Bensalem, PA (February 23, 2015) -- Ibanez released several new basses at the Winter NAMM show.
Black Eagle 2609B Reissue
It’s a rare instance when the bass builders at Ibanez re-visit the company’s 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. Here’s 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 “neck-through” 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 “neck-through” 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 “Big Single” 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 string’s 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 “alive,” open tone. On the SRFF805/806, the scale length is 34” 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
“Earthwood Bell Bronze strings are a giant leap forward in tone, playability, and durability. They’re great in any musical setting but really shine when played solo. There’s an orchestral quality to them.” -John Mayer
Product Features:
- Developed in collaboration with John Mayer
- Big, bold sound
- Inspired by alloys used for bells and cymbals
- Increased resonance with improved projection and sustain
- Patent-pending alloy unique to Ernie Ball stringsHow is Bell Bronze different?
- Richer and fuller sound than 80/20 and Phosphor Bronze without sounding dark
- Similar top end to 80/20 Bronze with richer low end than Phosphor Bronze
Milkman’s Jerry Garcia-style JG-40 combo.
Entire books about the Grateful Dead’s gear have been written, so we can’t cover it all here. Garcia tinkered with all facets of his sound from about 1971 until 1978, when his signal path reached stability. By then, his On-Board Effects Loop—an innovation he developed to control how much signal reached his effects—was dialed in, his backline firm, and his choice of effects pedals solidified. Even then, adjustments were made, especially when MIDI arrived or when technology like in-ear monitoring was used. Here are some basics.
Scarlet Fire’s recreation of Garcia’s Wolf, originally built by Doug Irwin.
It starts with guitars. For players wanting to get their Jerry on, there’s a wide range of Garcia-esque instruments—with just as wide a range of prices—out there. Recreations of the Doug Irwin guitars and the Fender Alligator Strat abound. China-built models from companies likePhred Instruments can go for as little as $700 or so. Luthier Thomas Lieber apprenticed with Irwin long ago, and his Lieber Guitars will deliver a copy of a variety of Garcia models. Leo Elliott’sScarlet Fire Guitars out of Dallas, Texas, takes things in another direction. Elliott builds Doug Irwin replicas that start at $20,000 and go up from there, with a current wait time of about 18 months for an instrument. He’s outfitted many of the top Garcia guitarists today, including Tom Hamilton Jr. and Jeff Mattson. Elliott says, “I’m a self-taught luthier; I didn’t really build my first guitar until 2010. I understood a little bit about woodworking before I got started, but I learned by reading books and through trial and error. I started building replicas of Doug Irwin’s Wolf guitar right away, which is sort of like building a car and starting with a Ferrari. I didn’t know any better. Then, eventually I got to know Doug Irwin and collaborated with him. So, I got to hold Garcia’s Tiger guitar and get to know it really well, and by 2015, I had built replicas of that guitar. There’s one guy who helps me around the shop, but otherwise, I am building these guitars on my own. I’m collaborating with Doug Irwin on a new series of Tiger guitars, which will retail for 50 grand each.” That’s one way to get your Jerry going.
The JBL-inspired Milkman K-120.
Garcia’s choice of amplifiers is another matter. He preferred Fender Twin Reverbs loaded with JBL Alnico speakers, which were popular amongst many rock bands in the 1970s. The details get complicated; Garcia’s amps were heavily modified, and the Fender Twin served as a preamp that ran to a McIntosh MC-3500 power amp.
It’s hard to find vintage JBL speakers today—at least ones in good shape. San Francisco’s Milkman Sound, founded by Tim Marcus, has created a faithful reproduction of those classic JBLsthey call the K-140. They’re coupling those speakers with a Garcia-style recreation of his Fender Twin that Marcus named the JG-40. “I think 75 percent of Jerry’s tone is in the JBL speakers,” Milkman’s founder says. “But when you start to analyze the other 25 percent, you kind of have to start withDon Rich. [Editor’s Note: Rich was the guitar player in Buck Owens’ band, pioneers of the Bakersfield Sound.] That’s Jerry’s tone, too, but the difference is Garcia’s midrange was a bit throatier. It sounds clean, but really, it’s not clean at the same time. Especially his tone in the late ’70s. There is something about running that Fender Twin Reverb through the McIntosh that would just completely blow out the tone in a really interesting way.”
Garcia colored his tone with off-the-shelf effects. This was, after all, long before the days of boutique pedals. By 1978 and beyond, you’d hear him playing through an MXR Distortion+, an MXR Analog Delay, and an MXR Phase 100. He often used auto wahs, preferring the Musitronics Mu-Tron envelope filter as well as a Mu-Tron Octave Divider and a Mu-Tron combination volume and wah pedal.
