For those old enough to remember, the Ibanez
instrument company hasn’t always been associated
with the modern stylings of their famed
RG model, Vai JEM, or Gilbert Fireman. Back
in the ’70s, the company was just starting to
get a firm grasp on the artistic and production
techniques that would define them as a
major player in the musical instrument industry.
Around this time, Ibanez’s reproductions of
various Gibson designs instigated one of the
industry’s most notorious lawsuits. In 1977, the
Norlin Corporation—which owned Gibson at
the time—sent a cease-and-desist warning to
Ibanez. Gibson’s lawyers felt the best plan of
attack was to base their lawsuit on similarities
in body style and utility. On June 28, 1977,
the case of Gibson v. Elger Co. opened in
Philadelphia’s Federal District Court. In early
’78, the two sides reached an agreement:
Ibanez would halt production on the look-a-likes
if Gibson would refrain from any more
lawsuits. Not only did this suit attract major
attention to the burgeoning Japanese guitar
market, but it also forced Ibanez to sink or
swim by developing their own designs.
Here’s an example of an Ibanez “lawsuit-era”
guitar. The 1976 Custom Agent Artist 2405 in
a transparent maroon finish is a great example
of Ibanez’s penchant for melding traditional
design with artistic flair. The maple-topped
mahogany body sports a mother-of-pearl inlay
at its lower bout, matched by equally extravagant
MOP fretboard inlays, and a headstock
shape reminiscent of their mando-design. The
pickups were originally Super 80 models, but
were replaced with double-cream DiMarzio
Super Distortions before the current owner purchased
the guitar years ago.
Thanks to Dien Judge for the opportunity to
feature this fine instrument.