TEST: InEar Monitoring Hearmix Pro

 I think it's fair to say that current in-ear monitoring systems have overtaken classic floor monitors. Although you can still find corresponding systems at the feet of the artists on all large stages, in the majority of cases these actually have more of a backup function than the musicians actively listening to their instruments via the floor monitors. The advantages of corresponding systems are too great compared to the classic wedges that have been found on stage for decades. However, all in-ear monitoring systems struggle with the same problem, which the German company Inear has addressed in a professional manner with its Inear Hearmix Pro.

Where is the problem?

Apart from the fact that there are quality gradations from HiFi stereo sound right down to extreme bodily harm, especially in the earphone area of in-ear monitoring systems, the advantages of in-ear systems outweigh floor monitors in many areas. Of course, the spatial independence is well known, i.e. the artist can move freely on stage and has the same sound everywhere, regardless of whether they are standing in front of a loudspeaker or not. The functions of sound dampening should also not be underestimated, especially when you are on stage with loud colleagues. Singers in particular are always very happy about the fact that you can hear yourself, which benefits your intonation and you can hear your colleagues from the crowd six-sided department that would still like to use their analogue amplifiers on stage.

However, especially with earphones in the high-priced range, which are usually adapted to the shape of your ear, the problem is that you are completely shielded from the outside world when it comes to sound. What is a very beneficial effect in terms of sound attenuation, but also brings with it the problem that you no longer hear any acoustic reaction from the audience or your bandmates on stage, unless you use comparatively complex ambient miking. There is also the problem that you become 100% dependent on the in-ear system, which is a big problem especially when, as is very common nowadays, bands no longer use amplifiers with speakers on stage, but completely Play directly into the PA with emulated sounds and you won't hear anything other than the sound of the natural drums on stage.

The third problem is that guitarists in particular, some of whom operate their analog amplifiers with corresponding loudspeakers on stage with great attention to detail, can usually do very little with the sound of an in-ear system unless they also operate it For FOH signal delivery, a complex microphone setup exclusively for your own in-ear system. The Holy Grail would therefore be a combination of both systems, i.e. you would be able to hear yourself and your colleagues on stage everywhere, as an in-ear system makes possible, but you would also be able to hear the regular stage sound depending on his position could be mixed in order to continue to guarantee natural listening behavior. Many musicians solve this by removing an earphone from their ear, but this leads to an uneven sound. The InEar company from Dieburg in Hesse is now taking on the challenge of solving this problem and has brought a piece of hardware onto the market with the Inear Hearmix Pro!

The concept of the Inear Hearmix Pro

In principle, the concept of the InEar Hearmix Pro system couldn't be simpler. The system adds two additional signals to the signal that you receive via your regular receiver, which can be continuously mixed into the receiver signal via two microphones located on the earphones. To do this, the cable that connects the earphones to the receiver must be replaced with the cable supplied, which has two small condenser microphones built into it. Depending on the earphones, you can choose between different connectors.

The central element of the Inear Hearmix Pro system is located in a small, solid, square steel housing, which could easily be described as a mixer tap. The device only has dimensions of 5.5 cm x 5.3 cm x 1.5 cm (W x H x D) and has a very solid metal clip on the back with which you can attach the product to your waistband/belt or you can attach it to your guitar strap.

The product is powered by a single AAA battery, which is secured with a solid screw cap and, in addition to the ability to connect a corresponding earphone on the side, includes an additional input for the signal emitted by the receiver. According to the manufacturer, an average alkaline battery should last around 60 hours. When the LED on the top of the housing switches from green to red, around 70% of the battery's power has been used. There is also a mixer control for the proportion of external microphones, as well as a high-pass and low-pass filter, which can be switched separately if necessary. The low pass reduces all frequencies above 8 kHz, the high pass reduces all frequencies below 100 Hz by 15 dB each. In order to be able to connect the receiver to the Inear Hearmix Pro system, a corresponding connection cable is included with the system.

Another special feature of the Inear Hearmix Pro is the fact that the system can also be used very well as active hearing protection. For example, if you just want to turn down the volume in your ears on stage, but otherwise enjoy normal analog signal playback on stage, you can use the system by placing your personal earphones in your ear, taking the appropriate sound attenuation there and with you The microphones, which are attached to the sides, can mix the stage sound continuously. The whole thing can be used both as an active musician on stage and as a spectator in the audience as a kind of luxury hearing protection with individual volume reduction.

The technical values of the Inear Hearmix Pro read as follows:

Frequency Response: 18Hz - 22kHz +/- 2dB
S/N Ratio: 70dB at 1kHz
Sensitivity: -43 dB +/- 3 dB at 1 kHz
Max. Input Sound Pessure level: 127 dB SPL

The Inear Hearmix Pro in practice

Commissioning the system is very easy. For my part, I simply unplugged the cables from the earphones and plugged in the new cables. Otherwise, connect the line cable to the headphone output of the radio receiver, done. You can continue to use the regular signal as normal and the ambient signal picked up by the microphone is only mixed in when the Inear Hearmix Pro is activated.

What needs to be taken into account, however, is that if the Inear Hearmix Pro fails for whatever reason, the entire signal is gone. Due to the special mini jack plugs, you cannot simply bridge the Hearmix and plug the plug directly into the receiver. In this respect, I think it's very good that the system allows for an extremely long operating time of 60 hours and should the device not be subjected to extremely massive mechanical stress, there should be virtually no problems in live operation.

The sound of the system is extremely neutral and everyone should find their own personal sound in the earphones by activating the high and low pass filters. What I personally found very interesting was the fact that the positioning of the microphones resulted in a sound impression, something that various hearing aid wearers had already told me some time ago. The spatial proportion compared to direct sound is significantly higher due to the lack of an ear canal, which is of course an advantage for musicians on stage, but for hearing aid wearers when it comes to speech during a conversation, especially if it takes place in a loud bar, for example. represents a real problem.

In summary, you have to give the Inear Hearmix Pro an excellent rating. The system solves a problem that every in-ear monitoring user inevitably has to deal with in a refreshingly simple way, with production, quality and workmanship representing the best Made in Germany. I can only recommend that anyone who has not yet used in-ear systems due to their hearing loss gives them a second chance and uses them together with the Inear Hearmix Pro. It will be a real enrichment for your personal enjoyment of music on stage.

Conclusion

With the Inear Hearmix Pro, the German manufacturer has a big ace up its sleeve when it comes to solving a long-known problem. By using two tiny microphones and a small control unit, the stage sound can be continuously mixed into the regular in-ear sound, thus enabling the combination of the two worlds, which were previously strictly separated from each other without ambient miking.

