Anaheim, CA (January 4, 2019) -- Ibanez Guitars recently announced a host of new models for 2019 that will be debuted at the NAMM show. Here are some highlights.
Acoustic
AC150CE
The Artwood series is the embodiment of what might be called the Ibanez “modern approach to tradition.” Cutting-edge woodworking technology enables Ibanez’s luthiers to reproduce the sophisticated bracing techniques of one-of-a-kind instruments of yesteryear. While tradition is obviously the hallmark of the Artwood series, Ibanez’s decades-long search for the ultimate in acoustic tone has contributed to design alterations that give Artwood a voice all its own. The Grand Concert body shape of the AC150CE, along with the solid Sitka Spruce top, delivers player comfort along with an enormous frequency range that offers wave after wave of shimmering highs along with tight mids and a full-bodied low end.
LIST: $599.99
Altstar Line
Ibanez is proud to introduce the Altstar series of acoustic guitars. Modeled in the image of the quintessential Rock & Roll sprit, the AltStar is an acoustic guitar with the soul of its electric cousins, not only visually, but in design as well. The idea was to build an instrument for players who may have just started playing electric guitar, but want to explore the world of acoustics but maintain a familiar feel while doing so. Every Altstar has a Spruce top, Sapele back and sides, and a Maple neck topped with a Laurel fingerboard, combining to generate a bright and present tone. The Altstar also comes equipped with an Ibanez AEQ2UT on-board preamp and an onboard tuner, making it more than capable in a live performance situation.
List: $449.99
Basses
SR500E, SR505E, SR505EL, & SR506
These feature an Okoume body which offers a warm and fat low end. The thin, sturdy and stable Jatoba/Walnut neck offers superior playability when combined with the extended neck joint, making the upper frets easily accessible. These basses are equipped with Bartolini® BH2 pickups in a dual-coil style configuration with a lower resonant frequency, providing a balanced, warm response with a tighter bottom end and a fuller midrange. The Ibanez Custom Electronics 3-band EQ features a 3-way mid-frequency switch, allowing for precise tonal control (250 Hz, 450 Hz, and 700 Hz) and an EQ bypass switch for passive-only operation. When the EQ bypass is activated, the treble tone control knob becomes the global tone control for the passive circuit. The B500 bridge (B505 & B506 on 5 and 6 string) has adjustable saddles for string spacing adjustments, answering every bassist’s individual string spacing demands, no matter the playing style. The saddles can be adjusted +/-1.5mm, and the neck-joint truss rod access allows for quick and easy neck adjustments. The SR Series continues to satisfy the vast needs of bass players, exciting them with the SR’s smooth and fast neck, lightweight body and perfectly matched electronics.
SR500E - List: $866.65
SR505E - List: $933.32
SR505EL (Left Handed) - List: $999.99
SR506 - List: $999.99
Watch the company's video demo:
Gary Willis 20th Anniversary Signature Bass
It has been two decades since Ibanez introduced the first Gary Willis Signature bass, the GWB1, in 1999. We are extremely pleased to introduce the Gary Willis signature anniversary model, the GWB20TH, to celebrate our long and fruitful relationship. The GWB20TH is full of of Gary’s signature details such as a fretless fingerboard, finger ramp and special shaped machine heads. On top of those familiar GWB features, this anniversary model is unique unto itself. The Ash top/Basswood body provides sparkling highs and a well-balanced tone. Additionally, the beautiful TQF (Tequila Sunrise Flat) finish enhances the gorgeous Ash grain.
LIST: $1,599.99
Adam Nitti ANB205 Signature 5-String Bass
Ibanez is proud to introduce Adam’s stunning new signature bass, the ANB205. The ANB205 has a lightweight Swamp Ash body which produces sparkling highs and rich harmonics. The back side of the lower horn has an extra scoop, borrowed from the Ibanez SR’s body shape, which enables easier access to higher fret positions without stress. The Maple neck and fretboard provide crisp, bright highs and strong upper midrange.Adam selected Bartolini 59CBJD pickups for his new signature bass. These “Classic Bass” pickups are passive designs that feature an extended and more resonant frequency range. The pickups have far more “air” and definition at the top end without sacrificing lows and low mids.
