Here is a bit of information I found while searching for information about my Aria (Ariana) A570 Classical Guitar, which you Aria owners may find beneficial. By the way, I still don't the actual age of mine. In the mid 70's, serial numbers began to be used. At least for Aria guitars, made by Matsumoku, the serial number contains the year of manufacture in the first 2 digits, thus a guitar from 1979 would have a serial number, such as 79####. The manufacturing of Aria guitars were subcontracted out to Matsumoku from 1964 to 1986. Rumor has it, although I can't find confirmation, that the Indonesian factory was thought to be to be an Indonesian 'slave' factory).
If anyone has information on the age of the A570, I'd appreciate it. My A570 sounds better than my Yahama C70. Related Instruments. I just acquired a Mdl.
# 00144 and if yours is anything like mine its well worth fixing. Use only a reputable luthier(for the bridge to'fall' off typically means that it got heated to 150 degrees F. Or more which is the melting point of horse hide glue which all quality guitar bridges are held on with)and if you're lucky no strands of top woodsound board came with it. If bits of grain did tear off with it, the ultimate way of restoring it is to replace themno voids because you want 100% contact of bridge to topwith grain strands on the bottom of your bridge you might be able to stick it right back where it was because this is the source of the guitar's tone) as these instruments deserve it. Best of luck to you. Greetings, I have an old Aria flamenco guitar with lighter body wood (probably cypress), model A543FS, serial # 00068. It has original friction pegs of rosewood and a solid cedar top.
It looks to be all solid woods. It is a beautiful-sounding guitar. I would like to know the age of this guitar. With a serial # this low, I expect it would have been built in the early 70's or possibly in the 60's. Does anyone have any info on this instrument?
I would reaaly apreciate knowing more! Thanks, Jim Campbell.
Contents. History In 1951, Matsumoku was founded as 'Matsumoto Mokko' ( Matsumoto Woodworking Company) by Mr. It was a family owned woodworking business that specialized in building and.
On the other hand, shortly after the (1939-1945), the had established a Japanese subsidiary, Singer Sewing Machine Company, Japan, and set up production facilities in. Matsumoku Industrial was contracted to build its sewing machine cabinets, and in 1951 Matsumoku became a partially owned subsidiary of Singer, Japan. Matsumoku also built amplifier cabinets and wooden cabinets for audio and television makers. Production. Label in Westone soundhole External image In the early 1960s (or mid-1950s ), Matsumoku began to look into other woodworking markets when several subcontracts of Singer were moved to the Philippines and, as it had on its staff several skilledfinally ventured into guitar and violin production in 1963. Modest, small steel stringed, and violins were built and marketed in the mid-1960s.
However, as other Japanese companies were producing similar instruments, Matsumoku set out to distinguish itself by producing high quality acoustic and electric. Several of Matsumoku's early archtop guitars survive, most owing their basic designs to, and. By the early 1960sMatsumoku had acquired new mills, and specialized presses and began to increase musical instrument production. Combined with its staff of skilled craftsmen, Matsumoku was able to realize the of high quality guitars. However, because it mainly manufactured guitars under contract, the role of Matsumoku was largely unknown outside of Japan's guitar making circles until its name began appearing on neck bolt plates, headstocks, and sound hole labels in the late 1970s. By the early 1970s, Matsumoku had begun using (computer numerical controlled) mills, routers, and lathes, one of the first guitar makers to do so.
Serial Number Idm
This created a significant, allowing the company to rely upon factory automation rather than for rough shaping of components and basic assembly tasks. Even so, 60% of the construction process was still done by hand, including planing, fretting, joining, and assembly. This machine-cut yet hand-worked process offered improved profit margins at lower unit prices and yielded high quality instruments with unique character. Matsumoku produced guitars, or parts of guitars, for, Gakki, Kanda Shokai , , Nippon Gakki , and (parent company of Gibson). American owned Unicord contracted Matsumoku to build most of its and Westbury guitars.
Louis Music Company imported Matsumoku built. Sold Matsumoku-built Skylark guitars through its catalog division. Matsumoku built many early Greco guitars as well as, Vantage, Westbury, Westminster, Cutler, Lyle and Fell. Contracted Matsumoku to build some of its electric guitars and basses from 1979 through 1984 (though Yamaki was the manufacturer for the early Wing series). Though the names above reflect Matsumoku's involvement, many of the names were later sold to other companies, which made completely different guitars in quality and sound. In 1979, Matsumoku began to market its own guitars under the Westone name. Various guitars by Matsumoku.
