owned. I guess a change of pickups will be an essential improvement. The small body makes it well suited for overdrive/fuzz ( the right and clean sound for hard rock). At the moment I'm using a Peavy Bandit amp, which I'm content with.

Well made, no particular need to make major adjustments or changes.

I've had this guitar for 26 years, without any need for repairs. The guitar itself has improved during the time, as good instruments do.
I use it as an "extra guitar" on stage. Everything functions well. I want to change the pickups with Gibson classic 57s - and I assume this will improve the sound.

I have never needed any help from the Ibanez company. The local
guitar store give me the support I need.

I appreciate my Ibanez AS 50 more now, partly because it has become a better guitar during the years, but also because it was only made for a few years.
I would have bought the "flag ship" the AS 200 If I'd had the money back in 1981, but the AS 50 has the same qualities, it is only a stripped version.
I think it's a pity that Ibanez change models so often. There are several classic high quality Ibanez models from the 80s that are now difficult to purchase (like the Blazers and the Artist series).
If I were to sell any of my guitars, this would be the last one.

Okaaaaay ... 1981 Mk 1 Ibanez AS50: a downsized 335-alike 25 years ahead of its time: everybody from Gibson themselves through upmarket competitors like Hamer and Collings down to cheeky punks like Vintage are doing them now, but as far as I know this was the first. This one dates from the Golden Age Of Japanese Luthiery, when Gibson and Fender had lost their way and companbies like Ibanez and Yamaha were proving that they could not only build a cheaper guitar than the faltering US giants, but a better one. This lovely creature has a tobacco sunburst (laminated?) maple body; 22-fret 24.75" scale glued-in birch neck with dot-marked bound rosewood fretboard; a plain version of the most elegant 3-a-side headstock Ibanez ever had; Quik-Change tailpiece; Gibsonesque control layout with four goldish 50s-style knobs and unbranded Schaller-style tuners. The Mk 1 was fitted with Ibanex V@ pick-ups ??? Super Distortions in all but name and, for all I know, made by DiMarzio, and they were totally miscast pn this instrument: it was like a movie which seemed to have been written for George Clooney arriving on screen starring Sylvester Stallone. The Mk II swapped the birch neck for a maple one, replaced the V2s with the far more appropriate Super 59 PAF-alikes and was also available in red. The Mk III was outsourced to Korea, had a bolt-on neck and should be avoided at all costs.

The 10 rating applies to the way the guitar sounds now, with the V2s drop-kicked into the middle distance and a set of Trev Wilkinson's Platinum Series 'Lemon Drop' Peter Green-style PAF-alikes installed. With low-to-medium gain PAF-style HBs replacing the grotesquely overgained V2s ??? which have rated a 5 at most ??? this guitar sounds lovely: like a cross between an airier Les Paul and a less woofy 335. The previous owner had installed a pair of minitoggles: one to throw the PUs out of phase and the other to split the neck ???bucker, as well as wiring the neck tone so that it was full off at 10 and full on at 8. I now have both minitoggles as coil-splits and the tone control operating normally. The result is a sweet-sounding, versatile guitar that works for blues, rockabilly, funk, reggae and most forms of rock up to and including punk. I haven't yet tried it with my two main amps (Fender Super reverb and Vox Valvetronix AD120VT) because they don't live at home, but it sounded fantastic through a real-life Fender Bassman and as good as anything else would with the Twin and AC30 models on a MicroCube. can't wait to open it up through the Super Reverb or the VT's AC30 models.

Both of my previous AS50s (see below) were bought new and played fine straight out of the shop, and this one arrived from the previous owner in fine condition, needing only to be adjusted for my preferred string gauge. The fingerboard is a little flatter than I'm used to (Fender guy, right?) but the mental adjustment is fairly untraumatic. A friend of mine who's a Les Paul nut described the AS50 neck as 'the width of a Standard and the depth of a Custom' ??? whatever that means.

