Other new models include a fanned-fret model in 5- and 6-string versions.
Bensalem, PA (February 23, 2015) -- Ibanez released several new basses at the Winter NAMM show.
Black Eagle 2609B Reissue
Itās a rare instance when the bass builders at Ibanez re-visit the companyās history. But even for the very forward-thinking Ibanez design team, the 40th anniversary of the legendary Black Eagle bass was too important a milestone to ignore. Hereās a limited edition re-issue that opens the door to an alternate universe circa 1975.
The first head-turner is mahogany body with its sharp inward-turned cutaways, along with its gracefully shaped F-hole headstock, which sets the stage for this Black Eagle re-issue to brim with 70s-era cool. Its Maple fretboard boasts an intricate custom inlay, but the decorative pièce de résistance is most certainly the white-on-black Abolone eagle that lives near the lower horn.
LIST: $599.99
BTB33NTF
The mission of the Ibanez Bass Workshop is to pioneer new frontiers in bass development by pushing the boundaries of conventional designs. The impetus behind each one of these unique instruments comes from the desire of the Ibanez bass development group to satisfy the specific needs of a very particular player and to hopefully inspire new vistas of creativity.
Designed for players looking to explore the upper region of the fretboard, the BTB33NTF is a 5-string bass is factory tuned from E to C. Excellent for playing chords and soloing up into baritone territory, this 5-piece Maple/Bubinga neck helps to create the proper tension and tonal quality for the C string without compromising the deep tone of the E string. It also facilitates faster playing and easier chording.
Another innovative feature of the BTB33NTF is the inclusion of a height adjustable Rosewood Finger Ramp. The ramp prevents players from digging in too hard when plucking finger-style and encourages a lighter playing technique, which helps promote a broader dynamic range and better tone. It also acts as a thumb rest that provides access to a wider plucking area, allowing players to explore more tonal options by varying the distance of their hand from the bridge.
The BTB33NTF includes a Mahogany with an Ash top, the neck sports a Rosewood fingerboard with Abalone inlays and a Mono-Rail V bridge provides optimum adjustment for superior intonation. Electronics feature the excellent tone of Bartolini BH1-5 pickups through an Ibanez 3-band EQ with a mid frequency selector switch for advanced tone control.
List: $1377.76
SR1406TEVNF
The new Ibanez SR1406TEVNF is a stylish 6-string bass that boasts āneck-throughā construction for the optimum in tone, sustain and stability. As part of the Ibanez Premium line, it delivers "Performance Beyond Expectation" at pricing friendly to the working musician.
The SR1406TEVNF begins with a beautiful figured Maple top/Mahogany body combination that produces a robust, full-balanced tone. The Vintage Natural Flat finish allows the body to resonate more freely and creates an understated look of elegance. The 5-piece Wenge/Bubinga Atlas-6 neck features āneck-throughā construction, which runs from the top of the headstock down to the lower strap pin. This design increases sustain, improves tuning stability and allows unfettered access to the even highest frets. Thanks to the Premium Fret Edge Treatment, super-smooth, hand-crimped medium frets on a Rosewood fretboard with oval Abalone inlay, this handsome bass is as enjoyable to play, as it is to look at. String vibration and sustain are also optimized by the innovative Mono-Rail IV bridge for the most precise intonation.
For electronics, the SR1406TEVNF comes loaded with two Nordstrand āBig Singleā passive pickups. Additional sound shaping is provided by an Ibanez 3-band Active EQ with EQ bypass switch and mid-frequency switch.
List: $2,066.65
SRFF805BKS and SRFF806BKS Ibanez is proud to introduce the first-ever production model fanned-fret basses: the five-string SRFF805BKS and the six-string SRFF806BKS. Introduced in 1989, the fanned fret system is a revolutionary concept designed to create a better sounding, better playing bass. Previously, fanned fret instruments were available only to those who could afford the high-priced boutique instruments from private luthiers. Now, as part of their Premium Instrument line, Ibanez makes this unique, high-quality instrument available to the working musician.
Built at the Ibanez Premium Production Facility, the SRFF805 and 806 each consists of an Ash body attached to a 5pc Jatoba/Bubinga SR neck with a Rosewood fretboard, Medium frets and Acrylic custom fanned inlays. The innovative Mono-Rail V Bridge system was decided as the perfect match for a fan-fret instrument, allowing for independent positioning of each stringās bridge piece to provide excellent intonation and superior vibration transference. Electronics include Bartolini BH1 pickups, for a thick, punchy, full-range of tone, and a 3-band EQ w/ Bypass switch and Mid-Frequency switch for complete sonic control.
The goal of the fanned-fret system is to even the tension of each string. Equalized tension helps to create a more āalive,ā open tone. On the SRFF805/806, the scale length is 34ā on the highest pitch string side, expanding to 35.5 at the low B. The slant of the fanned-frets ergonomically coordinate with the way a players hand angles as it moves up and down the neck, facilitating quick, comfortable playing action. The result is better tone, expanded harmonic complexity and improved playability across all five strings.