![]()
Main article: Shiro Arai founded Arai and Company in 1953 as an importer of classical guitars. In 1960, Arai contracted Guyatone to manufacture guitars. At the time, Guyatone was one of Japan's leading musical instrument manufacturers. However, Guyatone could not meet Arai's production requirements, and in 1964, Arai and Company contracted musical instrument manufacturing with Matsumoku. Shiro Arai's early Guyatone produced guitars displayed problems when exported caused by the dryer climates in America: bindings became unglued, backs split, and necks broke just below the headstock. These issues were addressed early on with Matsumoku. The solution was to use wood that had been dried for at least two years, stronger glues with longer clamp times, and one feature that remained throughout Matsumoku's production: the 3 piece maple neck.
Pour plus d'information n'hesitez pas. The relationship between the two companies was both amicable and symbiotic. Aria focused on sales in both domestic and export markets and provided design development.
Matsumoku devoted its energies on engineering and building guitars and other stringed instruments. Throughout its 22-year business relationship, Aria remained Matsumoku's principal client. Matsumoku often preferred using Aria as its business agent, and many of Matsumoku's contracts were written by Aria with Matsumoku stated or implied as sub-contracted manufacturer.
Design engineer Nobuaki Hayashi (currently with Atlansia) became part of Matsumoku's engineering team in the mid-1970s. Hayashi's pseudonym, 'H. Noble', appeared on many of the Aria Pro II instruments he designed.
Aria's guitars that followed showed remarkable design innovation and a definitive move away from Gibson and Fender forms. Hayashi is best known as the designer of the Aria Pro II, SB-1000 bass and the Aria Pro II, PE series guitars.Some of these were made with Maple bodies but higher end had Ash Body models such as the PE1000 with Protomatic pickups and the PE1500 with DiMarzio Pickups. These Ash Bodied Guitars were only produced in extremely small numbers for the domestic market. However most were, maple bodies.
Some Guitars were produced with the Urushi finish and again these were mostly produced for the domestic market, in both red and brown urushi lacquer. The vast majority of these would have Ash Bodies and the export models would be Maple. Arai and Company guitars were briefly labeled Arai, and then switched to the familiar Aria around 1966.
Aria Diamond was a name chosen for its early hollow bodied electric guitars. From 1975 onward, after the arrival of Hayashi, all guitars were labeled Aria Pro II. Aria had two factories that produced guitars besides Matsumoku, one which made classical guitars, and another that made medium grade and specialty guitars. Matsumoku also manufactured drum kits under the Aria name, initially under licence from Remo who had identified a gap in the market for low-cost drum kits in the compact 5-piece 'rock' configuration as innovated by the Rogers PowerTone range in the early 1970s.
Epiphone. 1983 Epiphone Casino, made by Matsumoku Gibson decided to move production to Japan in the early 1970s and chose Aria as its contractor. As a subcontractor to Aria, Matsumoku manufactured most electric Epiphones made in Japan from 1970 through 1986 (a few solid body electrics were made by other Japanese manufacturers and at least one model was made in Taiwan). Models include the solid body ET series (Crestwood) the SC series (Scroll) and the Model 1140 (Flying V) as well as Epiphone's archtop electric guitars:, Riviera, and Emperor. Early Matsumoku made Epiphone archtops and hollow-body basses had four-point bolt on necks.
As production costs of bolt on neck guitars were less, some guitarists regarded them as inferior instruments. However, it was not the neck construction, that was inferior (as described below, many Matsumoku-built necks were of premium quality). Rather, it was the lack of reinforcement in the neck pocket area, which could enable, that area to act like a hinge, causing future problems with high action due to tension on the body's neck pocket from the strings. Collectors of Matsumoku guitars from this period have often solved this problem by fabricating and installing permanent custom neck shims. Set neck archtop guitars followed in late 1975. Specifications on Epiphone archtops changed throughout the Matsumoku era.
Interestingly, Gibson changed the look and sound of Epiphone's best selling archtop, the Casino, when production shifted to Japan. Upon its introduction in 1964, the Casino was a strong seller with rock guitarists, but sales stalled in the late 1960s. Gibson decided to remarket it toward jazz players and changed the tailpiece to one from a Riviera, and the pickups to mini-humbuckers.
