Bensalem, PA (July 15, 2017) -- Earlier this year, Ibanez introduced two new updated Bass Workshop models to their BTB Bass Series: the 5-string BTB745, and its 6-string companion, the BTB746. These new models were lauded for their new updated body shape, which took comfort and stability to a new level.
For Summer 2017, Ibanez is expanding the BTB700 series with the bold, new BTB747 7-string model— and its more traditional counterpart, the 4-stirng BTB740. Both basses feature the newly designed contoured body—for superior comfort—and a longer upper horn, which connects to the body at the 18th fret for improved stability and greater sustain. Other features include:
- 35” scale neck-through design
- 3Rosewood fretboard fitted with stainless steel frets
- 3“Zero” fret —for superior intonation, also allows open strings to ring with the same resonance as notes played up the neck
- 3Mono-rail V bridge—with each isolated saddle securely locked to the body for maximum vibration transfer and minimal sympathetic string interference
- 3Bartolini BH2 pickups—for a punchy, articulate sound with well-developed overtones
The ever-evolving Ibanez BTB series has always aimed to provide bassists with innovative instruments to expand and inspire creative expression. With the addition of the BTB747 and 740, Ibanez continues to redefine the term “Boutique Bass”.
Features
BTB747
- BTB 9pc Maple/ Rosewood/ Walnut neck-through
- Walnut top/Mahogany/Ash body
- Rosewood fretboard w/Abalone dot inlay
- Medium Stainless Steel frets (+ zero fret)
- Mono-rail V bridge
- Bartolini BH2 neck pickup
- Bartolini BH2 bridge pickup
- Ibanez Custom Electronics 3-band EQ w/ 3-way Mid frequency switch (250Hz, 450Hz, 700Hz)
- Cosmo Black hardware
- D’Addario NYXL strings
- Natural Low Gloss (NTL) finish
- LIST: $1,377.76
BTB740
- BTB 5pc Maple/ Rosewood neck-through
- Walnut/ Mahogany/Ash body
- Rosewood fretboard w/Abalone dot inlay
- Medium Stainless Steel frets (+ zero fret)
- Mono-rail V bridge
- Bartolini BH2 neck pickup
- Bartolini BH2 bridge pickup
- Ibanez Custom Electronics 3-band EQ w/ 3-way Mid frequency switch (250Hz, 450Hz, 700Hz)
- Cosmo Black hardware
- D’Addario NYXL strings
- Natural Flat Low Gloss (NTL) finish
- LIST: $1,171.10
For 2017 Ibanez is reintroducing basses to their Premium line. The 5-string BTB1805, and its 6-string counterpart the BTB1806, are elegantly contoured with bodies made from select tonewoods with dedicated hardware and electronics designed to produce a huge, rich tone. Neck-through construction, a two-octave fretboard, and a super-deep cutaway, promise sleek playability and enduring sustain.
Some of the most notable features on these models include:
- BTB5/6 Wenge/Bubinga/Maple 9pc Neck-through w/ Graphite reinforcement rods
- Rosewood/ Ash wing/ Rosewood Body – for tonal clarity and superior attack
- Rosewood fretboard w/ Stainless Steel frets refined with the Premium Fret Edge treatment
- Aguilar DCB pickups
- Ibanez Custom Electronics 3-band EQ
- Mono-rail V bridge - for maximum vibration transfer with minimal sympathetic string interference
Both basses feature a 35" scale neck with a “zero” fret for precise intonation and to deliver the same resonance as notes played up the neck.
The Aguilar DCB pickups, provide a dynamic and responsive attack, well-developed overtones, and singing sustain. Combined with the Ibanez Custom Electronics 3-band EQ w/EQ bypass switch, and 3-way mid frequency switch, the BTB1805 and 1806 both offer immense tonal possibilities for any playing situation. The Mono-rail V bridge consists of isolated saddles, each securely locked to the body for maximum vibration transfer with minimal sympathetic string interference. D'Addario NYXL strings are installed to expand the dynamic range and harmonic response. Other features include a secure high-tech Neutrik locking output jack, Gotoh machine heads, gold hardware and gig bag.
