TEST: Ibanez RG 550 DY

 There are instruments that polarize, although in the case of the Ibanez RG 550 DY we tested, this description would be a far understatement. Not one who wouldn't fall into sheer ecstasy or severe nausea at the neon yellow paint job. In times when serious eighties sound is still a production-technical no-go, but satirical puppet troupes like Steel Panther, who rip off the attitudes of that decade with their playback/wig show, attract respectable attention from the audience, she remembers Marketing department at Ibanez during the golden decade of guitar heroes. So then, I stole my girlfriend's leggings and went for it.


The concept of the Ibanez RG 550 DY

The eighties are on the rise in the hard rock / metal segment, but whether a Mötley Crüe biography on Netflix, with acting at regional league level, along with a few tribute bands, sets off a similar armada of copyists, such as those found in the 1980s. It remains to be seen whether it is currently in the seventies sound camp. On the other hand, if you're a guitarist looking for the necessary tools, you're always right with the Ibanez RG series.

With the RG 550, which was introduced in 1987 and discontinued in 1992 as a pawn of the grunge fashion wave, one almost inevitably associates the entire world of high gains, sweeping and tapping. The RG series is considered THE incarnation of the Powerstrat alongside its former companions from Jackson, Charvel and Kramer , just that fusion of Strat body lookalike and a sophisticated pickup / hardware arsenal.

The whole thing originally started over 30 years ago, when former and now again Van Halen frontman David Lee Roth secured Zappa pupil Steve Vai as guitarist for his solo band, who worked together with Billy Sheehan on bass and Greg Bissonette on drums hottest metal trio of his time. The guitar/bass parallel on the track “Shyboy” alone must have transformed countless guitar fans into whimpering practice nerds.

Ibanez was the first to recognize the signs of the times and gave Steve Vai a free hand in putting together his dream instrument. He had been desperately searching for a hybrid model for years that would combine the advantages of Stratocaster and Les Paul as intensively as possible in one model, but he always had to resort to saws, glue and chisels himself to get the Stratocaster shape he preferred pimping with more pressure using humbuckers and Floyd Rose vibrato.

The result was the basis of the RG series, which, in addition to Vai-specific Punch and Judy shows such as the Monkey Grip, also had more moderate variants for a wide range of tastes in the warehouse. The success was then unstoppable. The concept of a streamlined version of the Strat, paired with high-output pickups and a neck that was unbeatable in terms of slenderness at the time, hit like a bomb and is still the best-selling horse in the Asian company's stable to this day.


The construction of the Ibanez RG 550 DY

Normally, the cardboard box (unfortunately the Japanese-made instrument does not come with a case or soft case) in which the Ibanez RG 550 DY is delivered should have a sticker that says: “Attention, only open with sunglasses on”. The bright neon yellow, no matter how strong it is in the promotional photos, appears a lot more aggressive in reality. The color name “Desert Sun Yellow” really makes you smile. Once desert sand is this color, you should question your personal LSD consumption.

If all the stage lighting goes out during a live show, no problem, the audience will definitely be able to locate you throughout the hall. As always, I don't give any rating when it comes to the visual coloring, you either like it or you don't, but one thing is for sure, you will definitely stand out with this instrument. By the way, the paint is applied perfectly, you won't find any flaws in the workmanship.

As already mentioned, Ibanez adopted the basic shaping from the original Stratocaster design, including the belly milling and armrest. However, a bevelled version of the neck screw connection has been added, which, in collaboration with extended shaping and far-reaching Curaways, focuses on maximum playing comfort.

When it comes to the choice of wood, we also follow the preferences of Mr. Vai, who pays homage to the lime tree, which tends to be softer when it comes to body wood. The 5-strip neck is once again primarily made of maple (3 strips), which was blocked with 2 thin strips of walnut for stability reasons. In order to protect the very slim neck, which is designed in the “Super Wizard” profile, from the infamous skull base fracture, Ibanez uses a subtle thickening at the transition to the headstock.

Apart from the finish, the overall appearance of the Ibanez RG 550 DY is rather subtle. Simple dot inlays on the maple fingerboard and a solid black hardware area provide a counterpoint in terms of appearance. The tuners come from Gotoh and are not staggered due to the angled headstock.

Apparently the patent on the Floyd Rose vibrato system has now expired, as the “Under License ..” lettering that was embossed for years can no longer be seen on the knife edge system. Instead, the vibrato system, which is still used, among other things. Also incorrectly referred to as a tremolo system by Ibanez, it is now declared as an edge tremolo.

When it comes to pickups, Ibanez relies on an in-house V7 on the neck, an S1 in the middle and a V8 on the bridge. The pickups are said to have been developed in the USA, but unfortunately it was not possible to find out to what extent this was taken over by the house and court supplier DiMarzio. The five-way switch enables the always popular neck serial - neck single coil plus middle PU - middle alone - bridge single coil plus middle PU - bridge serial circuit.

In practice

Even though the majority of readers will probably be familiar with how a free floating vibrato system works, here are the special features of this system, which has many pros and just as many cons. A vibrato system, which works according to the knife edge principle, attempts to minimize the friction that occurs when the string changes pitch, i.e. the tension of the string, by reducing all moving parts during vibration to the two edges on the impact sleeves. This is also the reason why the strings are fixed using a clamp saddle. There should be no friction in the saddle and during a dive bomb the strings should find their way back to the fretboard without getting caught in the saddle. The pitch change can be carried out downwards and upwards and allowed the musician previously unimagined possibilities of expression in his playing. So much for the pros.

On the other hand, there are primarily 3 points that suffer from the free floating system. On the one hand, it is the process of tuning. Due to the clamping saddle, the strings can only be retuned using the bridge's fine tuner, but this always means interaction with the other strings, which means that the tuning process takes many times longer and adjusting the instrument to a different string thickness can take hours.