This guitar is over 25 years old and, apart from the odd microding, looks brand new. The previous owner told me that he played it A LOT, so its current state is a tribute both to his careful handling and the sturdiness of its construction and finish. I would be reluctant to take it out by itself, partly because I'm fundamentally a Fender guy and I get hysterical, neurotic and insecure without a Strat or Tele in easy reach, but I consider that ??? for the first time in my guitar-playing life ??? all my humbucking needs are finally catered for.

A 25-year-old used guitar? What do YOU think?

In the past I've either played P90 guitars like Juniors or assorted Teles and Strats; I've had two Gibson semis before (a ???68 Trini Lopez Standard and a ???67 355) but this is the first humbucking guitar I've liked. It's actually my third AS50, but I got rid of the first two back in the early ???80s because I couldn't stand the V2 pickups and I was much more inhibited about PU-swapping back then (plus we didn't then have the wide variety of choices available today). I recently got nostalgic about it and started an eBay hunt, which was amply rewarded. The size and weight are far comfier than a real-life 335/345/355; the sound ??? post-Wilkinson, that is ??? is the perfect LP/335 compromise; it looks lovely (though the cherry version might be nicer: bitch-whine-moan-complain); and it was ludicrously cheap: even with the new PUs and a professional set-up/installation/rewiring, the whole thing, including case, came in at not much over ??400. Anyone excited by the Gibson ES-336, Hamer Newport or the new Collings and in the market for a downsized 335-alike should seek out one of these. It's not (yet!) a cult guitar and can therefore be picked up for chump change, they're INCREDIBLY well-made and if you're lucky enough to find a Mk II, you won't even have to change the pickups. In fact, I'm seriously considering going back to eBay to see if I can find a red Mk II with Super 58s. In fact, I'll race you ...

Es 335 type from 1981. Actually, the last 335 series (along with the as100 and 200) that came from good old Japan. Only the 200 would survive as the Scofield, later 335's would come from Korea. There is a lot of hype around the lawsuit thing but most of those Eastern guitars were not that great. Stay away from the bolts where it should say setneck is a good rule. This setneck birch mahogany affair came in two flavours, antique violin and red (this one) and though a little smaller than a regualar 335, it had the right body contours, the 100 and 200 had odd horns. Funny thing is, Gibson would copy years later the AS50 with their Es 336! Anyway, after Ibanez decided they would't do copies anymore they produced their best guitars ever. It is a shame they outsourced most of their production after '83 to Korea. The As50 is theirfore made by the best Japanese luthiers that had 20 years of experience in making guitars and boy, it shows.

A bit tarnished but after 25 years it still looks as new. Great wide flat neck, outstandig fretjob and great eye for detail. The pickups it came with -powerfull V2's- I swapped for a Super 58 in neck and a Super 70 in the bridge, giving it a more bluesy traditional sound. I tried a Fralin humbucker once but liked the Super 70 more. Nothing against the Fralin though, it is a great pickup. Neck sounds warm and open, very woody and mature. The neck has a great sting that likes it hot but not to midrangy and honky like a lot of those semi's can sound.

It has a low action and no buzz at all. The neck is perfectly straight, not even the tradtional relief in the middle and no matter what everybody says, I am from the Holdsworth school and I think it plays better that way. About the finish, it is flawless but to bad the Japanese used in those days the best Acrylic availible, nowadays we think that the inferior nitrocellulose looks and sound better. So, after all those years the color didn't age well, it just looks like a brand new guitar with some small dents.

Is it reliable? It came from Japan! The Germans of the East! Toyota. Honda. Seiko. Sometimes this guitars scares me cuz I dont like the idea that it will still be here after I am long gone...

Well, I have this idea that the Japanese make their products so good so they dont have to deal with those sloppy western people.

In fairness, as a tele player I really tried to love the 335 but it always wat to bulky for me. Not the As50. Though it is hardly noticeble smaller, it makes a world of difference when playing it. Is it better than a Gibson? I dont know, never had one. But I had a Heritage and a Epi 335 (Epi not bad but you get what you pay for) and I would choose the Ibanez over the Heritage 535 everytime.
Late seventies Ibanez 335's are going through the roof now and the AS50 is one of the last guitars that is relatively affordable. Ebay prices rang between 650 and 900. Get them while you can!