Features
BTB1805/ BTB1806
- BTB 9pc Wenge/Bubinga/Maple Neck-through w/ Graphite reinforcement rods
- Rosewood Fretboard
- Medium Stainless Steel frets
- Rosewood / Ash wing / Rosewood body
- Aguilar DCB neck pickup
- Aguilar DCB bridge pickup
- Ibanez Custom Electronics 3-band EQ
- EQ bypass switch (passive tone control on treble pot), Mid frequency switch
- Mono-rail V bridge
- Gotoh machine heads
- Neutrik locking output jack
- Gold Hardware
- Gig Bag included
- BTB1805: $2,204.43
- BTB1806: $2342.21
Earlier this year, Ibanez introduced two new updated Bass Workshop models to their BTB Bass Series: the 5-string BTB1805E, and its 6-string companion, the BTB1806. These new models were lauded for their new updated body shape, which took comfort and stability to a new level.
For Summer 2017, Ibanez is expanding the BTB series with the BTB1905E and the BTB1906E. These new models feature Figured Maple tops with Ash/Figured Maple bodies. Both basses also feature the newly designed contoured body—for superior comfort—and a longer upper horn, which connects to the body at the 18th fret for improved stability. Neck-through construction, a two-octave fretboard, and a super-deep cutaway, promise sleek playability and enduring sustain. Other notable features on these models include:
- BTB Wenge/Bubinga/Maple 9pc Neck-through w/ Graphite reinforcement rods
- Figured Maple/ Ash/ Figured Maple body – for tonal clarity and superior attack
- Rosewood fretboard w/ Stainless Steel frets refined with the Premium Fret Edge treatment
- Aguilar DCB pickups
- Ibanez Custom Electronics 3-band EQ
- Mono-rail V bridge - for maximum vibration transfer with minimal sympathetic string interference
Both basses feature a 35’’ scale neck with a “zero” fret for precise intonation and to deliver the same resonance as notes played up the neck.
The Aguilar DCB pickups, provide a dynamic and responsive attack, well-developed overtones, and singing sustain. Combined with the Ibanez Custom Electronics 3-band EQ w/EQ bypass switch, and 3-way mid frequency switch, the BTB1905 and 1906 both offer immense tonal possibilities for any playing situation. The Mono-rail V bridge consists of isolated saddles, each securely locked to the body for maximum vibration transfer with minimal sympathetic string interference. D'Addario NYXL strings are installed to expand the dynamic range and harmonic response. Other features include a secure high-tech Neutrik locking output jack, Gotoh machine heads, gold hardware and gig bag.
Features
BTB1905/ BTB1906
- BTB 9pc Wenge/Bubinga Neck-through w/ Graphite reinforcement rods
- Rosewood Fretboard
- Medium Stainless Steel frets w/ Zero fret
- Rosewood /Ash wing /Rosewood body
- Aguilar DCB neck pickup
- Aguilar DCB bridge pickup
- Ibanez Custom Electronics 3-band EQ
- EQ bypass switch (passive tone control on treble pot), Mid frequency switch
- Mono-rail V bridge
- Gotoh machine heads
- Neutrik locking output jack
- Gold Hardware
- Finish: Brown Topaz Burst Low Gloss (BTL)
- Gig Bag included
- BTB1905: $2,204.43
- BTB1906: $2342.21
For 2017, Ibanez is celebrating the 30th Anniversary of the SR Series Bass. Earlier this year, to commemorate this milestone, Ibanez introduced four 30th Anniversary models —two from the esteemed Ibanez Premium line (SR30TH4PE & SR30TH5PE), and two standard series models (SR30TH4 & SR30TH5). To continue the celebration, this summer Ibanez is introducing three 2nd Edition SR Anniversary basses: 4 and 5-string versions of the SR30TH, (SR30TH4II & SR30TH5II) featuring Flamed Ash tops, and a Premium 5-string model (SR30TH5PII) featuring a Lacewood top.
All of the 30th anniversary basses share a unique 3 sound-hole design that enhances the warm resonance of the semi-hollow construction. Other features include:
SR30TH5PII 2nd Edition Anniversary Premium Bass
- Lacewood top with ash/ mahogany back body
- Atlas 5-pc wenge/bubinga neck w/ KTS™ TITANIUM rods – for the ultimate in neck stability
- Mono-rail V bridge—for complete intonation adjustment, with each isolated saddle securely locked to the body for maximum vibration transfer and minimal sympathetic string interference
- Nordstrand™ pickups— for a dynamic and responsive attack with well-developed overtones
- Hardshell case included
SR30TH4II and SR30TH5II 2nd Edition Anniversary Basses
- Flamed Ash top/ mahogany back body
- SR4 5-pc jatoba/bubinga neck w/ KTS™ TITANIUM rods
- Accuc-cast bridge—for complete intonation adjustment
- Bartolini MK-1 pickups— for a full, dynamic, punchy tone
Over the past three decades the SR series has become one of the most popular and distinctive bass guitars in the world.