When I asked Jeff Mattson, Bella Rayne, and Tom Hamilton Jr. exactly how orthodox they are about using the kind of gear that Garcia did, I got three different answers.
Mattson tells me that because Dark Star Orchestra is doing something very specific, he really has to tailor his sound as carefully to Garcia’s as he can. “Some folks get too hung up on small things, like what kind of cable to use and things like that, and I don’t go that far. But it’s important for Dark Star Orchestra to get Jerry’s sound right because we are covering different eras and different shows. In 2022, for example, we went to Europe and recreated shows from the Dead’s famous Europe ’72 tour, so you have to pay close attention to what kind of gear they were using to do that right.”
Hamilton works differently. He’s always preferred a higher-gain signal than Garcia ever did, landing in more of a British or heavy metal tone. (Randy Rhoads was a big influence.) “I’ve always approached it like, ‘What’s the new information we can put into this thing?’” he says. “Not just recreate but pushing in a forward direction. And anytime I’ve played with the guys who played with Garcia back in the day, they always said to me, ‘You’re here because you’re here. Don’t try and do what we did back in 1978 or do it because Garcia did it that way.’ They’ve always encouraged me to be myself.”
Bella Rayne is just wrapping her head around what it really means to try to sound like Garcia. “Besides Jerry, I’m influenced by guitarists like Dickey Betts and Derek Trucks, so my tone tends to be a bit heavier and bluesy,” she explains. “I’m generally running a Stratocaster through a Fender Twin Reverb. But recently, I was doing a show, and a buddy of mine set up a Jerry rig for me, and that was so cool: JBL speakers, McIntosh head, the whole setup. I had never played through one. I didn’t know what the hype was all about. I plugged in, and it was just amazing; there was such a snap, and I was really commanding the band. I can see myself keeping my current rig but adding a Dead-rig to experiment. But honestly, anything is fine; I am not picky. I just want to play the best that I can.”
“The distinctive pickup configurations of these five guitars deliver a versatile tonal platform, whether you’re exploring subtle textures or pushing the envelope. The deep dive into our Narrowfield technology is obvious with this launch. With both the S2 models made in our Maryland factory and the SE models made in Indonesia, our goal has been to create guitars that will inspire you and spark creativity, all at an exceptional value,” said PRS Guitars COO, Jack Higginbotham.
S2 Special Semi-Hollow
The PRS S2 Special Semi-Hollow features a pair of 58/15 LT humbuckers in the bass and treble positions and a PRS Narrowfield in the middle. A 5-way blade switch and two mini-toggles allow players to tap the humbuckers, creating twelve distinct pickup combinations for sonic exploration. The carved maple top and mahogany back encompass a semi-hollow body that adds a natural airiness and depth to the guitar’s tone while enhancing sustain.
S2 Studio
The PRS S2 Studio delivers a wide range of sonic possibilities through its distinctive single-single-hum configuration. Featuring two proprietary PRS Narrowfield pickups in the bass and middle positions and a 58/15 LT humbucker in the treble position, the S2 Studio offers a palette of sounds from single-coil clarity to vocal humbucker tones. This model also has a 5-way blade switch and push/pull tone control.
SE Special Semi-Hollow
The PRS SE Special Semi-Hollow is designed with the versatility of a hum/“single”/hum setup, bringing PRS’s Narrowfield DD pickup design to the SE Series in a classic maple-top guitar. The semi-hollow construction also enhances sustain and resonance, while the f-hole adds a classic aesthetic. The coil-tap switching system unlocks a wide range of tones through a pair of 58/15 LT “S” pickups in the bass and treble positions and a PRS Narrowfield DD “S” in the middle.
SE Studio
The PRS SE Studio’s “single”/”single”/hum pickup configuration provides a wide range of tonal options. This combination of PRS Narrowfield DD “S” bass and middle pickups with a PRS 58/15 LT “S” treble humbucker offers humbucking warmth, single-coil sparkle, and everything in between. The 5-way blade switch and push/pull tone control further enhance its versatility.
SE Studio Standard
The only bolt-on neck in this release group, the PRS SE Studio Standard brings the tone, playability, and versatility of the Studio model to the SE Series and into an all-mahogany design with a vintage-style pickguard aesthetic. At the heart of the SE Studio Standard is its versatile trio of pickups: an 58/15 LT “S” humbucker in the treble position with two Narrowfield DD “S” pickups in the middle and bass positions. The 5-way blade switch and push/pull tone control allow for an array of pickup configurations.
PRS Guitars continues its schedule of launching new products each month in 2025. Stay tuned to see new gear and 40th Anniversary limited-edition guitars throughout the year.