LIST: $2,666.65
Electrics
Axion Label RGA61AL-IAF
The new Axion Label series is designed for metal, but offers exciting possibilities for any adventurous players after a next-level axe. Axion Label Guitars feature forward-thinking designs in sound, playability, and looks that take your performances to new heights. Arm yourself with the Axion Label and get ready to break some new ground. The RGA61AL-IAF features a Flamed Maple top with Nyatoh body in a new stunning Indigo Aurora Burst Flat finish, giving the model an otherworldly color scheme. The Macassar Ebony fretboard provides a tight low end with quick response and the extremely rigid, super-thin and ultra-playable Nitro Wizard 5-piece Panga Panga/Walnut neck substantially increases sustain. The Sub-Zero treated frets can stand up against the hardest riffing and string-bending. The luminescent side dot inlays make it easy for players to perform on dark stages and match the dazzling luminescent Ibanez headstock logo. Bare Knuckle Aftermath pickups deliver a bright and wickedly expressive tone, transmitting a quick bottom-end response for picking and fast riffing along with a dynamic midrange and precise high-end articulation. The coil-tap switch unleashes the Aftermath pickup’s full output (for a modern voice) or a lower output signal (for a vintage tone). The Gibraltar Standard II enables the optimal transfer of each string’s vibration. The Gotoh® locking tuners provide tuning accuracy and allow for quick, efficient string changing and the Schaller S-Lock strap lock pins hold a strap securely but make it easy to put the strap on and take off quickly. The RGA61AL-IAF represents a new level performance for the modern guitarist.
LIST: $1,791.10
Watch the company's video demo:
RG5120M Prestige
The Prestige series employs a combination of cutting-edge manufacturing techniques and old-world Japanese craftsmanship. The 2019 Prestige lineup adds something new to attract the contemporary players who are always seeking something new. Develop your range, tone and technique with these new high-performance Prestige guitars. To create guitars that are truly exceptional, Ibanez carefully developed the new modern specifications of the new RG5000 series. This line features Stainless Steel frets for a bright tone, long durability and smoothness, a rigid 5-piece Maple/Wenge neck; a beautiful wood grain fretboard, Made-in-Japan Luminlay side dots and the most cutting-edge pickups.
List: $2,533.32
Watch the company's video demo:
Artcore Vibrante Series
Full of good vibes and vitality, the Artcore Vibrante brings another bold flavor to the long-established Ibanez hollow-body Artcore series. Vivid in both color and tone, the Artcore Vibrante (Spanish for Vibrant) offers a unique take on the typical semi-hollow body image. The AS63 features a standard semi-hollow body construction that generates a a warm, full tone without any feedback. The Ibanez AS63 is the most simplified model the AS series has to offer, bringing the joy of owning a quality semi-hollow guitar to everyone for an amazingly affordable price. The combination of its lively appearance, white dot inlays, and a pearloid pickguard produces a unique visual theme that ties in well with the classic body shape. The AS63 unites function and eye-grabbing looks to offer a great choice for any guitarist.
List: $482.21
Watch the company's video demo:
For more information:
Ibanez
British metal icon and Bring Me The Horizon guitarist Lee Malia has partnered with Jackson to create his signature LM-87, a shred-ready axe built for heavy riffing and alternative modern metal. As a founding member and lead guitarist of the Grammy-nominated band, Malia is renowned for his aggressive playing style and intricate solos. This high-performance guitar matches his demanding musicality.
With its offset Surfcaster™ body shape and vintage appeal, the LM-87 melds classic design with modern appointments. The thin open pore finish on the bound Okoume body and neck exudes organic style, while the unique 3-ply pickguard and chrome hardware add striking accents. The fast D-profile 3- piece okoume neck allows smooth riffing across the bound amaranth fingerboard.
Custom Jackson signature pickups, including a bridge humbucker with push-pull coil-split, equip the LM-87 with versatile tone-shaping options to fulfill Malia's sonic vision. The TOM-style bridge with anchored tailpiece and fine tuners provides rock-solid stability for low tunings and heavy picking.