An outstanding tool whose value cannot be overestimated.

Top score!

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Additional Informations:

InEar Monitoring, a distinguished company nestled in Hesse, Germany, has emerged as a trailblazer in the realm of professional audio equipment, particularly in the field of in-ear monitoring solutions. From its humble inception to its current status as a global leader, the journey of InEar Monitoring embodies a saga of innovation, precision engineering, and unwavering commitment to delivering superior sound experiences.

**Founding Years: A Quest for Sonic Prowess**

InEar Monitoring traces its origins to the early 2000s when a group of passionate audio engineers and musicians, driven by a shared vision to revolutionize live sound monitoring, came together in Hesse, Germany. Frustrated by the limitations of traditional stage monitoring systems, which often resulted in subpar audio quality and inconsistent performances, the founders embarked on a mission to create a solution that would empower artists to hear themselves with clarity and precision on stage.

**Innovative Solutions: Crafting the Perfect Monitor Mix**

In its formative years, InEar Monitoring focused on developing cutting-edge in-ear monitoring systems tailored to the unique needs of professional musicians, bands, and audio engineers. Drawing upon Germany's rich tradition of engineering excellence and precision craftsmanship, the company pioneered advancements in earpiece design, audio signal processing, and wireless technology to deliver unparalleled sound fidelity, comfort, and reliability.

InEar's early breakthroughs included the development of custom-molded in-ear monitors (CIEMs), which offered superior fit, isolation, and sound quality compared to off-the-shelf solutions. By utilizing state-of-the-art materials and employing proprietary manufacturing techniques, InEar ensured that each CIEM was precisely crafted to the unique contours of the wearer's ears, resulting in a snug and comfortable fit that remained secure even during the most energetic performances.

**Industry Recognition and Global Expansion: Setting New Standards**

As word of InEar Monitoring's revolutionary products spread within the music industry, the company quickly gained recognition for its commitment to excellence and innovation. Musicians and audio professionals worldwide began to embrace InEar's monitors as indispensable tools for achieving optimal sound quality and performance consistency on stage and in the studio.

Buoyed by its growing reputation and success, InEar Monitoring embarked on a journey of global expansion, establishing a network of distributors, retailers, and partners across Europe, North America, Asia, and beyond. The company's dedication to customer satisfaction, technical support, and after-sales service ensured that users around the world had access to premium in-ear monitoring solutions backed by unrivaled expertise and support.

**Technological Advancements: Pushing the Boundaries of Possibility**

In its relentless pursuit of sonic excellence, InEar Monitoring continued to push the boundaries of technology and innovation, introducing a steady stream of advancements and enhancements to its product lineup. From the integration of state-of-the-art drivers and acoustic components to the development of sophisticated wireless systems and digital signal processing algorithms, InEar remained at the forefront of audio engineering, consistently delivering products that set new standards for performance, reliability, and versatility.

One of InEar Monitoring's most notable achievements was the introduction of its digital wireless monitoring systems, which offered pristine audio quality, robust connectivity, and unparalleled flexibility for artists and audio engineers. By leveraging the latest advancements in digital audio transmission and signal processing technology, InEar's wireless systems provided users with the freedom to move and perform without compromising on sound quality or reliability.

**Legacy and Future Prospects: Shaping the Future of Live Sound**

As InEar Monitoring looks to the future, the company remains committed to its founding principles of innovation, quality, and customer satisfaction. With a dedicated team of engineers, designers, and industry experts at its helm, InEar continues to push the boundaries of what is possible in live sound monitoring, anticipating the evolving needs of musicians and audio professionals and developing solutions that empower them to perform at their best.

In conclusion, the story of InEar Monitoring is a testament to the power of innovation, collaboration, and perseverance. From its humble beginnings in Hesse, Germany, to its current status as a global leader in in-ear monitoring technology, InEar has demonstrated a steadfast commitment to excellence and a relentless pursuit of sonic perfection. As the company continues to evolve and innovate, its legacy as a pioneer in live sound monitoring is sure to endure, shaping the future of music performance and production for generations to come.

TEST: IK Multimedia iRig Steam Mic USB

 It's a blessing and a curse at the same time. We're talking about social media with an accompanying flood of audio and video recordings. On the one hand, if handled correctly, it is a highly effective method of reaching thousands of fans worldwide and delighting them with your personal art or self-expression. On the other hand, I don't know of any professional colleague who doesn't get cold horror when asked about this topic, as he or she is latently forced to distribute regular content to fans at short intervals, or new content via Insta, Tiktok and Co. to reach. In order to keep the audio quality of presentations at a certain level with minimal effort, IK Multimedia is launching the IK Multimedia iRig Stream Mic USB, which aims to make it as easy as possible for the user, especially in the area of podcasts and live streams.

The concept of the IK Multimedia iRig Stream Mic USB

The IK Multimedia iRig Stream Mic USB is a USB microphone that also has an internal stereo audio interface installed. The microphone, made of simple plastic, is intended to give the external impression of a large-diaphragm condenser microphone, although this cannot really be achieved due to the relatively “plastic-esque” feel.

The microphone comes with a very stable metal base, which also has a rubberized surface on the underside to ensure the product is as stable as possible in terms of its stability. The microphone is attached to the base with a screw on the side. Unfortunately, there are no other mounting options here. This means that the use of a regular microphone stand or corresponding holders, which can be attached to the edges of tables or stands using a clamping mechanism, unfortunately do not work here.

In some promotional photos from IK Multimedia you can see a holder with which you can screw the microphone to a tripod. Unfortunately, I couldn't find out what kind of holder this is, where it can be purchased, how much it costs or whether it is custom-made.

Theoretically, holders designed for the iPhone or other corresponding mobile devices could work here, but they usually work with corresponding clamping jaws, which means that either certain control units on the side of the microphone are covered or moved or the angle of incidence of the microphone is changed Sound for the cardioid capsule on the top of the microphone is negatively affected. All in all, it can be said that the microphone is designed exclusively for table use. The microphone capsule itself is secured from the inside against pop noises with a simple foam. The practical test will show to what extent it is worthwhile to use an additional external pop protection.

Speaking of the cardioid capsule, in contrast to the slightly more expensive Pro version of this microphone, no directional characteristic can be changed here. A regular cardioid is preset, but the variations known from the pro range such as ball or 8 are unfortunately not offered here. This also means that if you use the microphone for podcasting, you can only record a single person speaking directly in front of the microphone. Unfortunately, sitting opposite a conversation partner and placing the microphone in the middle between the two is not possible.