The result was a Casino that looked more like a short scale Riviera. The Casino was restored to its 1965 specifications around 1975, about the same time Matsumoku began production of set neck archtops. Back of, CSB-400 showing 3 piece maple neck. Many Matsumoku built guitars, including Epiphone archtops, utilized a 3 piece maple neck with the center section's grain oriented 90 degrees from the side wood. This created a very strong neck not prone to splitting or warping.
An often used variation of this is the 5 piece neck with two thin trim strips of walnut or ebony separating the 3 sections. Matsumoku made many neck-through-body solid body electric guitars and basses, most with 5 piece necks. Matsumoku often utilized the Nisshin Onpa company (who own the brand) as a subcontractor for its pickups.
![]()
Some Maxon pickups have Maxon's 'M' logo stamped on the back. The name Matsumoku appeared on the neck bolt plate of some guitars they built. Early Grecos and some 1980s Aria Pro IIs have Matsumoku on the neck bolt plate. Other neck plates were blank or simply had the word 'Japan' stamped on them. Many Matsumoku set neck guitars and basses have the inspector's hon (name stamp) stamped inside the neck pick-up cavity.
During the Yevethan crisis, Cindel received the so-called tapes from Admiral Drayson, and leaked the story of the only survivor of the Yevethan attack of Polneye. Star wars battle of endor gamenode. [ ] • Tyrant's Test (1996) - According to the official continuity of Star Wars Legends, the character of Cindel Towani went on to appear in Tyrant's Test, the third book of 's Star Wars book series, The Black Fleet Crisis Trilogy. In the novel, set over ten years after The Battle for Endor, Cindel is shown to have grown to become a reporter on. However, an Ewok costume from An Ewok Adventure (opposed to another Ewok costume from Return of the Jedi) and Teek were included in the instructional short.
End of production. 1983 Epiphone Casino, Hon (Name Stamp) 'Kuro' - likely the name of the inspector.
'78' is production number and not year. Gibson restructured after being sold by Norlin and began to move its Epiphone production to other Japanese manufacturers and to Korea. By 1986, the home sewing machine market was in heavy decline and Singer was nearly bankrupt. Matsumoku could not afford to buy itself out of Singer and in 1987, closed down. After Matsumoku ceased operations, Aria continued production of Aria Pro II guitars and basses through its own factories and other manufactures. Some top line and special edition guitars are still manufactured in Japan, however, most Aria guitars are now produced in Korea and China.
Information about Matsumoku's contribution to guitar making is better known now due in large part to the Internet. Matsumoku's products enjoy a strong following among devoted enthusiasts. Notable players of Matsumoku guitars. of, Epiphone ET-270, Aria Pro II Cardinal Series CS-250, Washburn Force 31. of Duran Duran, Aria Pro II SB-1000 bass.
of Metallica, Aria Pro II SB-1000 bass., Electra Model 2281., Aria Pro II PE series guitars (several models). and of played Matsumoku-manufactured in mid-1990s.
of plays a Matsumoku made Westone Spectrum LX among other Westone guitars. Steve Jolicoeur of Zeztor plays a collection of Matsumoku instruments Note: There is often confusion between Matsumoku and Matsumoto. Matsumoto is a town in Japan's Nagano Prefecture, where FujiGen Gakki, Gotoh, and other musical instrument companies have manufacturing plants. Matsumoto Musical Instrument Manufacturers Association is also the name of a musical instrument manufacturing cooperative, headed by Gotoh. References. (Interview).
Matsumoto Guitars, Guitar manufacturers in Matsumoto city (in Japanese).: Junk Guitar Museum. Matsumoto Guitars, Guitar manufacturers in Matsumoto city (in Japanese).: Junk Guitar Museum. In English: 'Sometime between 1946-1951, When he Harayama had been subcontracted with Shinshu Mokko Shinshu Woodworking Company, he and other two persons, Mr. Aoyama and Mr.
Hosokawa, were together making furniture. Tsukada of Shinshu Mokko had often visited there Sakae-machi? for preliminary inspection, and later that place became Matsumoto Mokko. Tsukada had served as a factory director of Shinshu Mokko. He left the company and founded Matsumoto Mokko in Sakae-machi , city. (Matsumoto Mokko was founded in February 1951, and relocated to Minami-Matsumoto in March 1960, and the guitar manufacturing was started in April 1963)'. ^.