Designed in close collaboration with the legendary guitarist, the Jackson Lee Malia LM-87 is built for shredding. Its blend of vintage vibe and high-performance features make this signature model a must-have for players who value commanding metal tone and smooth playability.
The Tune-o-matic bridge with an anchored tailpiece and fine tuners offers enhanced tuning stability and precise, incremental adjustments. This setup ensures consistent pitch control, improved sustain, and easier fine-tuning without affecting overall string tension.
The guitar’s three-piece set-neck guitar with graphite reinforcement offers exceptional strength, stability, and resistance to warping. The multi-piece construction enhances sustain and tonal clarity, while the graphite reinforcement adds extra durability and prevents neck shifting due to humidity or temperature changes. This design ensures a solid, reliable performance with improved resonance and longevity.
Features Include:
- Okoume body
- Three-piece okoume set neck construction with graphite reinforcement
- 12"-16" compound radius amaranth fingerboard
- 3-ply pickguard
- Chrome hardware
- Custom wound Jackson LM-87 pickups
- Volume with push-pull coil-split and tone control
- TOM-style bridge with anchored tailpiece and fine tuners
- Gig bag included
The Jackson LM-87 carries a street price of $899.99.
For more information, please visit jacksonguitars.com.
Unleashing the Pro Series Signature Lee Malia LM-87 | Jackson Guitars - YouTube
Jackson Pro Series Signature Lee Malia LM-87 Electric Guitar - Open Pore Black
MXR Rockman X100 Recreates Tom Scholz's Iconic Boston Guitar Sound | First Look
But just as decades of advances in listening technology make the Walkman now seem clunky and dated, modern guitar tech makes the Rockman look like old news. Multi-effects units, modelers, and portable interfaces all surpass the convenience of the Rockman in form factor as well as in sheer number of sonic options. But while there are any number of ways to dial up an ’80s-style guitar tone these days, nothing’s better than the real thing. The Rockman’s analog tones are still as legit as it gets. Though Dunlop continues to produce the Guitar Ace, Metal Ace, and Bass Ace headphone amps (for a cool $99 street), a pedal version with the functionality of the original would be the ultimate modern package for ’80s fetishists, right? Enter the MXR Rockman X100.
With Tones Like These, Who Needs Options
After the release of the original Rockman, Scholz continued to develop the product, spawning a whole line. But for its pedal resurrection, the MXR team set their sights on the Rockman X100, which used hard-clipping LED diodes for its two distorted settings. The new stompbox version recreates all four modes from the original: cln2 is the default setting, cln1 in the second position is EQ’d with a mid-boost, edge delivers moderate clipping, and dist is high-gain. All are switchable via a small LED-lit mode button, and a control input allows for external mode switching. Another button activates an analog chorus circuit using MN3007 bucket brigade chips, as in the original.
To drive home the ’80s aesthetic, MXR used sliders for volume and input gain controls. Volume determines output, while input gain is tied to compression. Higher input gain means more compression, which is tuned for slower release on the two clean modes, and a fast release on both dirty modes. The X100 works in both mono and stereo, but to change between them, you have to pop off the back to access an internal switch. Just make sure a TRS cable is used for stereo mode, or else the output will be muted while the pedal is bypassed.
The only things I noticed that are missing from the original’s simple set of features is the headphone output and the echo settings. I don’t know how many players would find value in the headphone jack, and considering that would add circuitry, it’s probably best for cost and space savings that it was excluded. As for the echo, you can argue that it’s canon, but I find it to be the least essential feature and don’t miss it, personally.
(Much) More Than a Feeling
Since I do not have an original Scholz X100 sitting on my desk, I’m using YouTube videos and records—Def Leppard’s Hysteria, Huey Lewis and the News’ Sports, and Joe Satriani’s Surfing with the Alien, for example—as my reference points. Those are high bars to clear, and the MXR gets there.
