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Aria Pro II Les Paul Copy LS & LC 1976 to 1981 Identification
Identification of Aria Pro II Les Paul Standard and Custom copies made between 1976 and 1981 can be tricky and is often a discussion point in forums and Facebook groups. Despite most other Aria Pro II models being identifiable through period catalogs, the descriptions and illustrations for LS and LC LPs in catalogs are not perfect, and don’t necessarily cover all known details and changes over time. Nonetheless, the relative volume of surviving examples, combined with some of what the period literature can tell us, have been used to create an identification guide. The First Draft has been superseded by subsequent Versions 1.1 and 1.2, with approximately 20 small edits and updates.
Special thanks to Rising Sun Vintage Guitars ( https://reverb.com/ca/shop/rising-sun-vintage-guitars ) for the hands on experience with multiple LS and LC models and being the source for many great pictures in the poster, and who has also volunteered to keep an eye on revisions and edits as research evolves.
The LS and LC identification guide is presented in poster format with all relevant summary discussion included. Click the button below to open the poster in a new tab for viewing or downloading, or keep reading to run through the basics and some insights based on serial numbers.
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There’s no easy way to summarize the identification challenge for LS and LC models, but the following basic dating chart and basic description points are a place to start.
LS & LC Dates Available Based on Catalogs, Advertisements, and Serial Numbers
This basic charting shows the total number of models available by year as 1976=5, 1977=15, 1978=14, 1979=7 or 8, 1980=8, and 1981=6, so 1977 and 1978 were the peak years for model choice. All of the high model numbers, LS-900 to 1800 and LC-850 to 1200, were however low production volume compared to others, so availability of these was limited. The LC-700 is also quite rare. More discussion is provided further below regarding serial number insights and production volume.
LS Quick ID Summary
S = Standard, body top binding, no headstock binding, white plastics, 9 trapezoid fret inlays, volute ‘76 to mid ‘80, no volute mid ‘80 to ‘81
Hardware Finish – all models are chrome
Fret Nibs – no nibs for 400-600 (up to early ’78 per 600); nibs for 700-1500 & post mid ’78 for 600
TRC screws – dominantly 3 plus a few 2 for 400-700; 2 for 800-100
Knobs – dominantly gold top hat plus a few gold speed & black witch hat for 400-700; gold top hat on 800-1800
Neck – diverse maple & mahogany mix for 400-1000, 430 is bolt on nato, mahogany for 1500-1800
Fretboard – all models rosewood, plus some ebony for 600 in 80/81
Tuners – plain offset seen only on 400-450; very diverse mix otherwise
Pickups – very diverse mix; DiMarzio options in 500-1500
Pickup covers – generally yes on lower numbers and generally no on mid-higher numbers, but exceptions occur
Headstocks – 3 types of top edge, 3 types of TRC shape, 2 TRC versions with text (Aria Pro II STANDARD, or Standard) or blank, 2 versions of centre design (‘Leopard MODEL’ & ‘PRO II’) or blank
Wiring – PCB used in some 450-700 ’76-‘79
Flame Tops – 2 piece veneer on some 450 & 800, 1 piece on some 500 & 600
LC Quick ID Summary
C = Custom, body top & bottom & headstock binding & purfling, black plastics, 10 block fret inlays, volute ‘76 to mid ‘80, no volute mid ‘80 to ‘81
Hardware Finish – dominantly gold with some chrome
Fret Nibs – no nibs for 500/550 (& 600 VS early ’78), yes for 600-1200
TRC screws – dominantly 2 plus some 3 on 500-600 & 750
Knobs – dominantly black witch hat plus others in low model numbers & mix in 800
Neck – maple & mahogany for 500-550, maple for 600-1200
Fretboard – rosewood & ebony for 500 & 600, rosewood for 550 & 700, ebony for 750-1200
Tuners – MG-35 seen only on 500-600; very diverse mix otherwise, and no Kluson copies
Pickups – very diverse mix; DiMarzio options in 600, 700, 800, 1000, 1200
Pickup covers – generally yes but mixed exceptions, no on 1000-1200
Headstocks – 3 types of top edge, 3 types of TRC shape, 3 TRC versions with text ('Aria Pro II CUSTOM', 'Custom', 'CUSTOM') or blank, 3 versions of centre design (Gibson style diamond & double arrowhead & ‘PRO II’)
Wiring – PCB used in some 500 & 550 ’76-‘79
Flame Tops – 1 piece veneer on some 500
Serial Number Discoveries
During production and research for the detailed identification poster, an effort was made to collect and chart serial numbers. The first important point to note is that set neck models from 1976 to early 1978 do not consistently have headstock stamped numbers. This conclusion is based on feature and finish matches to catalog information, or in other words there is no evidence that missing serial number examples are from newer dates (see more discussion re 1979 below). As a result, it is difficult to make conclusions regarding production volume for this early time span. In hindsight, a simple tallying of ‘no serial number’ examples would have been helpful for comparison to found numbers. Charted below are the results of approximately 300 collected 6 digit numbers by month, plus neckplate and 5 number variant counts by year. This is the first cut analysis that shows a few key points.
Consistent use of serial numbers begins in May 1978. The number of found examples suggests that more LS were produced than LC. The approximate ratio is a bit under 3:1 for LS:LC. Peak LC production seems to have been in 1978 and peak LS production was in 1980. A very obvious span of March to November 1979 has no serial numbers and is thus assumed to have been a period of no production. This span is not assumed to represent examples found with no serials. Features from 1979 catalog cross-referencing do not match examples with no serials. Likewise, features from the early month examples of 1979 and end of ‘79 into 1980, that do have serials, also do not match. Adding both LS and LC together by year shows 1981 being roughly half of 1978 and 1978 being roughly two thirds of 1980, with 1980 being roughly 35% of all years combined. The highest yearly total is thus 1980, notwithstanding the unknowns related to the early lack of serial numbers. If 1980 was the largest production year, the exact reasons are unknown. It is known of course that in-house unique design models were otherwise increasing every year. Tastes were evolving in the guitar market, and even more new in-house designs were introduced in subsequent years based on these changes. Sales data might help tell part of the story. Other than anecdotal interviews with former staff saying in-house designs sold very well, we don’t have hard data to look at and compare.
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