In English: ' They FujiGen asked for a cooperation of the wood drying to Tsukada managing director of Matsumoku (later president), and as a result, Matsumoku decided to collaborate on all about the wood including body and neck. At the time, subcontracted work of table making for Singer Sewing Machine had been moved to the Philippines, and Matsumoku was facing the needs to look for other work immediately.
Thus, it was an unexpected good offer in the view point of Matsumoku, he said) It was in 1963.' Retrieved 2017-05-15. Retrieved 2017-05-15. External links Wikimedia Commons has media related to.
(in Japanese).
Aria didn't really keep records, they were a mass produced budget guitar, Made in Japan at first then later in Korea, however in there last few years they made some of there high end signature guitars in the US, they kind of went out of business for awhile but I here there making a comeback, another one is the Danelectro, which is kind of a trip, because they were considered a budget guitar also, but with the influx of cheap Chinese and Korean guitars these days the old defunct names are coming out of the woodwork. And the quality is actually quite good, Aria was actually a very nice guitar but the stigma of it being a Japanese company that copied American manufactures gave it that bad taste in the mouth thing, these days an Asian built copy is completely acceptable. Tell us some more. Upload in Progress.
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Contents. History In 1951, Matsumoku was founded as 'Matsumoto Mokko' ( Matsumoto Woodworking Company) by Mr. It was a family owned woodworking business that specialized in building and. On the other hand, shortly after the (1939-1945), the had established a Japanese subsidiary, Singer Sewing Machine Company, Japan, and set up production facilities in.
Matsumoku Industrial was contracted to build its sewing machine cabinets, and in 1951 Matsumoku became a partially owned subsidiary of Singer, Japan. Matsumoku also built amplifier cabinets and wooden cabinets for audio and television makers. Production.
![]()
Label in Westone soundhole External image In the early 1960s (or mid-1950s ), Matsumoku began to look into other woodworking markets when several subcontracts of Singer were moved to the Philippines and, as it had on its staff several skilledfinally ventured into guitar and violin production in 1963. Modest, small steel stringed, and violins were built and marketed in the mid-1960s.
However, as other Japanese companies were producing similar instruments, Matsumoku set out to distinguish itself by producing high quality acoustic and electric. Several of Matsumoku's early archtop guitars survive, most owing their basic designs to, and. By the early 1960sMatsumoku had acquired new mills, and specialized presses and began to increase musical instrument production. Combined with its staff of skilled craftsmen, Matsumoku was able to realize the of high quality guitars. However, because it mainly manufactured guitars under contract, the role of Matsumoku was largely unknown outside of Japan's guitar making circles until its name began appearing on neck bolt plates, headstocks, and sound hole labels in the late 1970s. By the early 1970s, Matsumoku had begun using (computer numerical controlled) mills, routers, and lathes, one of the first guitar makers to do so.
This created a significant, allowing the company to rely upon factory automation rather than for rough shaping of components and basic assembly tasks. Even so, 60% of the construction process was still done by hand, including planing, fretting, joining, and assembly. This machine-cut yet hand-worked process offered improved profit margins at lower unit prices and yielded high quality instruments with unique character. Matsumoku produced guitars, or parts of guitars, for, Gakki, Kanda Shokai , , Nippon Gakki , and (parent company of Gibson). American owned Unicord contracted Matsumoku to build most of its and Westbury guitars. Louis Music Company imported Matsumoku built. Sold Matsumoku-built Skylark guitars through its catalog division.
Matsumoku built many early Greco guitars as well as, Vantage, Westbury, Westminster, Cutler, Lyle and Fell. Contracted Matsumoku to build some of its electric guitars and basses from 1979 through 1984 (though Yamaki was the manufacturer for the early Wing series). Though the names above reflect Matsumoku's involvement, many of the names were later sold to other companies, which made completely different guitars in quality and sound. In 1979, Matsumoku began to market its own guitars under the Westone name. Various guitars by Matsumoku. Main article: Shiro Arai founded Arai and Company in 1953 as an importer of classical guitars. In 1960, Arai contracted Guyatone to manufacture guitars.
