TEST: Ibanez XPTB720

 It's interesting to see that certain body shapes only prevail in the metal sector and no longer even come into their own in the area of hard rock, which today is only seen by the younger generation as retro pop, which is what the grandparents do before they fall asleep hear. This is also the case with the Ibanez XPTB720-BKF, which belongs to the Iron Label series and makes it clear at first glance which target group it was designed for.

The construction of the Ibanez XPTB720-BKF

Gone are the days when an Explorer shape was used to put the aesthetics of a Strat or LP player to the test and since companies like B.C.Rich established body shapes like “The Beast” as regular series instruments, there are no limits to free development when it comes to Punch and Judy shows more set. The Ibanez XPTB720-BKF tends towards Dean in terms of its body shape, although to be honest I'm not sure which manufacturer first hit the guitar world with the mixture of Space Invaders and Battlestar Galactica layout. I'm leaning towards Dean, but I could be wrong. As I said, I can't help it, the all-matte black finish with the jagged body shape constantly reminds me of a Cylon...

However, it would be very unfair to reduce the instrument, which was once again made in Indonesia, solely to its case shape, especially since the guitar has several details that deserve a closer look. First of all, the instrument is available in a six-string and a seven-string version; we have the seven-string model for testing. The five-piece, continuous neck is correspondingly stronger, which comes in a maple / walnut combination, a nut width of 48 mm and the profile of a strong “D”. In order to ensure a uniform black color of the instrument, the fingerboard with 24 jumbo frets was made of ebony, although the variant used still has a slightly brownish color.

In contrast to other competitors, the Ibanez XPTB720-BKF does not have an extra-long scale length, but rather uses the long standard scale length of 648 mm. The neck has a width of 68 mm at the 24th fret, a thickness of 19 mm at the 1st fret, 21 mm at the 12th fret and a radius of 400 mmR. There were no fingerboard inlays at all, but the side fingerboard markings were made in fluorescent green, which offers better orientation on a dark stage.

What is unusual is the choice of body sash wood, which was given the name Okume and dominates 90% of the wood exports from the African country of Gabon. In the IUCN Red List of Endangered Species, Aucoumea klaineana (Okume) is rated as “vulnerable” due to its heavy use and slow growth. Japan is also one of the four largest importers, which would explain the use of the wood. However, you don't notice the different colors and grains of the individual woods, as everything disappears under an impeccably applied, matt black finish.

The Ibanez XPTB720-BKF comes with a Floyd Rose style vibrato system based on the knife edge principle, which runs cleanly and, thanks to the string clamps, allows only minimal detuning when adjusted correctly. Every user has to decide for themselves to what extent one weighs up the advantages of the expanded expressive possibilities with the disadvantages such as limitations in double bending, loss of sustain, etc. The system is based on the Edge-Zero II-7 principle, which enables significantly better palm muting. Anyone who, like me, was familiar with the first Floyd Rose systems with the high-standing fine tuners knows how immensely important the introduction of the low edge systems was.

Another special feature is the placement of the two strap pins. In order not to visually detract from the lines of the body shape on the back, both pins were installed with their top sides turned 180 degrees and facing downwards in the upper cutaway and on the side flank of the upper rear section . As a result, the lever effect of the belt causes the instrument to constantly tilt slightly forward. As long as the instrument is firmly attached to your body, this isn't really a problem, but if you give the audience a proper stage show in which the instrument hangs freely, it will immediately tip over and lie on its top. In this case, if you don't have straplocks installed on your strap, you have to be able to react very quickly to prevent the instrument from hitting the stage floor.

As expected, the entire hardware of the Ibanez XPTB720-BKF is designed in black, with 7 Gotoh tuners being used, which do not have any locking functions due to the locking saddle. The fact that Ibanez assumes that the user will use the downtuning lever again despite the tonal possibilities of the additional B string can be seen from the fact that a 010 - 064 set was set at the factory, which also provides a tight bass string definition in downtuning setups enabled. With the three springs used within the spring chamber, it is not possible to generate the necessary tension for standard tuning; at least one additional spring must be used for this purpose. I therefore set the instrument to a one-half note down tuning, which could just about be implemented with three springs.

As a pickup, Ibanez's house and farm outfitter DiMarzio was once again brought on board, who in this case provided the D-Activator-7 humbuckers. The pickups are passive and have ceramic magnets. The circuit is classic LP, meaning a three-way switch with the positions neck alone, neck / bridge, bridge alone. A coil tap for single coil or out of phase is not provided. Finally, the electrics have a master volume and a master tone control, although one naturally wonders whether the target group will ever even begin to turn down the tone control.

In practice

When you pick up the Ibanez XPTB720-BKF for the first time, you immediately notice three points, which the experienced user will have already seen or heard coming. On the one hand, there is the above-average sustain, which a continuous neck creates once again and more than just compensates for the reduction in vibration of the vibrato system. Almost every note resonates at an even length and you won't find any real dead spots on the fretboard. Secondly, as with every Floyd Rose system, we have the “reverb spiral effect”, i.e. a heavily dampened staccato playing style in the “machine gun” style is not possible because the vibrato springs are set in motion like a reverb spiral and create a reverberation that is particularly noticeable in high gain Make the sound more or less “wide”.

