ibanezgitarrero
Ready to RAWK.
Dear Ibanez fans,
I would like to share my MAXXAS collection with you. It comprises all seven available model and color combinations plus, as the icing on the cake, the prototype of the 29-fret MX5BK. It all started out in October 2004 when I got my first MX and the set was finally complete in mid 2011.
In case you are not familiar with the MAXXAS, here is a short portrait.
Here's a group shot of my 7-piece set (one of each series production model) plus the MX5 prototype in the center.
The separate models - my "magnificent seven". The result of a 6 1/2 years long treasure hunt.
MX2FB - Fountain Blue
MX2BP - Black Pearl
MX2RR - Ruby Red (signed by Steve Vai)
MX3FB - Fountain Blue
MX3CR - Cranberry Red
MX3MA - Magma
MX3BH - Black Hole
And last but not least the crown jewel::
MX5BK - handmade prototype built by Saburo Imafuku (Fujigen Gakki, Japan), 29 frets, one humbucker, HQ Tremolo
The design is not everybody's favorite, in other words, few Ibanez models are more divisive. For some the design is too far out and the headstock looks strange; others are fascinated by the pointy-yet-round body shape, the clever construction details and the 80's flair with a hint of space age. As for myself, I am really into these beasts, as you can tell.
I first got aware of the MAXXAS series in the late 1990s when it was already (almost) forgotten and over the years I grew into being a real aficionado.
Here is the catalog literature 1987..1989.
1987 dealer sheet MX2, USA
1987 four-page brochure MX2, USA
1988 dealer sheet MX3, USA
1988 two pages in the EU catalog
1989 four pages in the EU catalog
1989 two pages in the USA catalog
Here is some background information.
MAXXAS - A Division of Ibanez. In the year 1986, a space-age guitar design emerged from the minds and hands of Rich Lasner and his Ibanez custom shop team Mace Bailey and Leon Reddell. It was a MAXXAS prototype that convinced Steve Vai to cooperate with Ibanez - the rest is history. Because of the out-of-the-ordinary design, Ibanez' mother company Hoshino was too afraid that a shape like this would hurt their main brand Ibanez, so they came up with the special name (and the special headstock, too).
The model designations and features are pretty clear as listed above. However, it has never been more difficult to get a clear picture of the color codes - a lot of confusion is out there! There are some fantasy color codes roaming the interwebs, for example "Pearl Red" or "Maroon", but these are not documented in the literature. They appear to be self-made synonyms for the colors listed below and should be avoided. There are also pictures of pastel-like mint green MX guitars on the web, but the assumption is that these are just FB guitars photographed using early digicams, i.e. with poor image sensors or insufficient color fidelity. Here are the actual color codes:
The MX was the very first guitar from Ibanez to feature the All Access Neck Joint (AANJ) with four separate screws and no metal plate. This design was revolutionary and definitely ahead of its time, and it took quite a while until it was introduced on most of the other models, starting from the early 90s. With the MX's deep cutaways, the upper frets are very well reachable and it leads to believe that MAXXAS stands for "Maximum Access" but this is not the case, according to designer Rich Lasner. On MX2 and MX3, the neck is mounted to the body by two regular neck screws and two threaded screws reaching in threaded inserts. Thus, the actual neck heel reaches deep into the body, right under the pickup cavity. This concept was also used on the Vinnie Moore signature guitar, some Artfield models such as the AFD5 and some Saber models in the late 80s.
Besides the biggest difference in construction (solid versus semi-hollow body), tremolo and machine heads equipment, There are some subtle details that set the MX2 apart from the MX3:
So how does it play? The MAXXAS is not your typical Ibanez Superstrat. It's totally different from all other Ibanez guitars I have when it comes to overall feel and sound. Somehow, you can scent that the quality is top-notch and whoever made the guitar has put some extra love and care into it. Along with the Artfield series, I would call the MAXXAS line both high-end yet experimental. Ibanez created a radical new body design which both features pointy horns - very popular in the mid to late 80s - and amorous curves at the same time. Thanks to the long upper horn, the optimal balance could be preserved. Both strap buttons are mounted to the back side due to the body's thinness. Speaking of thinness - note the MAXXAS neck profile must be the thinnest Wizard ever. But for some reason, the MX series was not very popular and did not sell well. It was introduced in 1987 but clouded heavily by the great success of the JEM, the revamped RG and all three of the new Roadstar Pro designs that made their debut in the same year. In 1988, the EDGE-equipped MX2 was already gone, and 1989 only one MX3 model was still featured in the catalog.