At the time, Guyatone was one of Japan's leading musical instrument manufacturers. However, Guyatone could not meet Arai's production requirements, and in 1964, Arai and Company contracted musical instrument manufacturing with Matsumoku. Shiro Arai's early Guyatone produced guitars displayed problems when exported caused by the dryer climates in America: bindings became unglued, backs split, and necks broke just below the headstock. These issues were addressed early on with Matsumoku. The solution was to use wood that had been dried for at least two years, stronger glues with longer clamp times, and one feature that remained throughout Matsumoku's production: the 3 piece maple neck. The relationship between the two companies was both amicable and symbiotic. Aria focused on sales in both domestic and export markets and provided design development.
Matsumoku devoted its energies on engineering and building guitars and other stringed instruments. Throughout its 22-year business relationship, Aria remained Matsumoku's principal client. Matsumoku often preferred using Aria as its business agent, and many of Matsumoku's contracts were written by Aria with Matsumoku stated or implied as sub-contracted manufacturer. Design engineer Nobuaki Hayashi (currently with Atlansia) became part of Matsumoku's engineering team in the mid-1970s. Hayashi's pseudonym, 'H. Noble', appeared on many of the Aria Pro II instruments he designed. Aria's guitars that followed showed remarkable design innovation and a definitive move away from Gibson and Fender forms.
Hayashi is best known as the designer of the Aria Pro II, SB-1000 bass and the Aria Pro II, PE series guitars.Some of these were made with Maple bodies but higher end had Ash Body models such as the PE1000 with Protomatic pickups and the PE1500 with DiMarzio Pickups. These Ash Bodied Guitars were only produced in extremely small numbers for the domestic market. However most were, maple bodies. Some Guitars were produced with the Urushi finish and again these were mostly produced for the domestic market, in both red and brown urushi lacquer. The vast majority of these would have Ash Bodies and the export models would be Maple. Arai and Company guitars were briefly labeled Arai, and then switched to the familiar Aria around 1966. Aria Diamond was a name chosen for its early hollow bodied electric guitars.
From 1975 onward, after the arrival of Hayashi, all guitars were labeled Aria Pro II. Aria had two factories that produced guitars besides Matsumoku, one which made classical guitars, and another that made medium grade and specialty guitars. Matsumoku also manufactured drum kits under the Aria name, initially under licence from Remo who had identified a gap in the market for low-cost drum kits in the compact 5-piece 'rock' configuration as innovated by the Rogers PowerTone range in the early 1970s. Epiphone. 1983 Epiphone Casino, made by Matsumoku Gibson decided to move production to Japan in the early 1970s and chose Aria as its contractor. As a subcontractor to Aria, Matsumoku manufactured most electric Epiphones made in Japan from 1970 through 1986 (a few solid body electrics were made by other Japanese manufacturers and at least one model was made in Taiwan).
Models include the solid body ET series (Crestwood) the SC series (Scroll) and the Model 1140 (Flying V) as well as Epiphone's archtop electric guitars:, Riviera, and Emperor. Early Matsumoku made Epiphone archtops and hollow-body basses had four-point bolt on necks. As production costs of bolt on neck guitars were less, some guitarists regarded them as inferior instruments. However, it was not the neck construction, that was inferior (as described below, many Matsumoku-built necks were of premium quality). Rather, it was the lack of reinforcement in the neck pocket area, which could enable, that area to act like a hinge, causing future problems with high action due to tension on the body's neck pocket from the strings.
Collectors of Matsumoku guitars from this period have often solved this problem by fabricating and installing permanent custom neck shims. Set neck archtop guitars followed in late 1975. Specifications on Epiphone archtops changed throughout the Matsumoku era. Interestingly, Gibson changed the look and sound of Epiphone's best selling archtop, the Casino, when production shifted to Japan. Upon its introduction in 1964, the Casino was a strong seller with rock guitarists, but sales stalled in the late 1960s. Gibson decided to remarket it toward jazz players and changed the tailpiece to one from a Riviera, and the pickups to mini-humbuckers.
The result was a Casino that looked more like a short scale Riviera. The Casino was restored to its 1965 specifications around 1975, about the same time Matsumoku began production of set neck archtops. Back of, CSB-400 showing 3 piece maple neck.
Many Matsumoku built guitars, including Epiphone archtops, utilized a 3 piece maple neck with the center section's grain oriented 90 degrees from the side wood. This created a very strong neck not prone to splitting or warping. An often used variation of this is the 5 piece neck with two thin trim strips of walnut or ebony separating the 3 sections. Matsumoku made many neck-through-body solid body electric guitars and basses, most with 5 piece necks. Matsumoku often utilized the Nisshin Onpa company (who own the brand) as a subcontractor for its pickups.