My AS 50 was built in '98 or '99 in Korea.. Pretty standard Gibson 335 clone, I chose this one over an Epiphone Dot (of course, I was 12 at the time). 2 volume, 2 tones, 2 open coil pickups, etc.

My understanding of tone has changed a lot in the 7 years I've owned it. It was my first electric guitar, bought so I could use it in my middle school's jazz band, and it was "adequate". I was playing it through a Peavy Studio Pro 112, which was also "adequate". I now know that this is what this guitar is for: entry level, young guitarists. Granted, it is a very versitile guitar, it doesnt feed back too much through high gain, and you could really (almost) get just about any sound youre looking for out of it, but for me.. the tone was either dull and muddy or way too bright, and I've experimented with different strings (gagues and types), different pickup heights, and different tone settings... The verdict is in. It simply sounds bad. Diverse, but bad.

The guitar looks really good for the $500 or whatever paid for it. Once I hit the sweet spot in the setup, the neck profile and action are great, it plays faster than just about any guitar I've played. The satin finish neck helps with this a lot. It does, however, weigh about a metric ton (actually, I would guess 8.5 pounds or so). Those of you who also own this beast, imagine a dorky, porky little 7th grade kid trying to play this thing while standing.. yeah.

The metallic elements of the guitar seem solid, the tuners, the bridge, all of the pots etc. I had a big problem years ago with the housing for the patch output falling into the guitar, which was a big pain. The glaring problem, though, and I believe it's been mentioned before in this forum, is the neck joint. I can bend the notes considerably, but I'm very wary to do so as I feel like I could just snap the neck off. I think I've even taken a screwdriver to the bolts in the back to no avail. If you're serious about intonation and a solid setup, this is not your guitar.

Never tried to contact them, but I've heard they suck.

Like I've said, it was great for me to learn on and play as a kid when I had no idea that I didnt sound anything like Eric Johnson... I really respect what Ibanez can put out for the price, but with a wobbly neck and dead tone, I think I'm going back to my PRS Hollowbody II.

My AS50's serial number indicates it's manufacturing time was in Dec 81 in Japan. Perhaps it's a transitional model, but my '81 AS50 came stock with a pair of Super 58 Pups and a Tri-tone switch down by the knobs...Since the guitars are an odd size, I think the case I got with mine is the original because it fits it perfectly.

Sounds warm, Gibson-y, round, smooth and jazz/bluesy. Everything you want and nothing you don't.

The pickups sound great. I also have a Super 58 in a Pat Metheny PM20 guitar, and these pickups just sound wonderful. The finish of this AS50 is translucent cherry with Ivory binding. Wonderful.

Feels very solid in all aspects or workmanship and hardware. I NEVER gig without a backup unless it's a folky/songwriter type gig.

Never had to deal with them.

AWESOME... GET ONE!!!! I bought one for $340 WITH the hardshell case included. You CANNOT buy a new guitar like this anywhere near this price...you have to spend at least a grand, no question, maybe more.

I don't have this guitar any more, but I wish I hadn't let it get away. For any of you out there looking for a budget 335 alternative, the early 1980s Ibanez AS's were IMO quite well made guitars (one used guitar store owner told me he thought of them as "335-killers"). If you see one at a good price, give it a look. I wasn't crazy about the stock PUs on my AS50, but if you slap in some PUs more to your taste and get a good setup, you'll have a nice little guitar. Oh yeah, and the AS50 is a little smaller in the body than a 335 (or the bigger AS's from that era), so some folks might find them more comfortable to hold (I did).

Well, I've forgotten some of this, but I will say that my AS50 had a great neck. It was able to be set up very nicely, and it seemed to hold that setup forever.

Just bought this, serial no. D804871, made in Japan. Has open coil V2 humbuckers,3 position switch, 2 volume/2 tone knobs. I believe it was made in 1981 or 82. If anyone can confirm the date, I would appreciate it.

Everything on it is original. Brown sunburst top, maple I think. Finish is in great shape other than 1 ding on the top. I may have to replace one of the tone pots, it is loose.

