Ibanez the 91 to 94

In January 1991, I initially met with the factory representatives at the NAMM show, and my first trip to Korea was scheduled for February 1991. I packed my bags without any idea of what lay ahead and boarded a Japan Airlines flight from JFK to Tokyo, with a final leg to Seoul, lasting approximately 16 hours. Tom Tanaka accompanied me on this inaugural journey.

On our first day, we embarked on a drive to the factory. The traffic in Seoul was incredibly congested, and even short distances would take hours to cover. When I entered the factory for the first time, it appeared disorganized and overcrowded. Many people were standing around, and upon inquiring, I learned that dealing with Korean unions was challenging, making it nearly impossible to lay off workers. A year before, two factories had merged into one, necessitating the retention of all employees. The annual strikes in Korea, occurring every June for more benefits and higher wages, were a cause for production halts lasting up to two months or more.

After exploring various factories in Korea, I was eventually invited to our primary factory in Japan, Fuji-Gen Gakki. Visiting Fuji left me utterly impressed. This factory was highly innovative, and they had addressed the difficulties of recruiting people for dirty, dangerous, or challenging work environments. They had made significant investments in computer-controlled equipment like CNC routers, static painting systems, and even robotic buffers. These investments allowed them to consistently produce high-quality products while maintaining a stable labor force.

Although I had been initially inclined to believe that Korea could never catch up, I failed to realize that Japan had invested nearly 20 years in research and development. Moreover, many of the machines they were using were readily available in Korea. The Korean guitar companies had an advantage in some ways, enabling them to produce superior guitars with a shorter learning curve.

Korea displayed a keen eagerness to learn how to manufacture better guitars, with many guitar companies already established there. Ibanez was somewhat late to the game, but we opted for a different approach. Unlike other guitar manufacturers that frequently switched between factories in search of lower prices, disregarding quality, Ibanez maintained consistency. We chose the best factories and established lasting relationships. Hoshino Gakki was also exploring new factory options, as the yen's continued decline made it increasingly expensive to import Japanese guitars into the USA.

Tom Tanaka was not only a shrewd businessman but also had a passion for designing new models. Every month during my trips to Korea, he would request sample guitars to be made. The factory was swift in producing these samples, allowing us to bring them back to the USA for evaluation. This somewhat irked Hoshino Gakki, as Hoshino USA was developing its own models without their assistance. However, Tom believed that Hoshino Gakki was taking too long to fully embrace Korea, and we needed to expedite our efforts.

In the summer of 1991, Hoshino USA introduced its first line of designed guitars, which were featured in a NAMM show flyer. These models, part of the EX series, boasted additional features like binding, gold hardware, and transparent finishes. The first production model I designed was the EX1700F, a semi-hollow body guitar with an F hole. While sales were not exceptional, it was a unique and appealing instrument.

To enhance the playability of guitars produced in Korea, we made several adjustments, including using harder jumbo frets to make it easier for beginners. We also introduced thinner necks, new truss rods, better colors, and improved hardware. Addressing the issue with the double-locking tremolo systems used in Korean factories, we decided to import tremolos from Takeuchi in Japan. We had already been working with Takeuchi, and Fritz had collaborated with them on a low-profile version of their own tremolo, which we dubbed the Low TRS bridge. We had previously used this bridge in some Japanese production and decided to import it into Korea for the upgraded EX series, set to debut in 1992.

In 1991, we were actively working on several new models, including the CTB bass, a Sound Gear-style bass, and the ATL10, a thin-line acoustic guitar akin to the Ferrington style. Another bass model making its debut was the Affirma bass, which was co-designed by Rolf Spuler from Europe. Rolf had worked closely with Fritz for a few years on the AFR basses. These basses featured a built-in piezo pickup under each saddle. The four-string version boasted a patented flip-up D tuner for the E string, a full thumb rest, and straight string pull tuners (installed upside down for even string tension). These models came in various wood options like saman, mahogany, flamed maple, and featured neck-through construction. These models had their own dedicated brochure and were not featured in the standard Ibanez Hoshino USA catalogs.

In 1992, we collaborated with our artists to create the Interview catalog, which became one of the most popular catalogs produced by Ibanez. This catalog included interviews with all our artists, delving into their musical endeavors, playing styles, and future plans. However, it was a time of transformation in the music industry. MTV Unplugged had gained popularity, and bands like Nirvana, with their album "Nevermind," which was released in 1991, were reshaping the music scene. The word on the street was that "Shred is Dead."

Many bands that Ibanez had been working with faced challenges selling albums in the face of the Seattle music scene's rise. The music landscape was changing, with a shift away from a focus on technical guitar prowess. It seemed that guitarists had grown weary of the "I can play faster than you" mentality. Now, anyone could play a guitar by simply strumming a few chords. Out-of-tune guitars were also making a comeback, and Fender's sales were on the rise. Some dealers noted that Ibanez was primarily associated with the pointy headstock models. The new trend in music saw artists using old, beat-up guitars they could find. Thus, vintage-looking 1950s and 60s-style guitars were gaining popularity, with people even bringing back Harmony guitars. While Ibanez's sales weren't decreasing, they were not growing at a steady rate.