Some Maxon pickups have Maxon's 'M' logo stamped on the back. The name Matsumoku appeared on the neck bolt plate of some guitars they built. Early Grecos and some 1980s Aria Pro IIs have Matsumoku on the neck bolt plate. Other neck plates were blank or simply had the word 'Japan' stamped on them. Many Matsumoku set neck guitars and basses have the inspector's hon (name stamp) stamped inside the neck pick-up cavity.
End of production. 1983 Epiphone Casino, Hon (Name Stamp) 'Kuro' - likely the name of the inspector.
'78' is production number and not year. Gibson restructured after being sold by Norlin and began to move its Epiphone production to other Japanese manufacturers and to Korea. By 1986, the home sewing machine market was in heavy decline and Singer was nearly bankrupt.
Matsumoku could not afford to buy itself out of Singer and in 1987, closed down. After Matsumoku ceased operations, Aria continued production of Aria Pro II guitars and basses through its own factories and other manufactures. Some top line and special edition guitars are still manufactured in Japan, however, most Aria guitars are now produced in Korea and China. Information about Matsumoku's contribution to guitar making is better known now due in large part to the Internet.
Matsumoku's products enjoy a strong following among devoted enthusiasts. Notable players of Matsumoku guitars. of, Epiphone ET-270, Aria Pro II Cardinal Series CS-250, Washburn Force 31. of Duran Duran, Aria Pro II SB-1000 bass. of Metallica, Aria Pro II SB-1000 bass., Electra Model 2281., Aria Pro II PE series guitars (several models).
and of played Matsumoku-manufactured in mid-1990s. of plays a Matsumoku made Westone Spectrum LX among other Westone guitars. Steve Jolicoeur of Zeztor plays a collection of Matsumoku instruments Note: There is often confusion between Matsumoku and Matsumoto. Matsumoto is a town in Japan's Nagano Prefecture, where FujiGen Gakki, Gotoh, and other musical instrument companies have manufacturing plants.
Matsumoto Musical Instrument Manufacturers Association is also the name of a musical instrument manufacturing cooperative, headed by Gotoh. References. (Interview). Matsumoto Guitars, Guitar manufacturers in Matsumoto city (in Japanese).: Junk Guitar Museum.
Matsumoto Guitars, Guitar manufacturers in Matsumoto city (in Japanese).: Junk Guitar Museum. In English: 'Sometime between 1946-1951, When he Harayama had been subcontracted with Shinshu Mokko Shinshu Woodworking Company, he and other two persons, Mr. Aoyama and Mr.
Hosokawa, were together making furniture. Tsukada of Shinshu Mokko had often visited there Sakae-machi?
for preliminary inspection, and later that place became Matsumoto Mokko. Tsukada had served as a factory director of Shinshu Mokko. He left the company and founded Matsumoto Mokko in Sakae-machi , city.
(Matsumoto Mokko was founded in February 1951, and relocated to Minami-Matsumoto in March 1960, and the guitar manufacturing was started in April 1963)'. ^. In English: ' They FujiGen asked for a cooperation of the wood drying to Tsukada managing director of Matsumoku (later president), and as a result, Matsumoku decided to collaborate on all about the wood including body and neck. At the time, subcontracted work of table making for Singer Sewing Machine had been moved to the Philippines, and Matsumoku was facing the needs to look for other work immediately. Thus, it was an unexpected good offer in the view point of Matsumoku, he said) It was in 1963.' Retrieved 2017-05-15.
Aria Pro Ii Models
Retrieved 2017-05-15. External links Wikimedia Commons has media related to. (in Japanese).
Hello, Cannot seem to post a new topic so I hope some are still monitoring this old post. I recently acquired a beautiful Aria Pro II FA-70, looks to be a spot on copy of a Gibson L5? Sunburst, dual humbuckers, solid back and top, nice set neck (3-piece, no scarf joint) There is no country of manufactuing on the guitar, PO indicated it was a late 1980s, early 90's date. Serial number is S020512265. I have been to the commonly referenced serial dating page for Arias with no firm answer. My best guess is that it is a Samick/Korea produced model.
Sounds and looks amazing, has a perfect hardshell case. I wanna price it so I don't ask too much for it but in my mind it rivals $1000+ hollowbodies I have played/heard.
Any help would be greatly appreciated.
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