The construction of the IK Multimedia iRig Stream Mic USB

The entire handling of the IK Multimedia iRig Stream Mic USB is aimed at simple and, above all, quick handling. The microphone is operated via USB-C. A corresponding cable with 2x USB-C is included with the product. The connection is located on the bottom of the housing. In addition to the USB-C port, there is a mini jack stereo socket for an AUX-IN on the left side. On the right side there is a mini jack stereo socket for a headphone OUT. Both the AUX-IN and the headphone OUT can be controlled using two small knurled controls on the right side of the microphone.

Visually, IK Multimedia has placed a large volume control in the middle of the housing as the centerpiece, which works with an additional LED. The three-color LED offers the color blue for an applied voltage, green for a good input volume and red for an excessively high input volume as optical signals, which can be adjusted accordingly using the gain control. Below the control there is a push button that takes over the mute function, so that you can mute the microphone for a short time with a simple click without much effort. The loopback function is not affected by this, which must be seen as very practical.

Furthermore, the microphone has a switchable high-pass filter, which acts as an impact sound filter and initiates a corresponding reduction in bass from around 150 Hz. Two other interesting switches are located on both the right and left of the case. On the left we have the so-called loopback function. This allows the signal to be mixed with the additionally generated return signal, which is usually generated by an additional player, to output the overall signal. On the opposite side there is a mix control called Monitor, which regulates the direct portion of the microphone to the headphones and the processed signal to the headphones.

IK Multimedia offers a selection of free software with which you can edit the signal from the IK Multimedia microphone accordingly. This includes various areas up to a complete channel strip, which offers the usual editing tools such as compressors, equalizers and various software-based room effects to give the unprocessed sound of the microphone a little more pressure and punch.

The IK Multimedia iRig Stream Mic USB in practice

First of all, it must be positively emphasized that the IK Multimedia iRig Stream Mic USB is an absolute no-brainer when it comes to configuration. On my Macbook this actually just meant plugging in the cable, selecting the input and output device in the control panel, and that was it. It really couldn't be easier.

The stability of the included foot is also very good. However, we have a very high level of impact sound transmission, which of course can never be completely avoided with this design. However, it is impressive how even a very light tap on a tabletop about 1.5 meters away is still transmitted very well by the base. It would therefore be advisable to place the microphone on a soft surface that ensures a certain degree of isolation from impact sound.

In terms of sound, I would throw out the theory that the microphone sounds the way it looks. That means it makes a good impression and will be exactly the right thing for many areas of application. However, the sound cannot keep up with real, high-quality large-diaphragm microphones. I really like the microphone in the close-up area, with a nice depth, a certain warmth and also quite good resolution.

However, we have the problem here that we can't actually take any recordings without an additional pop filter. The internally installed foam hardly dampens the impact of air at all, which means that every explosive sound like P or K immediately creates a lot of distortion in the recording. This cannot be compensated for with a downstream compressor, as the distortion is present directly on the input signal. If you increase the distance to the microphone, the pop sounds are reduced significantly better, but the microphone then loses its character. The sound becomes a bit brittle and loses a lot of warmth.

What you shouldn't forget, of course, is that the microphone is a fully-fledged interface with which you can get appropriate sound sources into the computer. This should also be taken into account when determining the purchase price.

In summary, it can be said that the microphone is very suitable if you want it to be quick, if you want it to be uncomplicated and if you want to achieve a good result using simple means. If you want the ultimate sound selection, you probably won't be able to avoid making a larger investment, but if you're looking for a cheaper and better-sounding alternative for the microphones built into your MacNook, you should give the IK Multimedia iRig Stream Mic USB a try.

Conclusion

With the IK Multimedia iRig Stream Mic USB, the Italian manufacturer has a flexible USB microphone in its portfolio, which particularly shines with its uncomplicated handling and simple operation. In combination with a laptop and headphones, you have everything you need for live streaming or solo podcasts.

However, if you want to record a conversation with several people and value different directional characteristics in the capsule area, you should try the Pro version of the product.

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Additional Informations:

IK Multimedia, a prominent player in the music technology industry, has significantly contributed to the evolution of audio interfaces, empowering musicians, producers, and content creators to capture and manipulate sound with precision and ease. From its inception to its current lineup of innovative products, the journey of IK Multimedia interfaces is a testament to ingenuity, adaptability, and a relentless commitment to excellence.

**Founding Years and Early Innovations:**

IK Multimedia was founded in 1996 in Modena, Italy, with the vision of developing cutting-edge software and hardware solutions for musicians and audio professionals. In the early years, the company focused on software products, such as virtual instruments and effects plugins, before expanding into the realm of hardware with the introduction of audio interfaces.

One of IK Multimedia's earliest forays into audio interfaces was the iRig MIDI, released in 2011. This compact MIDI interface allowed musicians to connect their MIDI-compatible instruments and controllers to iOS devices, unlocking a world of creative possibilities for music production and performance on mobile platforms.

**iRig Series:**

The iRig series marked a significant milestone in IK Multimedia's interface offerings, catering to the burgeoning demand for portable and affordable recording solutions for mobile devices. The iRig lineup included audio interfaces, microphones, and MIDI controllers designed to seamlessly integrate with smartphones and tablets, empowering musicians to capture high-quality audio on the go.

The iRig HD and iRig Pro were among the standout products in the series, offering professional-grade audio conversion and connectivity options for iOS and Android devices. These interfaces provided musicians with studio-quality recording capabilities in a compact and portable form factor, revolutionizing the way music was created and recorded outside of traditional studio environments.

**iRig Pro Duo and Pro I/O:**

Building on the success of the iRig series, IK Multimedia introduced the iRig Pro Duo and iRig Pro I/O, versatile audio interfaces designed for both mobile and desktop use. These interfaces offered dual-channel recording capabilities, high-quality preamps, and a range of connectivity options, including XLR, 1/4-inch, and MIDI inputs, making them ideal for recording vocals, instruments, and MIDI controllers with ease.

The iRig Pro Duo and iRig Pro I/O also featured compatibility with a wide range of recording software and apps, providing users with flexibility and freedom to create music on their preferred platform. Whether in the studio, on stage, or on the road, these interfaces empowered musicians to capture their musical ideas with uncompromising quality and convenience.

**AXE I/O Series:**

In 2019, IK Multimedia introduced the AXE I/O series, a lineup of premium audio interfaces tailored specifically for guitarists and bassists. The AXE I/O and AXE I/O Solo combined high-fidelity audio conversion with advanced guitar tone shaping and recording features, allowing guitarists to achieve studio-quality recordings with ease.

These interfaces featured IK Multimedia's proprietary PURE microphone preamps, which provided transparent and natural sound reproduction, as well as a range of guitar-specific features, such as Z-Tone impedance-adapting circuitry and AmpliTube guitar amp and effects modeling software integration. The AXE I/O series represented a new standard in audio interfaces for guitarists, offering unparalleled tone control and recording capabilities for both home and professional studio environments.