It was evident that it was time to reevaluate our lineup. In 1992, the models remained on the same course as previous years. Notable additions included the JS1 model with a single-coil pickup in the middle, although the model number remained the same. Another addition to the JS series was the JS6, featuring a non-locking tremolo and a mahogany body. Production of the JS4 and JS5 graphics by Joe's sisters continued. In the S line, we introduced the 24.75" scale mahogany body 470S, referred to as the 470SG due to its resemblance to the features of a standard SG. This move aimed to appeal to non-locking tremolo enthusiasts. We also introduced a modified R body with the 442R and 542R, targeting a more traditional Strat-style market.

In the bass section, we ventured into the traditional market, releasing the TR series basses, featuring updated elements inspired by the Jazz bass. In the Jem series, two new multi-colored models emerged: the JEM77PMC (Purple Multi-color) and JEM77GMC (Green Multi-color). In the electronics department, Ibanez introduced the Rock and Play systems (RP200, RP204, and RP202) in 1991. These systems allowed players to use a cassette to play along and learn songs. In 1992, we added the RP50, which enabled digital sampling of up to 15 seconds that could loop. All Rock and Play systems allowed for slowing down songs to half-speed for solo analysis.

The PUE5Tube effect processor incorporated a built-in Tube distortion. This was an upgrade from the PUE5 introduced in 1990, with a 12AX7 tube. In 1992, Ibanez also introduced the Power Trio effects PT3 and PT3B.

In the acoustic guitar realm, we made significant efforts to re-enter the acoustic market. Since the mid-1980s, Ibanez's acoustic sales had declined in the USA. However, Tom hired a new acoustic buyer, Josh Nathan, who was determined to revive Ibanez's presence in the acoustic market. We collaborated with the factories and reached out to Fishman for electronics. Due to the high cost of shipping electronics to Korea, we decided to install the pickups and EQs in the USA for the US models.

In 1992, we released our first all-acoustic catalog in some time. The confusing part was that the US marketing approach was different from Japan and Europe, which led to the carrying of various models under the AE name in Japan and Europe. The fluctuating exchange rate forced Hoshino to diversify its models globally. Despite varying music trends, popular artists, and guitar sales in different countries, it became evident that market separation was necessary. For the 1992 acoustic lineup, we reentered the market full-force with the Nomad (AE in Europe), Ragtime, and all-new Performance acoustics. The Nomads featured Fishman pickups, with the high-end N900 model using a Fishman Matrix EQ and a solid top.

The Korean manufacturers were also producing solid-top acoustics. However, due to some past difficulties with solid-top guitars, we proceeded cautiously with this segment. While I continued to travel to Korea every other month or so, the products began to reflect improvements in quality and design.

By 1993, the music scene in the USA was still dominated by the Seattle Rock sound, and everyone was looking for the next big thing. Hollywood was losing its grip on the music industry, and people were beginning to move away from California. This shift in music and the decline of flashy guitar styles had a significant impact on the graphic business, causing problems for the North Hollywood operation of H&S. There was a decreasing demand for the type of guitars they were producing, particularly in the high-end segment. It became financially unsustainable to continue guitar production in Hollywood, leading to the decision to shut down H&S production in North Hollywood.

For you, the closure of H&S presented an opportunity to acquire the Pin Router. However, shipping it proved to be a costly challenge, with shipping costs exceeding $3000. You found a creative solution by coordinating its transport with the 1993 Winter Namm show. A truck was rented to carry the Pin Router and all associated templates and bits to the docks. At the Namm show's conclusion, you tagged it as regular product and had it shipped back to Bensalem, essentially achieving free delivery for the Pin Router.

In 1993, one of the notable models introduced was the JEM7VWH. Interestingly, this guitar had been crafted in the late 1980s as a gift for Eddie Van Halen but was never delivered to him. It had been sitting in the LA custom shop until a decision was made to turn it into a production model. Unlike typical JEMs, this one featured an alder body instead of basswood and was equipped with Steve Vai's new DiMarzio Pickups, the Evolutions.

The seven-string guitar market was on the decline, and Ibanez found itself with excess stock of seven-string models. By 1994, only one seven-string model, the UV7BK, remained in the lineup. In 1993, the EX models received updates, including a Japanese-made Lo-Trs tremolo system and an increase to 24 frets. John Lomas from Ibanez worked with you in Korea on developing new pickups, leading to the release of the first custom-wound Ibanez Korean pickups, the XH series pickups in 1993.

Recognizing that the player's market was shifting back towards traditional guitar styles, efforts were made to create guitars for this market. The first approach was to make the RG series more traditional by removing the locking tremolo and incorporating a tilting back neck. The Viper shape neck, a modified V-neck, was used for this purpose. The resulting model was the RT series (Retro). The RT150, a Japanese-manufactured model, featured 24 frets, an alder body, and a standard fulcrum tremolo.

The RT450 model used a wide-spaced Tortoise shell pickguard, which initially garnered some complaints due to its resemblance to a satellite photo of a turtle. The pickguard design was later modified to a tighter shell appearance. At the upper end of the lineup, there was a gravier flame top, which involved laminating a film over the top to simulate a particular wood type. This process was executed using Fuji-Gen's new Gravier-laminating machine over an alder body, complemented by Gotoh locking tuners and a Mother of Pearl pickguard.

Another retro-inspired model was the RV, which took the standard R body shape and modified it to accommodate a pickguard. These models also featured a Gravier flame top. Some people commented that the Gravier finish appeared too perfect and lacked the authenticity of real wood. At this point, the declining yen led to fewer orders from Hoshino USA to Fuji, and more models were being produced in Korea due to the cost-effectiveness compared to Japanese-made guitars. A new double locking tremolo, the Lo-Trs-II, was developed in Korea using molds.