Unfortunately, Youtube said it was copywrited music (it was actually one of our original surf tunes-oh well) and replaced the audio with some horrible elctronica. If you look up Los Rauncheros on youtube, someone posted a video of us at the House of Blues and I am playing the 58. FYI-In my photo section, there are some shots of your 68. I will try to put up some photos of the 58. That guitar in now my #1 and goes to just about every gig. One of the cool things about the 58 is that it is all one piece of ashe, except for about 1 inch where the jack cup is. THIS IS MY VINTAGE YAMAHA FG-365S MADE IN TAIWAN CIRCA 1977-1981 MAKING IT OVER 40 YEARS OLD. Used Ibanez 1977 MIJ Custom 2350 Solid Body Super 80s Electric Guitar- Black Be Used Ibanez 1977 MIJ Custom 2350 Solid Body Super 80s Electric Guitar- Black Be. I took the 58 home, wired it to modern specs and rewound the bridge pup to 6.4K DC with 42 AWG and reused the string wrap and leads so other than the new coil wire it it still all stock. Yamaha FG-312 12-String guitar Taiwan early 1977-1981 with pickup And Hard Case.
So I traded my (now your) super stock 68, plus a minty 1981 Fugi Gen Gakki/Japanese made Ibanez FG 100, which is like an ES 175, in a straight up trade for the 58. Unfortunately the bridge pickup needed a rewind and because of the pickup and the vintage tone circuit, GC was having trouble selling it. The neck finish and decal were 100% original, the frets were good, all the parts were there and original and it had the original 58 leather strap, the bridge cover and 1958 Fender soft case (how many of those do you ever see?). The wiring was still the original bass tone circuit, the pickguard was cracked, the body was refinned but to a beautiful and correct white blonde. 2/58 body and 4/58 neck, if I recall correctly. Then one day I walk into GC and there was an early 58 whiteguard on the wall. It saw some cool gigs, the Balinese Room, the Old Quarter in Galveston, biker rallys and dive bars. I played that guitar for about three years or so and gigged with it regularly as my #1. Other than the knobs and changing strings, I left the 68 100% stock (why mess with perfection?). They look similar to the 68 knobs but the 58-62 knobs have a little bit of a shoulder before the knurling starts.
GC should have also given you the one original 68 knob. I was abe to locate two original 58-62 era knobs from a friend at Rockin Robin for cheap, and I put those on. It was 100% stock, except it was missing the knob on the volume pot. The history of the guitar as I know it is that I bought it over the internet from a brick and mortor store in California. That guitar was very inspiring for me-everytime I picked it up I wanted to play Curtis Mayfield style licks on the neck and Luther Perkins on the bridge. I love those nitro finished cap necks, and the "Irish" orange and green cloth wiring is too cool. Please contact 85 for any questions you may have regarding the piece.That is so cool you have my old guitar. Ships with original case and pick-guard.
This is example is 100% original and in mint condition! The output on the neck pickup is rated at 7.52k and the bridge at 7.42k. Alnico III's are best described as airy, transparent, low output and clean - great for rounded fat jazz applications, which makes a great deal of sense regarding the selection of these for the FG-100. Moving one to the pickups, these are, quite possibly, the most desirable humbucker pickups to come out of Japan - The "Dry Z" as it is known, named after the "Z" stamp on the baseplate, utilize alnico III type magnets and fetch top prices on the market due in part to their design and PAF replication. The tail-piece is also another hybrid between Gibson's standard trapeze and ornate Byrdland tail-piece. She sports a beautiful natural finish, most desirable amongst archtop enthusiasts, showcasing some fantastic wood grain. The FG-100 essentially a hybrid between Gibson's ES-175 and the rounded cutaway of their flagship archtop model the Byrdland. When making a decision to go with collecting and investing in some of the hidden gems from Ibanez, one has to take all the appointments into consideration.
Build quality was at its height and some of the most respected builders and hardware was used in the manufacturing process.
By 1982 Ibanez production was in full force at the, now legendary, Fujigen Gakki plant.