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Anyone else think Ibanez should change their SR body?

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If this came in a 5 string I’d be saving up my pennies for it. This is one style they should have kept:
 
I just picked up an SR1200 Premium second hand. I generally don't like natural finishes and definitely don't like gold hardware but it is just so nice to play that I had to get it. Yes, I like thin, narrow necks so this fits the bill there. And at only 7.7lbs with no neck dive whatsoever it sits on the strap so comfortably letting me move up and down the neck with ease. I honestly see no reason to change the shape when there are so many other options in their line-up.
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I'm not sure if you're being sarcastic so i'll assume you are not and agree that it is quite ugly....... but i'll bet that it is a joy to play and probably sounds great too!.

absolutely being silly! Beautiful bass you have there and yes they Play GREAT!!!
 
The SRs are comfortable standing or sitting, near perfect balance, slim neck, super easy to play. Not sure how you’d change the design to make it better.

+1
How or WHY?
Perfect balance and light weight for a 5 string bass.
TBH, I have looked at my ibbys at times wondering how to improve the shape, but nothing I could think of would be an improvement. Ya want an ugly shape?, go look at that Yamaha..thing. (cant recall the model).. Yikes.
That makes SRs beautiful.

T$
 
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Looks like a soundgear to me

...

kidding - that is BEAUTIFUL!
Agreed. Bought it here from the TB classifieds. Didn’t even know the model existed but when I saw the photo, I was hooked.

The string spacing is perfect; nice and wide, and the weight is very light. Incredible tone as the whole body - the whole instrument! - seems to resonate when you play a note. I could go on & on, but that would veer off from the original topic here.

Cheers!
 
Agreed. Bought it here from the TB classifieds. Didn’t even know the model existed but when I saw the photo, I was hooked.

The string spacing is perfect; nice and wide, and the weight is very light. Incredible tone as the whole body - the whole instrument! - seems to resonate when you play a note. I could go on & on, but that would veer off from the original topic here.

Cheers!
Like a very contemporary take on a fodera single cut but with options that appear quite unique.... and I LOVE an instrument that you can feel vibrating... been a violinist my whole life so working with the feel and intimacy of acoustic resonance is one of those things that makes being a musician unexplainably amazing!
 
Like a very contemporary take on a fodera single cut but with options that appear quite unique.... and I LOVE an instrument that you can feel vibrating... been a violinist my whole life so working with the feel and intimacy of acoustic resonance is one of those things that makes being a musician unexplainably amazing!
I think you both should stop talking about this one now, it's not helping my GAS :-)
 
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I'm not bashing Ibanez! I played them on stage from 97- 2002 in my nu metal days. I'm looking for a 24 fret bass and every time I see a Ibanez I think.. Damn these are some boring looking basses. They are hella good basses, especially in the $700 price range, but the same body shape since the 80's. Am I alone in thinking aboot this?

Some of us like boring, as my PB attests. IMO, long pointy bouts are a huge turn off. Weird shaped head stocks will kill a deal as well.
 
From an instrument designer/maker's perspective, I've always really liked the SR shape.
It is very difficult to design something that is original enough to be identifiable, yet still "familiar"/"comfortable" looking
to the majority of players. Most original designs trend towards the "unique"/unusual shapes.

The SR manages to be both "normal" looking and yet clearly its own shape, which is no small feat.
In fact, my favorite variation (visually) on the SR was always the SRX / SDGR series, because the body binding really celebrated the shape of the instrument.

It also succeeds in some production-related parameters that are less immediately obvious. The rounder horns, more "open" cutaway angle, and sloped heel allow for simpler and more efficient sanding than traditional P/J-style bodies, which means a lot in a production environment.
Again, it's not easy to design in all these kinds of aspects while keeping something "familiar" looking.

There are a few other instruments I admire for the same reasons. The Zon Sonus is another good example of this.

Obviously, the proof is that the model has persisted for so long, and through so many variations.
While writing this post, I did a quick Google image search and came across the 30th Anniversary Premium SR
(with the oval soundholes) and couldn't help but think - "Wow, that's really appealing. I kinda want one."
Considering I make basses for a living, that's saying something, I suppose.

Cheers,
Martin