In ’78, following the out-of-court agreement with Gibson, Ibanez presented several new collections of instruments, such as the elegant Artist sequence, which presented neck-through development and innovative effective gadgets, extremely motivated by Alembic and B.C. Wealthy, both well-known at enough time. Ever aggressive, Aria Pro II followed fit with its own edition, the new Rev-Sound sequence in 1979. Presenting neck-through development and identical effective gadgets, the Rev-Sounds took on much more of a Strat-style form, with a customized Strat-ish type of go. Not yet a Superstrat, but one phase nearer.
These beginning Rev-Sounds were changed by a svelter sequence of bolt-neck Revs in ’82 or ’83, most still with exciting collection concepts. The Esprit, for example, was effective with three single-coils, but the center collection was a phony, enabling a variety of out-of-phase appears to be. The Traditional also seemed like three single-coils, but the center was actually a double-coil collection. These second-generation Rev-Sounds would later become the Cat sequence and signify Aria in the Superstrat sweeps.
In ’78, Carvin, which had been mainly in a Gibson method for most of the ’70s, started creating its own systems and neck again, and sticking them together. In ’79, Level Kiesel developed Carvin’s first Strat-style instrument with balanced out sharp cutaways. This instrument came out in ’80 and would core the Carvin range for most of the several years. Another stone in the walls.