Features
SR30TH5PII Premium 2nd Edition Anniversary
- Atlas-5 5pc Wenge/Bubinga neck w/KTS ™ TITANIUM rods
- Lacewood top/Ash/Mahogany back semi-hollow body
- Medium frets w/Premium fret edge treatment
- Mono-rail V bridge
- Nordstrand™ "Big Single" neck pickup
- Nordstrand™ "Big Single" bridge pickup
- Ibanez Custom Electronics 3-band EQ w/EQ bypass switch (passive tone control on treble pot) & Mid frequency switch
- Gold hardware
- Hardshell case
- List: $1,999.99
SR30TH4II 2nd Edition Anniversary
- SR4 5pc Jatoba/Bubinga neck
- Flamed Ash top/Mahogany semi-hollow body
- Rosewood fretboard w/Abalone oval inlay
- Medium frets
- Bartolini MK-1 neck pickup
- Bartolini MK-1 bridge pickup
- Ibanez Custom Electronics 3-band EQ w/Mid frequency switch
- Accu-cast B300 bridge
- Cosmo black hardware
- Finish: Dragon Eye Burst Flat (DEF)
- List: $933.32
SR30TH5II 2nd Edition Anniversary
- SR5 5pc Jatoba/Bubinga neck
- Flamed Ash top/Mahogany semi-hollow body
- Rosewood fretboard w/Abalone oval inlay
- Medium frets
- Bartolini MK-1 neck pickup
- Bartolini MK-1 bridge pickup
- Ibanez Custom Electronics 3-band EQ w/Mid frequency switch
- Accu-cast B305 bridge
- Cosmo black hardware
- Finish: Dragon Eye Burst Flat (DEF)
- List: $999.99
For more information:
Ibanez
Fender’s American Vintage II Series
It’s a little difficult to separate fact from fiction given these guitars aren’t easy to get your hands on. Fender Telecasters manufactured in the 1950s and 1960s sell for upwards of $20,000. But old is about to become new again. Fender’s American Vintage II series features 12 year-specific electric guitar and bass models from over two decades, spanning 1951 to 1977, that replicate most specs on their original counterparts, but are produced with modern technologies that ensure uniform build and feel.
Chronologically, the series begins and ends, fittingly, with the Telecaster—starting with the butterscotch blonde, blackguard 1951 Telecaster (built with an ash body, one-piece U-shaped maple neck, and 7.25" radius fretboard) and ending with the 1977 Telecaster Custom, which features a C-shaped neck, a CuNiFe magnet-based Wide Range humbucker in the neck position, and a single-coil at the bridge. The rest of the series spans the highlights of Fender’s repertoire: the 1954 Precision Bass, 1957 Stratocaster in ash or alder, 1960 Precision Bass, 1961 Stratocaster, 1963 Telecaster, 1966 Jazz Bass, 1966 Jazzmaster, 1972 Tele Thinline, 1973 Strat, and 1975 Telecaster Deluxe. The 1951 Telecaster, 1957 Strat, 1961 Strat, and 1966 Jazz Bass will also be offered as left-handed models. Street prices run from $2,099 to $2,399.
Fender '72 American Vintage II Telecaster Thinline Demo | First Look
Spec’d To Please
Every guitar in the series sports the era’s 7.25" radius fretboard, a mostly abandoned spec found on Custom Shop instruments—Mexico-made Vintera models, and Fender’s Artist Series guitars like the Jimmy Page, Jason Isbell, and Albert Hammond Jr. models. Most modern Fenders feature a 9.5" radius, while radii on Gibsons reach upwards of 12". Videos experimenting with the 7.25" radius’ playability pull in tens of thousands of viewers, suggesting both a modern fascination with and a lack of exposure to the radius among some younger and less experienced players.
T.J. Osborne of the Brothers Osborne picks an American Vintage II 1966 Jazzmaster in Dakota red.
Bringing back the polarizing 7.25" radius across the entire series is a gamble, and it’s been nearly five years since Fender released year-specific models. But Fender executive vice president Justin Norvell says that two years ago when the Fender brain trust was conceptualizing the American Vintage II line, they decided the time was right to “go back to the well.”
