Further dialing in the Ibanez AF95 ... I do like this guitar (06/22/2024)

[Jim Soloway]

So I've now played out with the AF95DA three times with good and improving results. I've done a lot of playing at home and some experimental recording. I've also done some simple adjustments.

In addition to removing the pickguard (a true sign that I like the guitar enough to think it will be around for a while) I first lowered the neck pickup (the only one I use). I liked the overall response better with the pickup down a bit but I thought the bass was still a bit heavy so today i lowered the pickup screws on the two lowest string. Better again. Here's a quick recording with the screws down. (most of the recordings have been done with the same piece of music, a new and still evolving original piece called "The Importance Of The Sparrow"). I think this sounds pretty good.

[vernon]

beautiful tone and articulation

[chris32895]

Great recording. Goes to show it's the Indian and not the arrow. I also have an Artcore Ibanez (PM35) that I really am liking more and more as time goes on.

Not sure how Ibanez stays in business. They must move so much inventory because their profit margins have to be super thin for the quality of instruments they provide at the price they provide them at. I was surprised a few weeks back when looking for a Telecaster and toyed with the idea of a semi-hollow from Ibanez. A semi-hollow with an ebony fingerboard, block inlays, binding all around, and two humbuckers was consistently cheaper than any Telecaster in any configuration I could find (disregarding things like an affinity Squier or something like that) and I know it will play and sound great. With the Fender I will have to do some tweaking and hardware swaps to get it to where I want. Either Ibanez prices themselves real low or Fender thinks a little too highly of themselves.

[Gitterbug]

I believe the market and the money is in solid-bodies, where Ibanez also shines with a broad product range. Their only problem is that there's nothing rebellious, charismatic or mystical about the brand - Steve Vai, John Scofield or George Benson notwithstanding. (Yamaha suffers ever more of this, but puts more emphasis on flattops.) Let's just be grateful that Ibanez cares about archtops and thin-bodies. I've had six, and the price/quality ratio has consistently been laudable.

[Jim Soloway]

I believe the market and the money is in solid-bodies, where Ibanez also shines with a broad product range. Their only problem is that there's nothing rebellious, charismatic or mystical about the brand - Steve Vai, John Scofield or George Benson notwithstanding.

I don't agree with this. They've always had a very strong roster of contemporary players including some who have been controversial and charismatic. The current lineup include Tim Henson and Scott LePage from Polyphia, Ichika Nito, Lari Basilio, and perhaps my favorite of their young players: Yvette Young.

Ichika Nito is also very cool.

[Gitterbug]

Disagree on what? I mentioned a few stellar artists and could add to the list. Of course there are younger and up-and-coming artists, and Hoshino Gakki has the resources to support and highlight them. Yet, I bet not many of us oldies are aware of the names you brought up. This, per se, is unimportant. If they are idols known to the younger crowd, fine. But my point is that Ibanez commands neither the aura of Fender or Gibson nor that of rock-specific (e.g. Schecter, Jackson, Charvel, G&L) or smaller, boutique/semi-boutique marques (Paul Reed Smith, Suhr etc.). This means a less favorable trade-off between volumes and prices. While coming third in many listings for "best rock guitars", Ibanez is haunted from below by Epiphone, which has taken big steps in quality. USA is such a big market that Made in USA is still a major plus in pricing.

[Jim Soloway]

Disagree on what? I mentioned a few stellar artists and could add to the list. Of course there are younger and up-and-coming artists, and Hoshino Gakki has the resources to support and highlight them. Yet, I bet not many of us oldies are aware of the names you brought up. This, per se, is unimportant. If they are idols known to the younger crowd, fine. But my point is that Ibanez commands neither the aura of Fender or Gibson nor that of rock-specific (e.g. Schecter, Jackson, Charvel, G&L) or smaller, boutique/semi-boutique marques (Paul Reed Smith, Suhr etc.). This means a less favorable trade-off between volumes and prices. While coming third in many listings for "best rock guitars", Ibanez is haunted from below by Epiphone, which has taken big steps in quality. USA is such a big market that Made in USA is still a major plus in pricing.

Specifically, I disagree with "Their only problem is that there's nothing rebellious, charismatic or mystical about the brand". There's lot of rebellion and charisma. Yes, the top US brands have an aura but at this point it is an aura of history and elitism but there's not much of the rebellion left in them (and I'm not sure there's much direction either).

[chris32895]

I would go as far as saying that Ibanez is one of the most cutting edge, large and modern guitar factories out there. Fender and Gibson rely heavily on nostalgia to drive sales. I don't think of either Fender or Gibson as innovative guitar manufacturers, and I like them both