On the other hand, when the spring chamber is hit hard, it forms a kind of Hall spiral because it always resonates. Appropriate foam can help, but you should make sure that nothing gets stuck. Last but not least, when bending, you have to make sure that the path of the pulled string is significantly longer than on a guitar with a fixed bridge, i.e. you have to change your playing style or you do all the vibrati with the vibrato system.

P.S. It goes without saying that you don't string 013 strings in standard tuning on a knife edge system, but I also had to painfully discover this when the two drive-in sleeves on a Jackson guitar of mine broke out of the body wood due to the extremely high string tension.

In terms of gameplay, however, you get everything you could want from a Powerstrat from the Ibanez RG 550 DY. Due to the moderate weight of just over 3 kilograms, pretty much any musician can wear the instrument around their neck without experiencing the feeling of Bundeswehr marching luggage. Similarly, 90 percent of all guitarists will feel at home on the instrument from the first chords or leads. The concept, which has been tried and tested hundreds of thousands of times, leaves only very marginal scope for personal criticism of handling; too often the instrument has been optimized with regard to its suitability for the masses.

The term “almost plays itself”, which is unfortunately used far too often and to the point of being irrelevant, actually finds good breeding ground with this instrument. The wide yet slim neck with a diameter of 430 mmR and a thickness of 17 - 19 mm has become one of THE features of the RG series since the model was introduced and truly offers comparatively low resistance, from which modern playing techniques in particular benefit. Whenever you leave the alternate picking paths and give preference to ergonomics over the individual touch, the Ibanez RG 550 DY can really shine in its flagship disciplines.

Tappings, sweeps, glides, hammer-ons and pull-offs glide over the fretboard with welcome ease and make many parts easier that sometimes have to be fought for with effort and tears in the land of half baseball bats. In terms of sound, the combination of woods / pickups is a successful mix, which has gained a place in the crowd, especially thanks to its great all-rounder abilities. Important trademarks from the two major guitar worlds Strat / Les Paul were adapted and transferred to the Powerstrats camp with a good dose of independence.


Conclusion

With the Ibanez RG 550 DY, Japan's flagship model for guitar production is based on the decade of the great guitar heroes. With a visually polarizing appearance, the company manages to optimize the points that make up the RG series thanks to the model that has matured over decades.

The instrument's workmanship is of a high standard and detailed solutions have been implemented effectively. It is not for nothing that the RG series has developed into a guide for all-round guitars, even among direct or indirect competitors, which knows how to reveal a maximum of tonal flexibility with ergonomic lines.

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Additional Informations:

In the realm of electric guitars, aesthetics play a pivotal role alongside sonic performance. Among the myriad of design choices available to guitarists, few are as eye-catching and distinctive as neon-colored finishes. In this comprehensive article, we delve into the vibrant world of neon-colored Ibanez guitars, exploring their origins, evolution, and enduring appeal.

**Origins of Neon Finishes**

Neon-colored finishes first gained popularity in the 1980s, a decade characterized by bold fashion trends, technological innovation, and a thriving music scene. Inspired by the exuberance of the era, guitar manufacturers began experimenting with unconventional paint schemes to create instruments that not only sounded great but also looked visually stunning.

Ibanez, a brand known for pushing the boundaries of guitar design, embraced this trend wholeheartedly, introducing a range of neon-colored finishes across their lineup. These vibrant hues, reminiscent of the neon lights that adorned city streets and nightclubs, captured the zeitgeist of the era and appealed to a new generation of guitarists seeking instruments that reflected their individuality and style.

**Evolution of Neon-Colored Ibanez Guitars**

From their inception, neon-colored Ibanez guitars quickly became synonymous with innovation and forward-thinking design. The brand's commitment to quality craftsmanship and attention to detail ensured that these instruments not only looked striking but also delivered exceptional performance on stage and in the studio.

One of the most iconic neon-colored models in Ibanez's lineup is the JEM series, designed in collaboration with legendary guitarist Steve Vai. Featuring bold neon finishes such as "Shockwave Blue" and "Laser Blue," the JEM series pushed the boundaries of guitar design and set a new standard for both aesthetics and playability.

In addition to the JEM series, Ibanez introduced neon finishes across a range of other models, including the RG series, S series, and AZ series. Each model showcased a unique combination of features, from high-output pickups and fast-playing necks to innovative tremolo systems and ergonomic body designs, catering to the diverse needs and preferences of modern guitarists.

**Enduring Appeal and Cultural Impact**

Despite the passage of time, neon-colored Ibanez guitars continue to captivate musicians and collectors alike, thanks to their timeless appeal and iconic status. Whether wielded by virtuosic shredders, progressive metal bands, or indie rockers, these instruments stand out on stage and in music videos, commanding attention with their bold colors and sleek designs.

Moreover, neon-colored Ibanez guitars have left an indelible mark on popular culture, appearing in films, TV shows, and music videos as symbols of creativity, expression, and individuality. Their distinctive aesthetic has become synonymous with the spirit of the 1980s and continues to evoke nostalgia for a bygone era of neon lights and synth-pop anthems.

**Conclusion**

In conclusion, neon-colored Ibanez guitars represent a bold fusion of artistry, innovation, and cultural zeitgeist. From their humble beginnings in the 1980s to their continued popularity in the modern era, these instruments have transcended their status as mere musical tools to become icons of style, expression, and self-discovery.

As guitarists continue to seek instruments that reflect their unique identities and aspirations, neon-colored Ibanez guitars remain a timeless choice, offering a perfect blend of form and function. Whether dazzling audiences on stage or inspiring creativity in the studio, these vibrant instruments continue to shine brightly, reminding us of the enduring power of music and the boundless possibilities of artistic expression.