SRFF805BKS List: $1,333.32
SRFF806BKS List: $1,399.99
Reflecting a classic Ibanez body style, the Talman Bass Series sports a cool retro look with a sound that will inspire players of all ages.
The TMB300 delivers a one-two punch by combining a passive P/J pickup configuration with a retro Ibanez body design. Features include a Mahogany body, Maple neck, Standard bridge, bound Rosewood fretboard with Block inlays and a tortoise shell pickguard for a stylish, finished look. Electronics consist of a Custom 2-band Active EQ with an Ibanez DXP neck pickup and a DJ2 double J bridge pickup for extra punch. A Split Coil Switch provides a single coil option in the bridge position for heightened definition.
The TMB100 also combines a passive P/J pickup configuration with the Ibanez-retro Talman body style. Features include a Mahogany body, a Maple neck, Rosewood fretboard with dot inlay, a Standard bridge and a tortoise shell pickguard. Electronics consist of an Ibanez DXP neck pickup and a DXJ bridge pickup and a Custom 2-band active EQ for increased tonal options.
TMB300 List: $428.56
TMB100 List: $258.70
For more information:
Ibanez
Small spring, big splashāa pedal reverb that oozes surfy ambience and authenticity.
A vintage-cool sonic alternative to bigger tube-driven tanks and digital springs that emulate them.
Susceptible to vibration.
$199
Danelectro Spring King Junior
danelectro.com
Few pedal effects were transformed, enhanced, and reimagined by fast digital processors quite like reverb. This humble effectāreadily available in your local parking garage or empty basketball gymnasium for freeāevolved from organic sound phenomena to a very unnatural one. But while digital processing yields excellent reverb sounds of every type and style, Iād argue that the humble spring reverb still rules in its mechanical form.
Danelectroās Spring King Junior, an evolution of the companyās Spring King from the āaughts, is as mechanical as they come. It doesnāt feature a dwell control or the huge, haunted personality of a Fender Reverb unit. But the Spring King Junior has a vintage accent and personality and doesnāt cost as much as a whole amplifier like a Fender Reverb or reverb-equipped combo does. But itās easy to imagine making awesome records and setting deep stage moods with this unit, especially if 1950s and 1960s atmospheres are the aim.
Looking Past Little
Size factors significantly into the way a spring reverb sounds. And while certain small spring tanks sound coolāthe Roland RE-201 Space Echoās small spring reverb for oneāitās plain hard to reproduce the clank and splash from a 17" Fender tank with springs a fraction of that length. Using three springs less than 3 1/2" long, the Accutronics/Belton BMN3AB3E module that powers the Spring King Junior is probably not what you want in a knife fight with Dick Dale. Even so, it imparts real character that splits the difference between lo-fi and garage-y and long-tank expansiveness.
In very practical and objective terms, the Danelectro canāt approach a Fender Reverbās size and cavernousness. Matching the intensity of the Spring King Juniorās maximum reverb and tone settings to my own Fender Reverbās means keeping dwell, mix, and tone controls between 25 to 30 percent of their max. Depending on your tastes, that might be a useful limitation. If youāve used a Fender Reverb unit before, you know they can sound fantastically extreme. Itās overkill for a lot of folks, and the Spring King Junior inhabits spaces that donāt overpower a guitar or amplifierās essence. Many players will find the Spring King Junior simply easier to manage and control.
There are ways to add size to the Spring King Juniorās output. An upstream, edgy clean boost will do much to puff up the Danelectroās profile next to a Fender. The approach comes with risk: Too much drive excites certain frequencies to the point of feedback. But the Juniorās mellower sounds are abundant and interesting. Darker reverb tones sound awesome, and combined with modest reverb mixes they add a spooky aura to melancholy soul and spartan semi-hollow jazz phrasingsāall in shades mostly distinct from Fender units.
Watch Your Step!
Spring reverbs come with operational challenges that you wonāt experience in a digital emulation. And though the Spring King Junior is well built, its relative slightness compounds some of those challenges. The spring module, for instance, is affixed to the Spring King Juniorās back panel with two pieces of foam tape. And while kicking a spring reverb to punctuate a dub mix or surf epic is a gas, the Spring King Junior can be susceptible to less intentional applications of this effect. At extra-loud volumes, the unit picks up vibrations from the amplifierās output when amp and effect are in tight proximity. And sometimes, merely clicking the bypass switch elicits an echo-y āclankā. This doesnāt happen in every performance setting. But itās worth considering settings where youāll use the Spring King Junior and how loud and vibration-resistant those spaces will be.
Though the Spring King Juniorās size makes it susceptible to vibration, many related ghost tonesātaken in the right measureāare a cool and essential part of its voice. Itās an idiosyncratic effect, so evaluating its compatibility with specific instruments, amps, studio environments, and performance settings is a good idea. But for those that do find a place for the Spring King Junior, its combination of tone color, compact size, and hazy 1960s ambience could be a deep well of inspiration.