“We’ve been doing the same [models], the same years, over and over again for 30 years,” says Norvell. “We really wanted to change the line and expand it into some new things that we hadn’t done before and pick some different years that we thought were cool.”
“It takes a lot of doing to go back in time and sort of uncover the secret-sauce recipes.”—Steve Thomas, Fender
To decide on which years to produce, Fender drew from what Norvell calls a “huge cauldron of information” from Custom Shop master builders to collectors with vintage models to former employees from the 1950s and 1960s. The hands-on manufacturing of Fender’s golden years meant guitars produced within the same year would have marked differences in design and finish. So, the team had to procure multiple versions of the same year’s guitar to decide which models to replicate. Norvell says some purists would advocate for the “cleanest, most down-the-middle kind of variant,” while others would push for more esoteric and rare versions. Norvell says that ultimately, the team picked the models that they felt best represented “the throughline of history on our platforms.”
Simple and agile, the Fender Precision Bass—here in its new American Vintage II ’54 incarnation—earned its reputation in the hands of Bill Black, James Jamerson, Donald “Duck” Dunn, and other foundational players.
Norvell says the American Vintage II series was developed, in part, in response to calls to reproduce vintage guitars. Just like with classic cars, he says, people are passionate about year-specific guitars. Plus, American Vintage II fits perfectly with the pandemic-stoked yearning for bygone times. “For some people, these specific years are representative of experiences they had when they were first playing guitar, or a favorite artist that played guitars from these eras,” says Norvell. “These are touchstones for those stories, and that makes them very desirable.”
Cracking Codes
Fender’s electric guitar research and design team, led by director Steve Thomas, dug through the company’s archive of original drawings and designs—dating all the way back to Leo Fender’s original shop in Fullerton, California. They found detailed notes, including some documenting body woods that changed mid-year on certain models. Halfway through 1956, for example, Stratocaster bodies switched from ash to alder. That meant the American Vintage II 1957 Stratocaster needed to be alder, too. That, in turn, meant ensuring enough alder was on hand to fulfill production needs.
Among the series’ Stratocaster recreations is this 1973-style instrument, with an ash body, maple C-profile neck, rosewood fretboard, and the company’s Pure Vintage single-coils.
Thomas and his team discovered another piece of the production puzzle when researching how pickups for that same 1957 Strat were made. “We realized that if we incorporated a little bit more pinch control on the winders, we could more effectively mimic the way pickups would have been hand-wound in the ’50s,” says Thomas. “It takes a lot of doing to go back in time and sort of uncover the secret-sauce recipes.”
Thomas proudly calls the guitars “some of the best instruments we’ve ever made here in the Fender plant,” pointing to the level of detail put into design features, including more delicate lacquer finishes which take longer to cure and dry, and vintage-correct tweed cases for some guitars. New pickups were incorporated in the series, like a reworking of Seth Lover’s famed CuNiFe Wide Range humbuckers, which were discontinued around 1981. Even more minute details, like the width of 12th fret dots and the material used for them, were labored over. Three different models in the line feature clay dot inlays at unique, year-specific spacings.
Ironically, modern CNC manufacturing now makes these design quirks consistent features in mass-produced instruments. While the hand-crafted guitars from the ’50s and ’60s varied a lot from instrument to instrument. “Everything needs to be located perfectly, and it wasn’t necessarily back in the day,” says Norvell. “Now, it can be.”
Don’t Look Back
With this new series so firmly planted in the rose-tinted past, Fender does run the risk of netting only vintage-obsessed players. But Norvell says the team, despite being sticklers for period-correct detail, sought to strike a balance between vintage specs, practicality, and playability. The 1957 Stratocaster, for example, has a 5-way switch rather than the original’s 3-way switch. Norvell also asserts that the “ergonomic” old-school radius feels great when chording. “It might not be [right for] a shred machine, but it feels great and effortless.”
The 1966 Jazz Bass is also represented, shown here in a left-handed version.
Norvell also pushes back on the notion that Fender is playing it safe by indulging nostalgia and leaning on their past successes. He says that while the vintage models are some of the most desirable on the market, the team “purposely did not stick to the safe bets,” citing unusual year models like the 1954 P Bass and the 1973 Stratocaster.
There’s a good reason why anything that hails back to “the good ol’ days” hits home with every generation. We’re constantly plagued by a belief that what came before is better than what we’ve got now. But with the American Vintage II series, Fender makes the case that guitars from the ’50s, ’60s, and ’70s can very easily be a relevant part of the 2020s.
