1983 Ibanez AR30 Restoration | Part Four

Part One | Part Two | Part Three | Part Four

In Part One of this series, we took a look at the early stages of restoration work done on this 1983 Ibanez AR30. Then, in Part Two, the refinishing process was completed; and the AR30 left aside for a month. Next, in Part Three, we saw electronics, shielding and related issues being taken care of.

We are now at the fourth and final part of this series. It's been nearly a year since I started this restoration, and I'm eager to send it back to the owner for final testing. As it turned out, I met him just a few hours ago at his rehearsal studio, handed him his AR30; and was treated to a 15 minutes of blazing guitar work.

After putting the guitar back on its stand, he looked at me and gave me the thumbs-up. I heaved a huge sigh of relief, I tell you. Well folks, that concludes the saga of how this 1983 Ibanez AR30 was restored. Who knows, one of these days another AR30 might just come my way.

1983 Ibanez AR30 Restoration | Part Three

Part One | Part Two | Part Three | Part Four

In Part One of this series, we took a look at the early stages of restoration work done on this 1983 Ibanez AR30. Then, in Part Two, the refinishing process was completed; and the AR30 left aside for a month. We are now at the electronics stage of the restoration process.

I've been provided with a pair of used PRS Dragon I humbuckers and a pair of mounting rings. The "Dragon Bass" is the neck humbucker, and the "Dragon Treble," the bridge. Unfortunately, neither of the seller's rings seem to fit the profile of the top correctly. In fact, the bottom of the neck mounting ring is completely flat. But I do have on hand a pair of Gibson pickup mounting rings: PRPR-015 (neck) and PRPR-025 (bridge). Yes, they seem to fit better than the ones supplied by the seller; so they'll be the ones I'll use.

Other than that, I've shielded the pickup and control cavities with conductive paint, and screwed in grounding tabs/wires where needed. I've also wired up a harness consisting of three Alpha A500K pots, 3-way toggle switch, K40Y-9 0.033uf tone cap; and Neutrik/Rean NYS229 output jack. Note that genuine Gavitt cloth push-back wire was used throughout. The original output jack plate also needed to be replaced as it was beyond saving; even after a thorough de-rusting.

The AR30 has been strung with Elixir Nanoweb 10s, set up, tuned; and put through its paces with the help of my trusty Fender Champion 40. By the way, here are two YouTube videos of yours truly doing exactly that: Video 1 | Video 2

1983 Ibanez AR30 Restoration | Part Two

Part One | Part Two | Part Three | Part Four

In Part One of this series, we took a look at the early stages of restoration work done on this 1983 Ibanez AR30. We are now at about 30 coats of Tru-Oil, with wetsanding having been carried out after every three coats or so. It has been a laborious process, but well worth the effort. Along the way, the two holes meant for the mini-DPDT switches have been sealed, and a spot finish touch-up carried out. So its now basically neck pup volume, bridge pickup volume, 3-way toggle switch; and master tone. I've decided to conclude the refinishing stage of this restoration here, and allow the Tru-Oil to cure for at least a month before proceeding.

Ibanez Artist AR305AV

Introduction
In my original post, I'd identified this beautiful guitar as an AR300, as the top looked like curly maple to these untrained eyes. However, Wojtek Kalinowski has pointed out that the top is actually Burl Mahogany, as the "wood grain is short and is facing "north" (headstock)." Therefore, this guitar is actually an AR305AV. Many thanks to Wojtek for setting the record straight.  


Specifications
Manufacturer: Terada Musical Instrument Co., Ltd. [Japan]
Date of Manufacture: April 1984
Body: Mahogany / Burl Mahogany Top [Double Cutaway]
Finish: Antique Violin [AV]
Neck: Laminated Rock Maple / Set In / Smooth Heel
Scale Length: 24.75"
Fingerboard: Ebony / Abalone-Pearloid Block Inlays
Frets: 22 / Ibanez Large
Hardware: Gold
Strap Buttons: Dead End
Machine Heads: Velve Tune [Dual Post] Tuners
Pickups: [2] Super 58 Humbuckers
Controls: [2] 500K Volume Pots / [2] 500K Tone Pots
Tone Caps: 0.022uF
Control Knobs: Sure Grip II 
Switching: [1] 3-Way Toggle / [2] Tri-Sound
Bridge: Gibraltar II
Tailpiece: Quik Change II / 'Cloud' Tailpiece Ornament

Noteworthy Features
The Ibanez 'Tri-Sound Coil Selector System' enables each humbucker to function in either humbucking, single coil, or parallel coil mode. When combined with the 3-Way Toggle Switch, this system is capable of producing "15 distinct sounds."

The 3-Way Toggle Switch, Control Cavity and Output Jack are shielded from "induced hum" by "chrome-plated metal shielding" containers. These containers also ensure the "proper grounding of all electrical components."  


References
The Guitar Dater Project - Ibanez Serial Number Decoder
Dating Ibanez Guitars
1980 Ibanez New Artist Series Catalog
1983 Ibanez Roadstar II & Artist Catalog
1983 Ibanez Electric Guitars and Acoustic Guitars Catalog
1985 Ibanez String Instruments Catalog
Ibanez Collectors World
Schematy Elektroniki Gitarowej
Repro Guitar Parts
Noah James Artist Series Page

Pics Section

Ibanez Velve Tune Dual Post Tuners

Ebony Fretboard/Abalone-Pearloid Inlays

Set In Neck/Smooth Heel/Dead End Strap Button

Super 58 Neck Humbucker

Super 58 Bridge Humbucker

Underside of Super 58 Bridge Humbucker

Gibraltar II Bridge

Quik Change II Tailpiece

Sure Grip II Knobs/Tri-Sound Switches

3-Way Toggle Switch/Metal Canister Shielding

Output Jack/Metal Canister Shielding

Control Cavity Cover

Control Cavity Metal Shielding Box

Control Cavity

Volume and Tone Pots

Tri-Sound Selector Switches