**Future Prospects and Innovation:**

As technology continues to evolve and the demands of musicians and producers evolve with it, IK Multimedia remains committed to pushing the boundaries of innovation in audio interface design. The company's dedication to providing musicians with versatile, high-quality recording solutions for both mobile and desktop platforms ensures that IK Multimedia interfaces will continue to play a vital role in the creative process for years to come.

In conclusion, the evolution of IK Multimedia interfaces is a testament to the company's commitment to empowering musicians and audio professionals with tools that inspire creativity and facilitate expression. From the pioneering iRig series to the advanced AXE I/O lineup, IK Multimedia has consistently delivered innovative solutions that redefine the possibilities of music production and recording, cementing its reputation as a leader in the field of audio technology.

TEST: IK Multimedia iRig Pro

 With the iRig Pro, the company IK Multimedia is bringing a small interface onto the market which, in contrast to many other competitors, can also process low-impedance microphone signals in addition to high-impedance instrumental solutions. In addition to the classic notebook, the primary area of application for the tiny device is once again the iOS armada of the bitten apple from the USA, which, thanks to powerful processors and gigabites of storage space using pads, pods and phones, has long since overtaken all other pocket-sized mobile recording solutions.

In order not to offend ambitious users, easy handling and self-explanatory product guidance are essential. In addition, the device should not exceed the external dimensions of the recording medium so that an additional transport medium does not have to be used. I prefer to put the whole thing together in a slightly more opulent hardware bag or, in winter, spread it over two side pockets in the new outdoor jacket. Sounds transportable, right?



construction

Since the computer replaced the analog recording process with tapes of all kinds, the user has had to deal with the problem of converting his analog signal into zeros and ones. If you don't want to deal with the internally installed mini jack sockets, which are completely inadequate in practice, you have to look for an external solution, usually based on USB. Admittedly, compared to an official 6.35 millimeter jack socket or even an long for water in the oasis like someone dying of thirst.

The iRig Pro fills this gap, as it clearly specifies the partner of its choice in the product naming and shows the operating systems from Seattle along with the mobile Androids the red card. In return, IK Multimedia has to bow to Apple's arbitrary choice of connectors and pay horrendous license fees for Lightning and 30-pin connector cables. Blessed is whoever has the monopoly. Interestingly, the product is not developed and manufactured in Asia as usual, but in the Italian company's home country.

When it comes to size, you are truly in the land of pockets. With the dimensions (WxLxH): 32 mm x 105 mm x 21 mm and a weight of 40 grams, you have just the approximate dimensions of half a cigarette pack, which is enough to install all the necessary elements of the iRig Pro. Lying on the back, the case is supported by four tiny feet, which prevent it from lying flat, but unfortunately do not prevent slipping on smooth surfaces due to the plastic mixture being too hard. The rest of the workmanship of the housing is good, the plastic is easy to grip and the hinges and sockets are neatly installed.

A combination socket allows both XLR and mono jack signals as input sources. The device has two special features that are rather exceptional in this product class. On the one hand, the input signal can be managed in terms of voltage using a large gain control, and on the other hand, 48V phantom voltage can be switched to the socket using a slider on the side. This means that condenser microphones can also be used without their own power supply, which massively increases flexibility in terms of application. It is powered by an internally placed 9V battery, which should preferably be an alkaline battery. By the way, the gain control is pleasantly stiff, making it difficult to accidentally adjust the input signal.

There is also a mini jack socket opposite the phantom power slider, which enables MIDI synchronization. All cables (USB - serial, Lightning - serial, 30-pin - serial and mini jack - MIDI) are included with the interface. Oh yes, there is also a 9V battery on top. In order to equip the user with the necessary software, IK Multimedia includes the AmpliTube, VocalLive, SampleTank and iGrand Piano programs for iOS in the product; for OSX, AmpliTube Metal, T-RackS and SampleTank XT are included.



Practice

As expected, the adjective “handy” is the first thing that pops up when you take the product out of the packaging. The adjective “uncomplicated” can be used to accompany the word “handy”. It really couldn't be easier, just connect the iRig Pro to the iOS device and it works! Driver installations on the Mac or in the iOS area and the use of additional applications are completely eliminated.

At the same time, this means that if things have to happen quickly, a recording setup for high demands can be set up in under a minute. Anyone who travels to trade fairs as a racing reporter, for example, will appreciate this feature. The sound of the iRig Pro can be considered balanced, pleasant, or neutral. The treble range is reproduced well without excessive sharpness. The midrange is also neutral, a relief compared to the notorious bathtub presets of many competitors.

There can be different opinions about the use of the three-color LED (green / orange / red) as a level indicator. A real LED chain cannot replace the selective information, especially since you quickly leave the range from green (too low) to orange (optimal) to the detriment of red (clipping). With an instrument that varies a lot dynamically, such as an undistorted guitar, a mismatch can quickly occur at the beginning, as the peaks tend to absorb the headroom of the product when played appropriately. So be careful with the pre-amplification. However, after a short training period you get used to the handling.

The use of condenser microphones must be acknowledged as a clear strength. The selection of small interfaces that allow the operation of large diaphragm microphones is more than clear, so the iRig Pro fills a gap that the user will gratefully accept. It is finally possible to use high-quality microphones in nomadic operation and to generate attractive recordings even with spatial flexibility.

This means that different setups can be generated depending on the area of application. Whether you want to conserve creativity in combination with your iOS device or present ideas during a presentation, the product's flexible connection options mean there is a wide range of areas of application available. I can spontaneously think of solo entertainers, whether with a MIDI keyboard or guitar, who are looking for a suitable supporting program for their performance. Vocal microphone and keyboard connected to the iRig, Garageband switched on, done. Or an electric guitar and the corresponding controller managed via AmpliTube, also quite nice. Not to forget the pure singer who wants to work to a pre-made playback and prefers to work with a minimum of cable layers.


Conclusion

With the iRig Pro, IK Multimedia has brought a high-quality mini-interface onto the market at an attractive price. In addition to its compact dimensions, the Italian product is particularly impressive because of its ability to use high-quality studio microphones using phantom power. In addition, line instruments, as well as MIDI events, can be managed via the combination socket via a separate MIDI input.

Especially in the iOS sector, where the compactness of the recording medium is a crucial criterion, the iRig Pro manages to combine its minimal dimensions with a comparatively large sound. A comprehensive software package and a wide selection of Apple-compatible cables, which would normally cost half the purchase price, round off the very good overall impression.