Nice warm tone for jazz (which is what I bought it for), doesn't cut enough for blues. I'm sure an effects box could fix that.

Great set up. Very well made guitar. No flaws in how it was put together.

If it is still kicking after 22+ years, with all of the original hardware, then this guitar is going to last a long time !

I would use it on a gig w/o b/u

Never called them..............

Been playing 30 years, own 4 other guitars (3 acoustic, one Gibson SG). This AS50 is going to be one of my favorites. Reminds me a lot of a Gretch semi-hollow body I foolishly sold 20 years ago (Gretch Anniversay model).

Very playable neck, very solid sound, glad I found it.

'82 AS-50, crafted in Japan. Not to confuse with the (after 86) Artstar AS models from Korea (made by Samick) Body made of lam. Maple, set-neck is birch or Maple and rosewood board These guitars came original with open coil creme V2 humbuckers, after 83 it came with the chrome cover super 58's. The Ibanez V2's were made by Dimarzio and sound very like a seventies Dimarzio Super Distortion but it little more refined and open. Nevertheless, with those pups the AS50 goes for the Al Dimeola/Steely Dan aproach, rather than the Wes & George school.
This guitar is very very well made. Much better than the Gibsons from that period in my experiece. It feels solid and sturdy, very good fretwork and the finish is like new, after 22 years. Only the metal has to be polished to make it shine again. This guitar has to problems; the tuners feel a bit week and have a very low ratio and second, it's impossible to find a decent case since the AS50 is like 13/15% smaller than a regualar 335. And mayby a third.. because of the placing of the strap it tends to fall over a bit. I dont do numbers but boy, those Japanese luthiers knew what they were doing.

As I said, because of the V2's, this guitar is more like a semi Les Paul then a big jazz box. Right now, I am looking for some old 3point super 58's cause I really think the output of those V2's are a little to much and Dimarzio SD's are not your first choice for a clean bluesy sound. But hook it up to a Ibanez tube king and a good amp (I use a Vox AC15 and fenders) and it is Royal Scam all over the place. Very "in your face" with pronounced mids and enough high end. Because of the maple acoustic body it wont do shred or SRV of course but put some SD paf pro's on your 335 and you get the idea.

The pricetag of this guiar was like $900 (?) in '82 and that was really expensive for a japanese guitar. But stupidly low compared to a Gibson 335. Of course, if you want japanese quality like this nowadays (the Ibanez Scofield or Benson) you pay top dollar too.
But for this price you get a flawless guitar (japanese are picky about this)that will be a joy forever. Ebay prices go around 750/800.

Ohyeah, about the quality... the finish of my Gibby 2000 LP junior (polyurehtaan) looks already much more worn than on this old Ibanez (millitary acrelic?) Hmmm, i dont know if this is a good thing soundwise...

dont know the Ibanez people, but in movies those japanes people are awfully polite

playing 30 year. Bought lots of stuff just to find out the best things are pretty simple. Went to 20 old strats and telecasters before I found the magic ones (a jv tellie and a tokai springy sound) Went to a dozen of semi's of Gibson and Guild before I stumbled on this Ibanez. Life is simple folks. Now, just hand me over that old 18 watt Marshall...

mine is a 82', brown sunburst, 2 super 58's. a little smaller all around than a 335. i think its a little more comfortable too...

ive always loved the super 58 p/u's and these ones sound nice cause there older ones...nice full sound on the neck, very scofield-ish on the bridge which i like alot.

when i got the guitar, it was set up just fine by the previous owner. the overall construction of the guitar is fantastic. no finish flaws as far as i can tell. great overall.

i think i could gig with this guitar without a backup...although i never would, just cause ive had bad exp. w/ not being prepared. its solid feeling, and everthing feels very quality. i did however put on some big fatty strap buttons, but that was just for my personal taste.

never tried it, hope i never have to.

ive been paying for about 13 years in the style of blues/jazz/funk. (hendrix/grant green/scofield) and i have owned alot of guitars in the past. currently i have 2 ice strats, a heritage 575, a 63' ES-335, a 61' ES-125, and this ibanez. i really feel an attachment with this guitar already, and i dont think ill ever part with it