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Don't forget headless basses. That's one fad I never, ever thought would come back. But it has, full force it seems.
This was not supposed to be an anti-fender post. I am just asking if it is possible that in some cases Ibanez makes basses that are at the same level or even better than Fender. And that even peers - musicians are skeptical about this.
*in my case I exchanged a jazz mex 2008 with an ibanez sr1300
*in my case I exchanged a jazz mex 2008 with an ibanez sr1300
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Ibanez’s image is tricky to pin down mainly due to the breadth of offerings, configuration and price-wise, that it offers.
The company’s DNA goes back to the copy era, and they copied a multitude of different basses; even more so with guitars. And really, this DNA has stuck around through them offering interpretations of most all benchmark bass designs alongside their own innovations (e.g. the Thundercat sig). With that variety comes a variety of experiences And reports that players have with the brand.
As for myself and Ibanez, I relied on an ATK-750KA for 12 years. I currently play an ‘83 musician with the PJ layout, which happens to be my my current go-to, and is very articulate and versatile. I have only seen a couple Fenders rival that bass for post-60s music.
The company’s DNA goes back to the copy era, and they copied a multitude of different basses; even more so with guitars. And really, this DNA has stuck around through them offering interpretations of most all benchmark bass designs alongside their own innovations (e.g. the Thundercat sig). With that variety comes a variety of experiences And reports that players have with the brand.
As for myself and Ibanez, I relied on an ATK-750KA for 12 years. I currently play an ‘83 musician with the PJ layout, which happens to be my my current go-to, and is very articulate and versatile. I have only seen a couple Fenders rival that bass for post-60s music.
I would like to know something, however.
Just what is the deal with so many Ibanez owners and the colored strings in the 80's/90's colors (pink and teal and such)?
I almost expect to see a taupe music room decorated in bleached oak with bright shiny brass/gold hardware on the door knobs and hinges, light blue carpet with a pastel pink and blue overstuffed couch, complete with a self-adhesive wallpaper border at the top of the walls with "2 Hot 4 U" stenciled in the aforementioned pink and teal in a "heartbeat" style, with the lettering perfectly centered above the Wal-Mart aqua and mauve window valances (that are of course poofy and filled with plastic trash bags).
Seriously, I'd like to know the attraction. I never see those strings on Ricks or Fenders.
Just what is the deal with so many Ibanez owners and the colored strings in the 80's/90's colors (pink and teal and such)?
I almost expect to see a taupe music room decorated in bleached oak with bright shiny brass/gold hardware on the door knobs and hinges, light blue carpet with a pastel pink and blue overstuffed couch, complete with a self-adhesive wallpaper border at the top of the walls with "2 Hot 4 U" stenciled in the aforementioned pink and teal in a "heartbeat" style, with the lettering perfectly centered above the Wal-Mart aqua and mauve window valances (that are of course poofy and filled with plastic trash bags).
Seriously, I'd like to know the attraction. I never see those strings on Ricks or Fenders.
@HearNoStevil I only recently started using the neons. To me they're fun and flashy on the right instrument. My hippy sandwich still has good ol silver strings, it wouldn't look good with neon much like a ric. I would however toss them on a P bass and get funky with it. A Ric I would use black beauties.
Maybe I need to replace my flower with a poster reading "FLASHY NOT TRASHY " in your aforementioned motif?
Maybe I need to replace my flower with a poster reading "FLASHY NOT TRASHY " in your aforementioned motif?
Ibanez is such a long-lived and all-encompassing brand, with multiple styles and price ranges over the years, that I personally find it hard to generalize about it? I recently bought a vintage MIJ 1986 Ibanez Roadstar II with P/J pups that, to me, is the equal of any Fender in heft and quality. On the other hand, I also have a new Mikro backup bass (small short-scale travel bass) that's lightweight but sweet sounding and feeling. Both nice in their own way, but you'd swear they were totally different brands. Two very different but good tools for the job....
I have an Ibanez six string, a Fender MIM Jazz, a MIM Precision. And a MIJ Geddy Lee Jazz - the best of both worlds? They are like your children - all different but you love them all.
Most contemporary popular music (last 50 years or so) is thought to originate in the US and I think that correlates to using American gear to play that music. If you want to be an authentic Blues, Country or Classic Rock player you want to play equipment that looks authentic...and nothing looks more classic than a Fender Bass.
Ironically, this is particularly true of the Japanese who revere Vintage Fender gear, even though they themselves craft some of the finest mass produced instruments in the world.
However, as a guy who has been playing for a very long time and is familiar with the history of the electric bass, I do not have the feeling that Ibanez basses are "ostracized" or even seriously dissed by the bass community. Maybe by some highly opinionated, (insecure?) types, but not in general.
Iconic bassists like Gary Willis and Gerald Veasley play Ibbys exclusively, not to mention countless Metal players of note. And no less than Nathan East and John Pattatucci play Yamaha.
And as far as being inexpensive, they have an entire line of basses from very affordable, quite usable models like the Talman to virtual boutique models like the 800 line.
I own a '65 J Bass, a '72 Tele bass a '73 P Bass, and a '80 MM Sabre, but maybe the best vintage bass I've ever played is my '79 Ibanez Roadster.
And my next purchase will be one of those fretless Ibbys from the 500 line.
My idea of a real working bass players collection has to include an Ibby.
Exactly...Ibanez keeps the brand name from their beginner/inexpensive models to the pro model unlike Fender with their Squier line.
Ibanez really hit its stride back when I first started playing bass many moons ago, I remember it too. I went from a passive jazz bass copy (a Cimar) to my second bass, an Ibanez Musician MC924. They seemed intent on penciling in on that Active bass territory niche thereafter.
I'm a huge fan of late 70's / early 80's Ibanez basses. I'm currently in the process of doing some long needed remedial work on one of my Roadsters, which is very gratifying.
I've played and heard Soundgears and other more recent Ibanez basses and liked them, but my heart is firmly committed to the older stuff.
I've played and heard Soundgears and other more recent Ibanez basses and liked them, but my heart is firmly committed to the older stuff.
There are gonna be snobs wherever you go. Play what you like and ignore the hate.
I've got 5 vintage Ibanez basses and 4 relatively new ones, and they're all in my regular gigging stable. The MC-924s alone will go toe-to-toe with Fender, MusicMan, G&L, and Alembic all day, every day. Nothing against those other brands, as I've owned them all over the past 45 years (and still like most of them).
Ibanez just makes fantastic instruments in my estimation. And if people don't wanna play 'em, that leaves more for me. (c;,'
I have Rickenbacker, Epiphone and Ibanez basses and each has their own sonic niche.
I will say though that the Ibby has the widest range of tone and is very versatile. The thin neck makes it really quick.
I will say though that the Ibby has the widest range of tone and is very versatile. The thin neck makes it really quick.
I disagree with the notion that one should play an "authentic-looking" instrument in order to be an "authentic" player in certain musical genres. Appearances are superficial, and as long as you like how an instrument feels and plays, the aesthetic aspects are purely superficial.
I suppose the only exceptions would be if your instrument's pickups could not produce the desired tones, or if you are playing in a tribute band that tries to mimic the exact look of the original musicians you're imitating. Otherwise, it is strictly surface cosmetics.
Taken to an extreme, this same attitude could lead someone to say that only Black musicians can play Blues or Jazz authentically, and only White musicians should play Country or Classical music — which would be absurd, unnecessarily restrictive, boring, and even insulting to anyone who did not match such criteria.