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Additional Informations:

IK Multimedia, a pioneering company in the realm of music production and audio technology, has revolutionized the way musicians create, perform, and record music. From its humble beginnings to its current status as a global leader in music software, hardware, and accessories, the journey of IK Multimedia is a testament to innovation, passion, and dedication to artistic expression.

**Founding Years:**

IK Multimedia was founded in Modena, Italy, in 1996 by Enrico Iori and Davide Barbi. The company initially focused on developing software and hardware solutions for computer-based music production, targeting musicians, producers, and audio engineers seeking affordable and accessible tools to enhance their creative workflow.

**Breakthrough Products:**

One of IK Multimedia's earliest breakthrough products was the T-RackS mastering software, released in 1999. T-RackS quickly gained recognition for its intuitive interface, powerful audio processing capabilities, and affordability, establishing IK Multimedia as a formidable player in the digital audio market.

In 2003, IK Multimedia expanded its product portfolio with the introduction of AmpliTube, a groundbreaking guitar amp and effects modeling software. AmpliTube revolutionized the way guitarists approached recording and performing, offering an extensive array of virtual amplifiers, cabinets, and effects pedals that faithfully replicated the tones of iconic analog gear.

**Strategic Partnerships:**

Throughout its history, IK Multimedia has forged strategic partnerships with industry giants and iconic brands to expand its product offerings and reach new audiences. Collaborations with companies like Fender, Marshall, and Orange resulted in the creation of officially licensed virtual guitar and bass amplifiers, providing users with access to the signature tones of legendary amplifiers within the AmpliTube ecosystem.

Furthermore, IK Multimedia partnered with renowned artists and producers, including Slash, Joe Satriani, and Brian May, to develop signature gear collections and presets for AmpliTube, catering to the specific sonic preferences of these influential musicians and their fans.

**Diversification and Innovation:**

In addition to software, IK Multimedia diversified its product range to include hardware solutions designed to complement its software offerings. The iRig line of mobile audio interfaces, microphones, and MIDI controllers provided musicians with portable and affordable tools for recording, performing, and practicing on the go, leveraging the power of smartphones and tablets as music production platforms.

The company continued to innovate with the introduction of iLoud, a series of portable Bluetooth speakers and studio monitors that combined compact design with pristine audio quality, catering to the needs of musicians, producers, and content creators working in a variety of environments.

**Expansion into Mobile and Streaming:**

Recognizing the growing influence of mobile devices and streaming platforms in the music industry, IK Multimedia developed apps and services tailored to the needs of modern musicians. Products like iRig Recorder and AmpliTube UA brought professional-quality recording and guitar processing capabilities to smartphones and tablets, empowering musicians to capture and create music anytime, anywhere.

Furthermore, IK Multimedia embraced the shift towards subscription-based streaming services with the launch of T-RackS Custom Shop, a platform that allowed users to access and purchase individual modules and processors within the T-RackS software suite, offering greater flexibility and affordability.

**Community Engagement and Education:**

Throughout its journey, IK Multimedia has remained committed to engaging with its community of users and fostering musical creativity and education. The company hosts workshops, webinars, and online forums where musicians can connect, collaborate, and learn from industry experts and fellow enthusiasts. Additionally, IK Multimedia provides educational resources and tutorials to help users get the most out of its products and unlock their creative potential.

**Future Outlook:**

As IK Multimedia continues to evolve and innovate, the company remains dedicated to empowering musicians of all levels to express themselves and realize their artistic visions. With a diverse range of software, hardware, and accessories designed to meet the needs of modern music creators, IK Multimedia is poised to shape the future of music production and performance, inspiring a new generation of musicians to push the boundaries of creativity and sonic exploration.

In conclusion, the history of IK Multimedia is a testament to the transformative power of technology in music, as well as the passion and dedication of its founders and employees to empower musicians and enhance the creative process. From its pioneering software solutions to its innovative hardware offerings and strategic partnerships, IK Multimedia has left an indelible mark on the music industry, redefining the possibilities of music production and performance in the digital age.

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.

TEST: Ibanez RG A42HPT

 What could be written about the RG series from Ibanez that hasn't already been tried countless times? As one of the first independent models, but certainly the Japanese manufacturer's biggest sales driver, the most successful Powerstrat of all time shaped and popularized entire generations of shredders. There was hardly a noodle king of the eighties who wasn't traveling with a subspecies of this model type, usually with a finish that was only just below physical damage. With the Ibanez RGA42HPT-LBM, the Japanese are sending an instrument into the race for buyers' favor that brings with it many RG trademarks, has some interesting innovations and feels stuck in the three-digit range when it comes to retail prices. Here we go!

The concept of the Ibanez RGA42HPT-LBM

Why does the image of blue Elise, the legendary anteater who was brilliant in the Pink Panther cartoons, spring to mind? Marianne Wischmann's reproachful, spinster voice (including Miss Piggy) achieved legendary status? Well, the finish of the Ibanez RGA42HPT-LBM, which the company calls “Laser Blue Matte”, could hardly be more striking. The finish, especially in combination with the gold hardware, has something pretentious about it, with a tendency towards American kitsch. A matter of taste, but definitely an eye-catcher.

At first glance, the Ibanez RGA42HPT-LBM offers all the trademarks that one is used to from this type of instrument. A contour body with two expansive cutaways, which apart from a few body corners has almost no hard edges. Almost every area where a part of the body rests on or against the instrument is pleasantly rounded and minimizes frictional resistance. What is striking, however, is the body wood called Nyatoh, which is structurally similar to mahogany. Why the same?

Because the Ibanez strategists are not stupid and apparently have read the commercial primer of America's model entrepreneur and Oberknauser Leo Fender intensively several times. Just as Leo Fender chose the wood for his ingenious moves such as the Telecaster and Stratocaster simply based on what was available cheaply on his doorstep, Ibanez also chooses wood from the sapote family, which is native to Southeast Asia, for the model made in Indonesia is. Someone says again that Asians don't care about the environment, on the contrary. Short transport routes make one or two manufacturers on the other side of the Pacific look significantly older.

The second unusual choice of wood follows immediately. The fingerboard, which has 24 jumbo frets, is made of Jatoba, which comes predominantly from Brazil, partly also from the Caribbean and West Indies. Visually it comes very close to the rosewood family with its medium brown color and its large pores, but we'll see in terms of sound. The fingerboard inlays are simple dots, arranged on the sides.

Yes, and then there is a brownish, almost caramelized neck wood, which is structurally strikingly reminiscent of maple, but the color seems far too dark. You've probably already guessed, yes, it's maple, but toasted. Anyone who thinks about their breakfast with spread is not that far removed from the “roasting” that is currently making its rounds as the latest sales driver.