Blackstar Amplification unveils its new AIRWIRE i58 wireless instrument system for guitar and bass.
The AIRWIRE i58 enables wireless connection for guitars, basses and other musical instruments with ¼ā audio outputs and delivers low noise and less dropouts. The majority of wireless systems on the market operate within the 2.4 GHz range whereas the AIRWIRE i58 operates within the 5.8 GHz which is a less crowded frequency band that is immune to WiFi interference.
The AIRWIRE i58 also has an optimised antenna design and anti-interference algorithm ā this gives players a robust, reliable and most importantly worry-free performance. The low latency and accurate frequency response ensures authentic tone and feel without the need for cables.
Never worry about running out of battery or losing your signal; AIRWIRE i58 offers up to 9 hours play time at full charge and features a transmission distance of 35 metres. Up to four AIRWIRE i58s can be used simultaneously for a full band setup without interference.
AIRWIRE i58 offers wireless high-res signal transfer, so there is no treble loss which can occur when using a long cable. However, the system offers a switchable CABLE TONE feature to simulate the tonal effects of a traditional instrument cable if players desire that sound.
AIRWIRE i58 is the ideal wireless system for every musician ā for cable-clutter-free home use or freely roaming on stage.
AIRWIRE i58 Wireless Instrument System
- Wireless Instrument System
- Frequency Band: 5.8GHz
- Transmission Channels: 4 independent channels
- Transmission Distance: Up to 35 metres (100 feet)
- Latency: <6ms
- Frequency Response: 20Hz~20kHz
- Output Impedance: 1kΩm
- Connectors: ¼ā mono
- Power: Rechargeable lithium-ion battery
- Charging: USB-C 5V input (cable included)
- Charging Time: <2.5 hours
- Operation Time: 9 hours when fully charged
- Illuminated star logo
- Dimensions: L 67.0mm, W 37.2mm, H 20.5mm
- Weight: 45g (each transmitter or receiver, single unit)
Blackstarās AIRWIRE i58 carries a street price of $169.99.
PGāsJohn Bohlinger caught up with Moak at his Nashville studio known affectionately as the Smoakstack.
Grammy-nominated session guitarist, producer, mixer, and engineer Paul Moak stays busy on multiple fronts. Over the years heās written, played, produced and more for TV sessions (Pretty Little Liars, One Tree Hill) and artists including Third Day, Leeland, and the Blind Boys of Alabama. But most recently heās worked with Heart and Ann Wilson and Tripsitter.
Time Traveler
Moak is most loyal to a 1963 Stratocaster body thatās mated to a 1980s-vintage, 3-bolt, maple, bullet-truss-rod, 1969-style Fender Japan neck. The bridge has been swapped as many as four times and the bridge and neck pickups are Lindy Fralins.
Cool Cat
If thereās one guitar Moak would grab in a fire, itās the Jaguar heās had since age 20 and used in his band DC Talk. When Moak bought the guitar at Music Go Round in Minneapolis, the olympic white finish was almost perfect. He remains impressed with the breadth of tones. He likes the low-output single-coils for use with more expansive reverb effects.
Mystery Message Les Paul
Moakās 1970 L.P. Custom has a number of 1969 parts. It was traded to Moak by the band Feel. Interestingly, the back is carved with the words ācheatā and āliar,ā telling a tale we can only speculate about.
Dad Rocker
Almost equally near and dear to Moakās heart is this 1968 Vox Folk Twelve that belonged to his father. It has the original magnetic pickup at the neck as well as a piezo installed by Moak.
Flexi Plexis
This rare and precious trio of plexis can be routed in mix-and-match fashion to any of Moakās extensive selection of cabsāall of which are miked and ready to roll.
Vintage Voices
Moakās amps skew British, but ā60s Fender tone is here in plentitude courtesy of a blonde-and-oxblood Bassman and 1965 Bandmaster as well as a 2x6L6 Slivertone 1484 Twin Twelve.
Guess What?
The H-Zog, which is the second version of Canadian amp builder Garnetās Herzog tube-driven overdrive, can work as an overdrive or an amp head, but itās probably most famous for Randy Bachmanās fuzzy-as-heck āAmerican Womanā tone.
Stomp Staff
While the Eventide H90 that helps anchor Moakās pedalboard can handle the job of many pedals, he may have more amp heads on hand than stompboxes. But essentials include a JHS Pulp āNā Peel compressor/preamp, a DigiTech Whammy II, DigiTech FreqOut natural feedback generator, a Pete Cornish SS-3 drive, Klon Centaur, and Electro-Harmonix Deluxe Memory Man.
PG Contributor Tom Butwin dives into three standout baritone guitars, each with its own approach to low-end power and playability. From PRS, Reverend, and Airline, these guitars offer different scale lengths, pickup configurations, and unique tonal options. Which one fits your style best? Watch and find out!