Today, we can look back on an important piece of Ibanez history and when we pick up an MX, we can either shred away on the in-your-face Mahogany rock axe MX2, or enjoy the light-weight feel and unique tone of the MX3 with its quick attack and great sustain.
Well guys - that's it from my side. What do you think? Does anyone else here on ss.org happen to own a MAXXAS?
I would like to share my MAXXAS collection with you. It comprises all seven available model and color combinations plus, as the icing on the cake, the prototype of the 29-fret MX5BK. It all started out in October 2004 when I got my first MX and the set was finally complete in mid 2011.
In case you are not familiar with the MAXXAS, here is a short portrait.
- designed by Rich Lasner (later also Yamaha, Modulus, Peavey, Line 6 and currently Vox)
- marketed 1987 thru 1989
- four models in the catalogs:
--> MX2 --> massive Honduran Mahogany body, Maple/Rosewood neck with 22 frets, HH pickups IBZ USA by DiMarzio, Ibanez EDGE with Top-Lok III and BackStop system; full series production in three colors FB, BP and RR
--> MX3 --> semi-hollow Honduran Mahogany body, Maple/Rosewood neck with 22 frets, HH pickups IBZ USA by DiMarzio, Ibanez/Gotoh HQ Tremolo with Gotoh Magnum Lock tuners and graphite nut; full series production in four colors FB, CR, MA and BH
--> MX4 --> semi-hollow Maple body, Maple/Rosewood neck with elongated 29 fretboard and oval inlays, one bridge humbucker, fixed bridge; only prototype stage (none ever proven to exist in real life outside the catalogs)
--> MX5 --> semi-hollow Maple body, Maple/Rosewood neck with elongated 29 fretboard and oval inlays, one bridge humbucker, Ibanez/Gotoh HQ Tremolo with Gotoh Magnum Lock Tuners and graphite nut; two prototypes exist, SB and BK - unique headstock shape with MAXXAS logo and subscript "A Division of Ibanez"
- a custom built MAXXAS with snakeskin finish caught Steve Vai's attention in 1986, led to a cooperation with Ibanez and eventually to the creation of the JEM
Here's a group shot of my 7-piece set (one of each series production model) plus the MX5 prototype in the center.
The separate models - my "magnificent seven". The result of a 6 1/2 years long treasure hunt.
MX2FB - Fountain Blue
MX2BP - Black Pearl
MX2RR - Ruby Red (signed by Steve Vai)
MX3FB - Fountain Blue
MX3CR - Cranberry Red
MX3MA - Magma
MX3BH - Black Hole
And last but not least the crown jewel::
MX5BK - handmade prototype built by Saburo Imafuku (Fujigen Gakki, Japan), 29 frets, one humbucker, HQ Tremolo
The design is not everybody's favorite, in other words, few Ibanez models are more divisive. For some the design is too far out and the headstock looks strange; others are fascinated by the pointy-yet-round body shape, the clever construction details and the 80's flair with a hint of space age. As for myself, I am really into these beasts, as you can tell.
I first got aware of the MAXXAS series in the late 1990s when it was already (almost) forgotten and over the years I grew into being a real aficionado.Here is the catalog literature 1987..1989.
1987 dealer sheet MX2, USA
1987 four-page brochure MX2, USA
1988 dealer sheet MX3, USA
1988 two pages in the EU catalog
1989 four pages in the EU catalog
1989 two pages in the USA catalog
Here is some background information.
MAXXAS - A Division of Ibanez. In the year 1986, a space-age guitar design emerged from the minds and hands of Rich Lasner and his Ibanez custom shop team Mace Bailey and Leon Reddell. It was a MAXXAS prototype that convinced Steve Vai to cooperate with Ibanez - the rest is history. Because of the out-of-the-ordinary design, Ibanez' mother company Hoshino was too afraid that a shape like this would hurt their main brand Ibanez, so they came up with the special name (and the special headstock, too).