Roasted aroma?

The purpose of roasting/baking or similar is, as always, to improve the vibration behavior of the wood. In an additional heating process, the wood is literally baked, i.e. a kind of “caramel layer” (pardon the expression) is placed around the individual wood fibers, which improves the vibration behavior of the wood in terms of attack and sustain and also makes the wood more resistant to water absorption. i.e. swelling, power. Maple necks in particular benefit from this treatment, which is why the name Fender is often mentioned in connection with this process.

The dimensions of the neck are also very user-friendly. With the preferred long scale length of 648 mm, we have a fingerboard radius of 400 mm and a nut width of 43 mm. The neck profile is described as “Wizard”, a tasteful “D” with enough “meat” to the touch, which should suit the majority of users. What always pleases me, even after many years at Ibanez, are the small details regarding problem solutions, such as: B. the side fold-out cover for the truss rod. So simple, so effective. Yes, I know how often you have to readjust something on this part of the instrument, but just last week an extremely annoying tinkering with this exact part by another manufacturer drove me crazy.

When it comes to hardware, Ibanez now relies almost entirely on its own production. The principle of the vibrato system is still from Floyd Rose, but the patent seems to have expired, so that Ibanez can now also obtain the knife edge principle from its own production. This also applies to the tuners and the clamping saddle of the guitar. The vibrato system is free floating, which means you have all the advantages and disadvantages of the system. The advantage of maximum artistic expression in terms of vibrato and bending is counteracted by the impossibility of double bends or two-tone sounds with a pulled string. Ever seen a country guitarist playing a Floyd Rose system? No? Even!

When it comes to choosing a pickup, Ibanez is once again relying on DiMarzio products, a collaboration that has lasted for I don't know how many decades. I would like to see the mountain of probably several hundred thousand pickups that DiMarzio has already delivered to Ibanez. With the present Ibanez RGA42HPT-LBM it is once again the Fusion Edge humbuckers, which are switched via a three-way switch along with a single coil mini switch.

The Ibanez RGA42HPT-LBM in practice

OK, let's start with some bullying. The guitar is actually very well adjusted from the factory in terms of string position and neck angle, but what's that scratching noise on the frets when you start finger vibrato? In fact, the polishing here should have been a bit cleaner in order to match the level of the other finishes. It may be that the vibrato system relieves a player of some of the finger vibrato, but it is essential for personal expression.

What is particularly noticeable in the sound is the roasted neck. Of course, it would be presumptuous to attribute the entire vibration behavior only to the baked neck, but it is very obvious that the attack and release phase of the instrument is of a significantly higher quality than what these components can normally deliver. The sound starts unusually quickly and holds the voltage exceptionally long, significantly longer than what the average RG series has up its sleeve.

As is well known, the neck is primarily responsible for the vibration and sound behavior of an instrument, which means that this is exactly the right point. The Floyd Rose system, which is often criticized as a sustain killer, has no chance of negatively influencing the vibration behavior. Rather, you have the feeling that the instrument is close to the sustain behavior of a continuous neck, which is known to be the best design so far if you focus on a tone that lasts as long as possible.

The practical pickup circuit allows you to get 6 consistently good sounds, which further supports the flexible character of the instrument. From clean funk to distorted crunches to the typical high gain based on a passive pickup, the instrument offers all the nuances that you would expect from a flexible tool. Once again, all that remains is the reference to the well-booked cover band, where the instrument can show off its full range in combination with the right amplifier over a 2-3 hour set. With this look, however, it could also be AIDA's house band or Andrea Berg's backing band.

But what you should always keep in mind is that when delivered from the factory, Floyd Rose instruments are structurally unsuitable for high gain - staccato / palm muted playing styles. The springs of the vibrato system work like a reverb spiral and resonate accordingly, resulting in a completely blurred, undifferentiated sound. Create a remedy e.g. B. foam pads, which are clamped between the springs and the body.

Conclusion

With the Ibanez RGA42HPT-LBM, the Japanese company has a visually and acoustically outstanding instrument in its ranks. The roasted neck proves to be a real advantage in terms of the attack and decay behavior of the instrument, as it pushes the attack and sustain forward significantly. In true RG style, the instrument is very flexible in terms of application and once again impresses with its very good ergonomics.

The only flaw remains the poorly polished, slightly scratchy frets, which could have just been a one-off outlier in the product chain. After several hours of match practice, this point should have worked itself out.

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Additional Informations:

In the realm of electric guitars, few brands command as much respect and admiration as Ibanez. Renowned for their innovative designs, exceptional craftsmanship, and versatile sonic capabilities, Ibanez electric guitars have left an indelible mark on the world of music, shaping the sound and style of generations of musicians. In this comprehensive article, we embark on a journey through the rich history, diverse lineup, and enduring legacy of Ibanez electric guitars, uncovering the secrets behind their continued popularity and unwavering appeal.

**Origins and Evolution**

The story of Ibanez electric guitars begins in the early 20th century in Japan, where the Hoshino Gakki company first started importing musical instruments. In the 1950s, Hoshino Gakki began producing their own guitars under the Ibanez brand, drawing inspiration from classic American designs while adding their own unique twists.

Throughout the decades, Ibanez electric guitars have undergone numerous iterations and refinements, reflecting the ever-changing needs and preferences of musicians. From the vintage-inspired models of the 1960s to the cutting-edge instruments of the modern era, Ibanez has remained at the forefront of guitar design and innovation, constantly pushing the boundaries of what is possible.

**Iconic Designs and Signature Models**

One of the hallmarks of Ibanez electric guitars is their diverse lineup of iconic designs and signature models. From the timeless elegance of the RG series to the legendary status of the JEM series, each model offers a distinct combination of features tailored to the needs of different players and musical styles.

The RG series, characterized by its sleek body shape and high-performance features, has become a go-to choice for shredders and metal players seeking speed, precision, and sonic versatility. Meanwhile, the JEM series, designed in collaboration with virtuoso guitarist Steve Vai, has attained legendary status for its bold aesthetics and unparalleled playability.

In addition to these flagship series, Ibanez offers a wide range of signature models developed in partnership with some of the world's most influential guitarists. From Joe Satriani's versatile JS series to Paul Gilbert's fiery Fireman models, these instruments embody the unique playing styles and sonic preferences of their namesakes, inspiring players to unlock new levels of creativity and expression.

**Innovative Features and Technology**

Central to the success of Ibanez electric guitars is their relentless commitment to innovation and technological advancement. Whether it's the fast-playing Wizard neck profile, the versatile pickup configurations, or the cutting-edge tremolo systems, every aspect of an Ibanez guitar is meticulously engineered to deliver maximum performance and sonic excellence.

