我们在此简短历史系列中介绍的大多数品牌都将能够以某种方式追溯到美国或欧洲，但是从一开始，Ibanez就有所不同。伊巴内斯is probably the most famous of the Japanese guitar brands, and with its origins as the musical instrument importing division of a book shop chain, it’s perhaps not surprising that the company has always done things a little differently to its rivals both in Japan and elsewhere, and forward-thinking with it. But first let’s head back to that humble bookstore chain.
非常规的起源
Ibanez的故事始于日本人口大多数城市的Nagoya，也是其主要贸易港口之一。Also based in Nagoya was Hoshino Shoten, a bookstore chain that – due to the increased demand for Western instruments as a result of the Westernisation of Japan in the late 19th and early 20th century – established a musical instrument division, Hoshino Gakki (‘gakki’ means ‘musical instrument’ in Japanese), to import high-end classical guitars to the country.
从1920年代后期开始，Hoshino Gakki开始进口由传奇的西班牙大师Luthier制作的乐器，名叫Salvador Ibanez。现在，Hoshino Gakki并不是唯一一家进口Ibanez乐器的公司 - 其他几个工具，最著名的是Yamaha，但在1930年代，Hoshino Gakki做了一些可以将两个名称永远绑在一起的事情。
1935年，Hoshino Gakki的Bods决定，他们将不仅仅是从西班牙进口乐器，而是开始在日本制作自己的吉他，并为了纪念Luthier大师的吉他，后者启发了这些乐器（并且在愤世嫉俗的情况下，也可能是因为他的善良reputation) , they were branded ‘Ibanez Salvador’, which then was shortened to simply Ibanez.
怪异，奇妙，副本
The modern story of Ibanez guitars really begins in 1957 when the youth of Japan, like the rest of the world, started to get bitten by the rock ‘n’ roll bug, and as a result the brand began selling weird and wonderful oddly-shaped instruments that were produced by instrument makers in Japan including Teisco, FujiGen Gakki, Guyatone and in its own Tama factory.
然而，到1960年代中期，与许多日本吉他品牌一样，伊巴内斯已经习惯了生产非常非常紧密的副本的著名美国制造乐器的习惯，这些乐器为吉布森（Gibson）的流行音乐爆炸提供了动力，Fender和Gretsch。
Nowadays, the issue of copyright and intellectual property is such that lawsuits between brands over body shapes are depressingly commonplace but in this era things were a lot more wild west (Gibson didn’t even bother to try to trademark many of its classic shapes until the 1990s) and so while brands like Ibanez were just producing instruments for the Asian and Australasian markets, through lack of concern or just ignorance, it seemed the big US brands were content to leave them alone.
然而，在十年之内，这将发生巨大变化。
诉讼时代
It’s not an understatement to say that by the late 60s and early 70s, the shine had come off the US guitar industry – the CBS era at Fender and the Norlin era at Gibson coincided with widespread cost-cutting that saw a gradual but undeniable decline in build quality, while companies such as Martin were so back-ordered thanks to the folk boom and insufficient capacity at their factory that the waiting list for a new guitar was三年。
正是这种情况的结果是，美国精品吉他行业将诞生 - 较小的Luthiers意识到，他们可以生产出比该时代大量生产的吉他更好的乐器，并且工作的音乐家准备好支付更多以确保可靠性。
这些琴师之一是一个名叫Harry Rosenbloom的人，他在宾夕法尼亚州布莱恩·莫尔（Bryn Mawr）跑了混合音乐，并在60年代开始在品牌Elger Guitars下建立自己的乐器。但是在1965年，罗森布鲁姆（Rosenbloom）完全改变了大头钉，做了一些可以永远改变美国吉他行业的事情 - 他停止自己制作吉他，成为美国伊巴内斯吉他的独家发行人，然后在1972年，霍西诺·加基（Hosino Gakki）和埃尔格（Elger）开始了伙伴关系，以进口伊巴内斯（Ibanez）吉他去美国。
当他们只是在日本时，伊巴内斯，格雷族，托卡，本田，伊莱克特拉和许多其他许多人都在生产高质量的美国乐器的品牌没有太多关注。但是现在，这些工具开始淹没美国市场，在许多情况下，以70年代吉布森或挡泥板的价格为一小部分提供了卓越的制造质量和声音。
The tipping point guitar, as it happens, was an Ibanez – the Super Standard was a very close take on a Les Paul and in 1977 Norlin decided it had seen enough, filing a lawsuit against Elger/Hoshino in Pennsylvania, alleging improper use of Gibson’s headstock shape and logo.