The model designations and features are pretty clear as listed above. However, it has never been more difficult to get a clear picture of the color codes - a lot of confusion is out there! There are some fantasy color codes roaming the interwebs, for example "Pearl Red" or "Maroon", but these are not documented in the literature. They appear to be self-made synonyms for the colors listed below and should be avoided. There are also pictures of pastel-like mint green MX guitars on the web, but the assumption is that these are just FB guitars photographed using early digicams, i.e. with poor image sensors or insufficient color fidelity. Here are the actual color codes:
- BH = Black Hole. Burst effect finish, green on the outside with dark overspray towards the middle. Green neck finish without burst. Sighted on MX3 and also mentioned for MX3 in the literature (with the typo "Black Hall" instead of "Black Hole").
- BK = Black. High-gloss flat black. Sighted on one single MX5 (prototype) and one single MX3 (Meinl collection, paint prototype?) and mentioned for MX3/MX4/MX5 in the literature.
- BP = Black Pearl. High-gloss black with pearl effect. Sighted on MX2 and mentioned only for MX2 in the literature.
- CR = Cranberry Red. Sighted on MX3 and mentioned for MX3 in the catalog literature.
- FB = Fountain Blue. Blend of ice blue, mint green and light turquoise, with a metallic effect. Sighted on MX2 and MX3, mentioned for MX2 and MX3 in the literature.
- MA = Magma. Burst effect finish, strong red on the outside with dark overspray towards the middle. Red neck finish without burst. Sighted on MX3 and mentioned for MX3 in the literature.
- RR = Ruby Red. Dark, strong red with a metallic effect. Sighted on MX2 and mentioned for MX2 in the literature.
- SB = Silky Blue. Sighted exclusively on one single MX5 (prototype) and mentioned for MX4/MX5 in the literature.
The MX was the very first guitar from Ibanez to feature the All Access Neck Joint (AANJ) with four separate screws and no metal plate. This design was revolutionary and definitely ahead of its time, and it took quite a while until it was introduced on most of the other models, starting from the early 90s. With the MX's deep cutaways, the upper frets are very well reachable and it leads to believe that MAXXAS stands for "Maximum Access" but this is not the case, according to designer Rich Lasner. On MX2 and MX3, the neck is mounted to the body by two regular neck screws and two threaded screws reaching in threaded inserts. Thus, the actual neck heel reaches deep into the body, right under the pickup cavity. This concept was also used on the Vinnie Moore signature guitar, some Artfield models such as the AFD5 and some Saber models in the late 80s.
Besides the biggest difference in construction (solid versus semi-hollow body), tremolo and machine heads equipment, There are some subtle details that set the MX2 apart from the MX3:
- The MX3 has a recessed electronics cover plate with 4 screws, underfilled with foam rubber, while the MX2's plate is not recessed and mounted with 8 screws.
- The MX3 has a rectangular cutout in the spring cavity cover plate for string access to the vibrato block.
- The MX2 has a 1-layer truss rod cover, while the MX3 has a 3-layer cover with a different shape, slighty bigger since there is no cut for the string retainer screws.
- The overall length of the MX2 is about 1/2 cm larger due to its locking nut.
So how does it play? The MAXXAS is not your typical Ibanez Superstrat. It's totally different from all other Ibanez guitars I have when it comes to overall feel and sound. Somehow, you can scent that the quality is top-notch and whoever made the guitar has put some extra love and care into it. Along with the Artfield series, I would call the MAXXAS line both high-end yet experimental. Ibanez created a radical new body design which both features pointy horns - very popular in the mid to late 80s - and amorous curves at the same time. Thanks to the long upper horn, the optimal balance could be preserved. Both strap buttons are mounted to the back side due to the body's thinness. Speaking of thinness - note the MAXXAS neck profile must be the thinnest Wizard ever. But for some reason, the MX series was not very popular and did not sell well. It was introduced in 1987 but clouded heavily by the great success of the JEM, the revamped RG and all three of the new Roadstar Pro designs that made their debut in the same year. In 1988, the EDGE-equipped MX2 was already gone, and 1989 only one MX3 model was still featured in the catalog.
Today, we can look back on an important piece of Ibanez history and when we pick up an MX, we can either shred away on the in-your-face Mahogany rock axe MX2, or enjoy the light-weight feel and unique tone of the MX3 with its quick attack and great sustain.
Well guys - that's it from my side. What do you think? Does anyone else here on ss.org happen to own a MAXXAS?