For example, the Edge and Edge Zero tremolo systems offer unparalleled tuning stability and precision, allowing players to execute extreme whammy bar maneuvers with confidence and control. Meanwhile, the versatile pickup configurations, including humbuckers, single-coils, and combinations thereof, provide a wide range of tonal options suitable for any musical genre or playing style.

Moreover, Ibanez has embraced modern manufacturing techniques and materials to enhance the playability, durability, and overall quality of their guitars. From exotic tonewoods and innovative construction methods to state-of-the-art electronics and hardware, Ibanez electric guitars are designed to meet the demands of professional musicians and discerning enthusiasts alike.

**Cultural Impact and Enduring Legacy**

Beyond their technical prowess and sonic capabilities, Ibanez electric guitars have left an indelible mark on popular culture, appearing on stages, in music videos, and on album covers as symbols of innovation, expression, and creativity. Their distinctive aesthetics, unmistakable sound, and legendary playability have made them a favorite among musicians across genres and generations.

Moreover, Ibanez electric guitars have become a staple in the worlds of rock, metal, jazz, fusion, and beyond, shaping the sound and style of countless artists and bands. From virtuosic shredders to soulful blues players, Ibanez guitars continue to inspire and empower musicians to push the boundaries of their craft and forge their own musical identities.

**Conclusion**

In conclusion, Ibanez electric guitars represent the pinnacle of craftsmanship, innovation, and sonic excellence in the world of musical instruments. From their humble beginnings in Japan to their global prominence today, Ibanez guitars have stood the test of time, earning the respect and admiration of musicians worldwide.

As they continue to evolve and adapt to the ever-changing demands of the musical landscape, Ibanez electric guitars remain a beacon of creativity and expression, empowering players to explore new horizons and push the boundaries of their musicality. Whether on stage, in the studio, or at home, an Ibanez guitar is more than just an instrument – it's a gateway to endless possibilities and a catalyst for artistic discovery.

TEST: Ibanez RG3521

 With the Ibanez RG3521, the Japanese company has once again brought a representative of its extremely successful product line onto the market. Curiously, the majority of musicians associate the product line with the music genre “Metal”, although neither an unusual body shape nor any other lightning, thunder or fantasy attitudes adorn the instrument.

A deep black finish along with a whispering reminiscence of the glorious eighties is probably enough to take the inclined user into the world of high gain, sweeping and tapping. The whole thing originally started over 30 years ago, when former and now again Van Halen frontman David Lee Roth secured Zappa pupil Steve Vai as guitarist for his solo band, who worked together with Billy Sheehan on bass and Greg Bissonette on drums hottest metal trio of his time. The guitar/bass parallel on the track “Shyboy” alone must have transformed countless guitar fans into whimpering practice nerds.

Ibanez was the first to recognize the signs of the times and gave Steve Vai a free hand in putting together his dream instrument. He had been desperately searching for a hybrid model for years that would combine the advantages of Stratocaster and Les Paul as intensively as possible in one model, but he always had to resort to saws, glue and chisels himself to get the Stratocaster shape he preferred pimping with more pressure using humbuckers and Floyd Rose vibrato.

The result was the basis of the RG series, which, in addition to Vai-specific Punch and Judy shows such as the Monkey Grip, also had more moderate variants for a wide range of tastes in the warehouse. The success was then unstoppable. The concept of a streamlined version of the Strat, paired with high-output pickups and a neck that was unbeatable in terms of slenderness at the time, hit like a bomb and is still the best-selling horse in the Asian company's stable to this day.

The instrument is delivered in a very high-quality hardshell case, which contains, among other things, a complete guitar tool, similar to a Swiss Army knife, and all important Allen, Phillips and slotted screwdrivers. Exemplary!




construction

Ibanez adopted the basic shaping from the original Stratocaster design, including the belly milling and armrest. However, a rounded version of the neck screw connection has been added, which ensures a much more relaxed playing style in high registers by moving the recessed fastening screws at the base of the neck. In terms of color, a metallic black was chosen, which contains countless small slivers similar to a cloudless starry sky and lives up to its internal name Galaxy Black. The paintwork is applied perfectly, you won't find any flaws in the workmanship.

When it comes to the choice of wood, we also follow the preferences of Mr. Vai, who pays homage to the lime tree, which tends to be softer when it comes to body wood. However, in order to give the overall picture enough attack, a walnut top is glued on, similar to the mahogany / maple principle. By the way, the top has no curvature and, unlike many other guitars, is absolutely flat. When it comes to neck wood, a three-piece maple neck is once again used, which, however, has been blocked with two thin strips of walnut for stability reasons. In order to protect the very slim neck from the infamous skull base fracture, Ibanez uses a truss rod made of KTS Titanium in addition to a subtle thickening at the transition to the headstock, which is intended to ensure maximum stability in addition to being low in weight. Rosewood is used as the fingerboard, and tasteful, subtle Wedge Sharktooth inlays act as inlays.

In addition to standard jumbo frets, this model uses a fixed bridge with the catchy name Tight-End R Bridge, contrary to the very popular Floyd Rose variant. With a little imagination, the massive and very unique construction is visually reminiscent of a fixed version of a Floyd Rose vibrato system. Furthermore, 2 old third-party acquaintances from the Ibanez stable will be called upon again. The tuners once again come from Gotoh, the pickups from DiMarzio with the Air Norton variants on the neck and the Tone Zone on the bridge.

The five-way switch on this double humbucker guitar allows, in addition to the two serial switching of the pickups and the interconnection of the same, in positions two and four, a neck pickup connected in parallel and 2 single coils from both pickups. If you prefer to tap into your humbucker coils individually to pay more homage to the single-coiler in its pure form, you can do this yourself with a little soldering work.

Ibanez also managed to attach the two pickups to the body without any play, despite only having one hole on the left and right of the coils. There is hardly anyone who doesn't think back with horror to the foam wobbly crumbs department of the first personal pickup changer, especially since despite plugging and pressing the foam pressure generator, you could almost never get the top edge of the coil and the string guide to be parallel.

A word about the Collet Knob potentiometers, which are available as master volume and master tone. Ibanez does this in a very stiff version. This is intended to ensure that in the heat of the stage battle the artist does not distort the volume or tone setting of the instrument through an ill-advised action. However, a variant has been chosen that is so resistant that, for example, the violin bow effect, which is very popular with Strat players, can no longer be implemented. Here everyone has to know for themselves what is more important to them in their performance.