Hoshino将于1978年在法庭上解决该诉讼，对其主库和其他徽标进行了更改，并开始专注于制作自己的独特设计。进口到美国的其他日本品牌很快效仿和回顾性的“诉讼时代”已经结束。
然而，对于伊巴内斯来说，这种质量和负担能力的声誉 - 伊巴内斯赢得了著名的粉丝，例如《感恩之死的鲍勃·威尔》和《吻的保罗·斯坦利》，再加上新发现的多样化的需求是在未来几年中取得前所未有的成功的秘诀。
大声尖叫
在70年代中期，Hoshino Gakki与Nissin Company达成了一项协议，以生产一些新的效果踏板，这些踏板开始席卷吉他世界。作为安排的一部分，Nissin将为Ibanez设计和生产踏板，但也将在其自己的品牌Maxon下释放它们。
在70年代后期，Maxon设计师Susumu Tamura的任务是设计踏板与新老板OD-1竞争，而Tamura这样做将永远改变吉他世界。塔穆拉（Tamura）设计的电路是创新的，并利用运算放大器将其与60年代和70年代初期的基于晶体管的污垢踏板区分开。
由此产生的踏板于1979年到达，并被命名为尖叫声，因为它旨在复制管子的声音被驱动到超速驱动器中。
To put it mildly, the Tube Screamer was a hit – most famously adopted by Stevie Ray Vaughan, it would be a waste of time to try and list every famous guitarist who has relied on the wonderful ‘transparent’ qualities of a TS on their board over the years.
Ironically given Ibanez’s legal troubles in the 70s, it’s no exaggeration to say that no pedal has been more copied than the Tube Screamer, while the company itself has produced several versions, including the OG TS-808, the early 80s TS-9 and 1986’s TS-10. All three versions have their fans (John Mayer is a notable lover of the ‘unfashionable’ TS-10) but the 808 and 9 Series are the most popular.
准备好摇滚
在70年代，伊巴内斯（Ibanez）因质量和价值而赢得了声誉，但是到80年代初，该品牌被谴责以复制的乐器迅速失败了，因为切碎时代看到了对高性能岩石轴的爆炸式增长，而这一爆炸是对高性能的岩石轴的爆炸。满足了新一代技术参与者的严格期望。
伊巴内斯·多夫（Ibanez Dove）首先进入了碎片繁荣，采用了“超音速”概念，即加利福尼亚的精品式琴师，例如韦恩·夏维尔（Wayne Charvel），格罗弗·杰克逊（Grover Jackson）和加里·克莱默（Gary Kramer），伊巴内斯（Ibanez）开始创建自己的双重模型。
第一个伊巴内斯（Ibanez）切碎的斧头是Roadstar和Saber，最终会变成今天仍然存在的RG和S系列吉他。伊巴内兹（Ibanez）凭借可碎裂的脖子，高输出矮人的脖子，高输出的矮胖器，深色的可爱和锁定颤音系统等预约，很快就成为了大小碎片的最受欢迎的品牌之一。
这个时代还看到伊巴内斯（Ibanez）开始将其脚趾浸入签名乐器的世界中，但是他们在当时的大多数品牌方面略有不同 - 而不是让艺术家将现有模型示为他们的口味，而是给他们的签名艺术家提供了一位空白的画布将他们最疯狂的想法放在上面。
这是一种与艾伦·霍尔兹沃思（Allan Holdsworth）和瑞贝海滩（Reb Beach）等人一起取得果实的方法，但也许以三片巨人乔·萨特里亚尼（Joe Satriani），史蒂夫·瓦伊（Steve Vai）和保罗·吉尔伯特（Paul Gilbert）达到了顶峰。Satch的JS系列已有30年来一直是Ibanez目录中最一致的部分之一，而Gilbert的PGM，Fireman和Mikro是该品牌最非常规的吉他。
It’s with Vai however that Ibanez’s most famous signature instruments have been created – from the game-changing seven-string Universe to the iconic JEM, to the bizarre triple-necked Hydra created for him in 2020, rarely has a brand and artist seemed to be more on the same wavelength as Ibanez and Steve Vai.
NU视野
碰巧的是，Vai将有一个关键，即使是无意的话，可以在1990年代的成功和重塑中发挥作用。Seven-string instruments had been around for decades, but in the early 90s when guitarists Munky and Head were looking for a way to make the riffs of their band’s riffs sound deeper, darker and more foreboding, Munky remembered his idol Steve Vai using a seven-string guitar in the 80s, and so the pair invested in seven-string Ibanez Universe instruments ahead of the recording of Korn’s seminal self-titled debut in 1994 – the sound of nu metal was born, and for the first time ever the seven-string guitar went mainstream.
不久之后，每个想成为NU金属乐队的吉他手都想接触七弦，而传统品牌则争夺行动。但是，伊巴内斯（Ibanez）领先于比赛，因此，从林肯公园（Linkin Park）到斯坦德（Staind）到li行的每个人都使用了该品牌的七弦乐器，而Head和Munky则在2001年以自己的K7 Signature Models感到荣幸，这也就不足为奇了。
新一代
Since the 90s Ibanez has been a brand heavily associated with metal, and despite the brand’s attempts to branch out from that – the Talman and Roadcore instruments being notable instruments that have been mild hits in that vein – it’s a reputation that has stood the brand in good stead as the explosion of social media has seen an explosion of technical metal over the last decade, with everyone from Tosin Abasi and Yvette Young to Mårten Hagström and Tim Henson all creating signature models with the brand.
伊巴内斯（Ibanez）刚开始制作自己的吉他一个多世纪后，赢得了声誉，为处于可能的吉他手的吉他手创造了创新和边界的乐器。