The remedy is comparatively easy to do; you just have to put enough foam or a similar vibration-damping material around the springs. To be honest, it is a mystery to me why this effect is consistently ignored by almost all manufacturers in the world. I think in my entire career I have only once found a manufacturer who has already addressed this problem when designing the instrument.

The third point is the storage of the instrument, especially the tripod operation. In fact, no regular guitar stand can accommodate this body shape properly, so I recommend a hanging stand where the instrument can really be hung freely floating, such as the K&M stand model 17605 https://www.thomann.de/de/km_17604_roadie_transluzent. htm

Otherwise, the Ibanez XPTB720-BKF, which weighs just under 3.6 kg, does exactly what its target group expects of it. If necessary, heavy metal thunderstorms, but also more moderate gain structures are adequately implemented. If necessary, clean can also be used, but is obviously not the “Cylon bomber’s” first choice.

Finally, it should be mentioned that Ibanez almost always has a treat up its sleeve for the user when it comes to accessories. In the case of the Ibanez XPTB720-BKF, there is a gig bag included in the scope of delivery, the usefulness of which cannot be overestimated, especially with this body shape. One or two extreme form providers could take an example here!

Conclusion

With the Ibanez XPTB720-BKF, the Japanese manufacturer offers its target group everything that the optics promise. All gain structures up to the ultimate high gain are implemented cleanly, and thanks to the additional B string, the instrument offers excursions into the area where the bassist already has to fear for his commitment.

Anyone who can now get the reverberation spiral effect of the vibrato springs under control has a good tool with optical bite at hand.


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Additional Informations:

Ibanez, a renowned name in the world of guitars, has left an indelible mark on the realm of metal music. From humble beginnings to becoming a staple in the hands of metal virtuosos, the journey of Ibanez metal guitars is one of innovation, collaboration, and relentless pursuit of excellence.

**The Early Days:**

Ibanez was originally a Spanish guitar brand owned by Hoshino Gakki, a Japanese company. In the 1960s and early 1970s, Ibanez mainly produced copies of popular American electric guitars, catering to the demand for affordable alternatives to brands like Gibson and Fender. However, it was during the late 1970s and early 1980s that Ibanez began to carve its niche in the metal scene.

**The Birth of the RG Series:**

In 1987, Ibanez introduced the RG series, a line of guitars designed specifically for shredders and metal players. The RG550, with its sleek body contours, thin neck profile, and high-output pickups, quickly gained popularity among guitarists seeking fast playability and aggressive tone. The RG series became synonymous with metal, thanks to its ability to handle the demands of high-speed riffing and soloing.

**Collaborations with Metal Icons:**

One of the defining moments in the evolution of Ibanez metal guitars was the collaboration with legendary guitarist Steve Vai. Vai's association with Ibanez resulted in the creation of the JEM series, which pushed the boundaries of guitar design and performance. The JEM featured a distinctive "monkey grip" handle, a double-locking tremolo system, and DiMarzio pickups, making it a favorite among metal guitarists seeking unparalleled versatility and expression.

Similarly, the collaboration with Joe Satriani led to the development of the JS series, known for its smooth playability and powerful tone. Satriani's signature models, such as the JS1000 and JS1200, became iconic instruments in the metal world, favored for their ability to deliver articulate leads and crushing rhythms.

**Innovation in Design and Technology:**

Ibanez continued to innovate in both design and technology to meet the evolving needs of metal guitarists. The introduction of the Edge tremolo system revolutionized divebombing and whammy bar techniques, allowing players to achieve extreme pitch variations with precision and stability. Additionally, advancements in pickup technology, such as the Quantum series pickups, offered enhanced clarity and definition, ideal for modern metal styles.

Furthermore, Ibanez expanded its lineup to include extended-range guitars, catering to the growing popularity of seven, eight, and even nine-string instruments in metal music. Models like the RG752 and RG927 provide extended low-end response and increased sonic versatility, making them essential tools for modern metal guitarists exploring new sonic territories.

**Endorsements and the Rise of Djent:**

In the 21st century, Ibanez solidified its position as a leader in the metal guitar market through strategic endorsements and partnerships with influential artists. Bands like Meshuggah, Periphery, and Animals as Leaders embraced Ibanez guitars, bringing visibility to the brand within the burgeoning djent movement. The demand for extended-range guitars with multi-scale necks soared, prompting Ibanez to introduce the groundbreaking RGMS7 and RG Iron Label series, tailored specifically for djent and progressive metal players.

**Continued Evolution and Future Prospects:**

As metal music continues to evolve and diversify, Ibanez remains at the forefront of innovation, constantly pushing the boundaries of guitar design and technology. Whether it's through collaborations with iconic artists, advancements in pickup and hardware technology, or the introduction of new models tailored to emerging trends, Ibanez metal guitars continue to inspire and empower guitarists worldwide.

In conclusion, the journey of Ibanez metal guitars is a testament to the brand's commitment to excellence and its deep understanding of the needs and aspirations of metal guitarists. From its humble beginnings as a purveyor of affordable alternatives to its current status as a dominant force in the metal guitar market, Ibanez has earned its place in the pantheon of iconic guitar brands, leaving an indelible mark on the world of metal music.