The default cln2 setting delivers instant gratification, with a full-bodied, sparkly tone, no matter what guitar I played through it. And though it provides loads of ’80s fun, it’s much more versatile than that, offering a great all-round clean tone that requires no additional processing. Though it might seem odd that cln2 is the default, switching to cln1’s thinner, more mid-focused sound makes the design decision clear. I can imagine situations where I’d need to cut through a mix and cln1 would be preferred, but I found myself sticking with the default mode for all my clean needs.
The distorted modes are differentiated mostly by how much gain they offer. Edge tones live just beyond the point of overdrive, and the input gain control adds a range of extra texture. The dist mode is full-on, pick-squeal-inducing high-gain saturation, with loads of everlasting sustain. These modes lean into the aesthetic much harder than the clean modes, making it a less versatile tool, but for ’80s rock excess, I can’t imagine a better option.
On a couple recording sessions, I plugged the X100 right into an interface and board to deliver spanky direct clean tones as well as tight, saturated distortion. In doing so, I discovered that direct recording is my preferred use for the X100. That’s not to say it doesn’t sound great through an amp—it does. But plugging into a front end of an amp yields less classic and authentic Rockman sounds, as the amplifier’s preamp colors the tone. Plugged through a few Fenders, I found that the treble needed taming, a problem I didn’t have when forgoing the amp. For live playing, I might explore plugging the X100 into the return input on an amp’s effects loop or right into a powered speaker to deliver an unadulterated Rockman sound more in line with the original.
The Verdict
MXR nailed it with the Rockman X100 pedal by focusing on the limited options of the original unit and getting them just right. For $229, you not only get a great ’80s rock tone, you get what is arguably the ’80s rock tone, with no other gear required, unless you want to add a little ’80s-vintage reverb too. As a performance tool, it’s probably best to think less like you’re using a pedal and more like you’re using the original in a different form, which is to say that plugging straight into an amp isn’t the only way to get the sound you want—and, in fact, it’s probably not even the best way. For recording, it’s a perfect tool. PG
My Morning Jacket’s Is, their 10th album, released on March 21, and as we reported in our feature on the band in our May print issue, it showcased a band exercising their classic strengths as well as newfound vision and curiosity. Helmed by superstar producer Brendan O’Brien, Is finds MMJ at their anthemic, psychedelic best.
We caught up with Carl Broemel for a Rig Rundown back in 2015, but on this year’s tour, PG’s John Bohlinger checked in with all three axemen—Jim James, Broemel, and bassist Tom Blankenship—to hear about their road rigs. In Broemel’s estimation, they’re lazy—they just like to bring everything.
Brought to you by D’Addario.
Three's a Crowd
This gorgeous Gibson Jimi Hendrix 1967 SG Custom, aged by Murphy Labs, initially had three humbuckers, but James kept hitting his pick on the middle pickup, so it got the yank—as did the hefty bridge and Maestro Vibrola system, which were replaced with a simple stopbar tailpiece.
Mirror Image
James picked up this 1998 Gibson Flying V right around when My Morning Jacket got started. He traced and ordered the flashy mirror pickguard himself. It’s got Gibson pickups, though James isn’t sure of the models.
Jim James' Jimmy
James plucked this one-of-a-kind from Scott Baxendale’s collection of restored vintage guitars. He guesses it’s either an old Kay or Harmony guitar, but the decorations, including the custom plastic headstock plaque, make exact identification difficult. But it was clear this one was meant for James, since it has his name on it.
Elsewhere backstage is James’ Epiphone Jim James ES-335, a custom shop Fender Telecaster and Strat, a 1967 Gretsch Chet Atkins Country Gentleman, and a Gibson Barney Kessel.
Make Love, Not War
James loves repurposing old military equipment for creative, peaceful purposes, which is how this old radar system came to be a part of his live amplification kit. Along with the old tech, James runs two 3 Monkeys Orangutan heads through a 3 Monkeys cab.
Jim James' Pedalboard
James’ board is built around a pair of GigRig QuarterMaster switching systems, which lets him navigate the stomps you see here: a Devi Ever US Fuzz, Boss BD-2w, SoloDallas Schaffer Boost, Boss OC-2, EarthQuaker Devices Spatial Delivery, Strymon blueSky, EQD Ghost Echo, Malekko Spring Chicken, ISP Deci-Mate, Electro-Harmonix Mel9, UA Starlight Echo Station, and UA Astra Modulation Machine. A D’Addario Chromatic Pedal Tuner duo keep things on pitch, a Strymon Zuma and Ojai pair handle the power, and a Radial SGI-44 line driver maintains clarity.
Arts and Crafts Night
One night while a bit tipsy, Broemel took out his paint pens and set to work on this Gibson Les Paul Standard Faded, resulting in this masterpiece. He also removed the pickup selector switch; even though the neck pickup remains, it never gets used.
Relic By Broemel
This 1988 Les Paul Standard predates the band, and Broemel has given it its aged finish over the years—on one occasion, it fell out of a truck. It’s been treated to a Seymour Duncan pickup upgrade and occasional refrets when required.
Carl's Creston
This Creston Lea offset has two Novak lipstick pickups in the neck, with a switch to engage just one or both, plus a low-end roll-off control. It’s finished in the same blue-black color as Broemel’s house and sports a basil leaf on the headstock in tribute to Broemel’s son, Basil.
Also in the wardrobe are a shiny new Duesenberg tuned to open G, and a custom shop Fender Telecaster with a fattened neck and Bigsby to swing it closer to Broemel’s beloved LPs.
Milk Route
Broemel routes his GFI Ultra pedal steel, which is tuned to E9, through a board which includes a Milkman The Amp, which is projected through the speaker of a Fender Princeton Reissue combo. Operated with another GigRig QuarterMaster, the board also includes an Eventide H9, Moog MF Delay, Fender The Pelt, MXR Phase 90, EHX Nano POG, Xotic Effects EP Booster, Source Audio C4, and a Peterson StroboStomp HD.
Side-Carr
This time out, Broemel is running two Carr Slant 6V heads in stereo.
Carl Broemel's Pedalboard
Broemel commissioned XAct Tone Solutions to build this double-decker board, which depends on a GigRig G3S switching system. From top to bottom (literally), it includes a Boss TU-3, Durham Electronics Sex Drive, JAM Pedals Tubedreamer, Source Audio Spectrum, JAM Retrovibe, MXR Phase 100, Fender The Pelt, Origin Effects SlideRIG, 29 Pedals EUNA, two Eventide H9s, Kingsley Harlot V3, JAM Delay Llama, Merix LVX, Hologram Chroma Console, and EHX POGIII. A wah and Mission Engineering expression pedal sit on the left side, while a Lehle volume pedal and Gamechanger Audio Plus hold down the right edge.
Utility units include two SGI TX interfaces, two Strymon Ojais and a Strymon Zuma, and a Cioks Crux.
More From the Creston Crew
Blankenship, too, has brought along a few guitars from Lea, including these Precision-bass and Jazz-bass models. The dark-sparkle P-style rocks with GHS flatwound strings, while the natural-finish J-style has roundwounds.
Emperor's New Groove
Blankenship just got these brand-new Emperor cabinets, through which he cranks his Mesa Boogie WD-800 Subway heads.
Tom Blankenship’s Pedalboard
Like James, Blankenship uses a GigRig QuarterMaster to jump between his effects. After his Boss TU-3, that includes an Origin Effects Cali76, DigiTech Whammy Ricochet, Pepers’ Pedals Humongous Fuzz, MXR Bass Octave Deluxe, Tronographic Rusty Box, and EHX Bassballs Nano. A Voodoo Labs Pedal Power 2 Plus lights things up, and a Radial SGI TX keeps the signal squeaky clean.
Shop My Morning Jacket's Rig
EarthQuaker Devices host Echo Reverb Pedal
ISP Technologies DECI-MATE Micro Noise Reduction Pedal
Electro-Harmonix Mel9 Tape Replay Machine Pedal
EarthQuaker Devices Spatial Delivery Envelope Filter Pedal
Universal Audio UAFX Starlight Echo Station Delay Pedal
Universal Audio UAFX Astra Modulation Machine Pedal
Fender Custom Shop Stratocaster