Practice

Due to its moderate weight of 3.6 kilograms, pretty much any musician can wear the Ibanez RG3521 without experiencing the feeling of Bundeswehr marching luggage. Similarly, 90 percent of all guitarists will feel at home on the instrument from the first chords or leads. The concept, which has been tried and tested hundreds of thousands of times, leaves only very marginal scope for personal criticism of handling; too often the instrument has been optimized with regard to its suitability for the masses.
The term “almost plays itself”, which is unfortunately used far too often and to the point of being irrelevant, actually finds good breeding ground with this instrument. The wide yet slim neck with a diameter of 430 mmR and a thickness of 17 - 19 mm has become one of THE features of the RG series since the model was introduced and truly offers comparatively low resistance, from which modern playing techniques in particular benefit. Whenever you leave the alternate picking paths and give preference to ergonomics over the individual touch, the Ibanez RG3521 can really shine in its flagship disciplines.

Tappings, sweeps, glides, hammer-ons and pull-offs glide over the fretboard with welcome ease and make many parts easier that sometimes have to be fought for with effort and tears in the land of half baseball bats. In terms of sound, the combination of woods / pickups is a successful mix, which has gained a place in the crowd, especially thanks to its great all-rounder abilities. Important trademarks from the two major guitar worlds Strat / Les Paul were adapted and transferred to the Powerstrats camp with a good dose of independence.


Conclusion

With the Ibanez RG3521, Japan's flagship guitar manufacturer has once again made it to the top ranks of the guild. In a visually unspectacular but tasteful appearance, the company manages to optimize the points that make up the RG series thanks to the model that has matured over decades.

The instrument's workmanship is of a high standard and detailed solutions have been implemented effectively. It is not for nothing that the RG series has developed into a guide for all-round guitars, even among direct or indirect competitors, which knows how to reveal a maximum of tonal flexibility with ergonomic lines.

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Additional Informations:

In the vast landscape of electric guitars, certain series stand out for their iconic status, innovative design, and enduring popularity among musicians. One such series is the RG lineup by Ibanez, renowned for its sleek aesthetics, high-performance features, and versatile sonic capabilities. In this comprehensive article, we delve deep into the history, evolution, and significance of the RG series, uncovering the secrets behind its enduring appeal.

**Origins and Early Development**

The roots of the RG series can be traced back to the late 1980s when Ibanez sought to create a lineup of guitars tailored to the needs of modern players. Drawing inspiration from classic designs while incorporating innovative features, the RG series emerged as a flagship line that showcased the brand's commitment to craftsmanship, playability, and sonic excellence.

At the heart of the RG series is its distinctive body shape – a sleek, double-cutaway design that offers unparalleled access to the upper frets and ergonomic comfort during extended playing sessions. Crafted from select tonewoods such as basswood, mahogany, or maple, the RG's body provides a balanced blend of resonance, sustain, and tonal clarity, making it an ideal platform for a wide range of musical styles.

**Innovative Features and Technology**

One of the defining features of the RG series is its emphasis on high-performance components and cutting-edge technology. From its fast-playing neck profile and low action setup to its high-output pickups and advanced tremolo systems, every aspect of the RG is engineered to deliver maximum playability and sonic versatility.

The neck profile of the RG series is characterized by its slim, ultra-fast design, which facilitates effortless fretting and nimble lead playing. Coupled with features such as a smooth satin finish and jumbo frets, the neck ensures a comfortable playing experience across the entire fretboard, allowing players to explore their musical creativity without limitation.

In terms of electronics, the RG series offers a wide range of pickup configurations, including humbuckers, single-coils, and combinations thereof. These pickups are specially designed to capture the nuances of the player's performance, delivering crisp cleans, searing leads, and tight rhythm tones with precision and clarity.

Furthermore, the RG series is equipped with a variety of tremolo systems, including the iconic Edge and Edge Zero designs, which provide unparalleled stability and tuning accuracy, even during aggressive whammy bar maneuvers. Whether diving, fluttering, or subtle vibrato, the tremolo systems of the RG series offer a range of expressive possibilities for players to explore.

**Evolution and Iterations**

Over the years, the RG series has undergone numerous iterations and refinements, reflecting the ever-changing needs and preferences of musicians. From the original RG550 introduced in the late 1980s to the latest models featuring exotic tonewoods, multi-scale necks, and extended range options, the RG series continues to push the boundaries of guitar design and innovation.

Moreover, Ibanez has collaborated with renowned artists and players to create signature models within the RG lineup, each tailored to the unique specifications and playing styles of its namesake. From virtuosic shredders like Steve Vai and Joe Satriani to progressive metal icons like Tosin Abasi and Paul Gilbert, the RG series has become a canvas for artistic expression and sonic exploration.

**Enduring Legacy and Cultural Impact**

The RG series by Ibanez has left an indelible mark on the world of electric guitars, shaping the sound and style of generations of musicians across genres. Its sleek design, high-performance features, and versatile sonic capabilities have made it a go-to choice for players seeking instruments that can keep up with their musical aspirations.

Furthermore, the RG series has become a cultural icon, appearing on stages, in music videos, and on album covers as a symbol of innovation, expression, and creativity. Its distinctive silhouette and unmistakable sound have become synonymous with the spirit of modern guitar playing, inspiring countless players to push the boundaries of their craft and forge their own musical identities.

**Conclusion**

In conclusion, the RG series by Ibanez stands as a testament to the brand's commitment to innovation, quality, and musical excellence. From its humble beginnings in the late 1980s to its status as a global icon in the world of electric guitars, the RG series continues to inspire and captivate musicians with its sleek design, high-performance features, and versatile sonic capabilities.

As it continues to evolve and adapt to the ever-changing demands of the musical landscape, the RG series remains a beacon of creativity and expression, empowering players to explore new horizons and push the boundaries of their musicality. Whether on stage, in the studio, or at home, the RG series by Ibanez continues to reign supreme as a true titan of the electric guitar world.

TEST: Ibanez RG 550 DY

 There are instruments that polarize, although in the case of the Ibanez RG 550 DY we tested, this description would be a far understatement. Not one who wouldn't fall into sheer ecstasy or severe nausea at the neon yellow paint job. In times when serious eighties sound is still a production-technical no-go, but satirical puppet troupes like Steel Panther, who rip off the attitudes of that decade with their playback/wig show, attract respectable attention from the audience, she remembers Marketing department at Ibanez during the golden decade of guitar heroes. So then, I stole my girlfriend's leggings and went for it.


The concept of the Ibanez RG 550 DY

The eighties are on the rise in the hard rock / metal segment, but whether a Mötley Crüe biography on Netflix, with acting at regional league level, along with a few tribute bands, sets off a similar armada of copyists, such as those found in the 1980s. It remains to be seen whether it is currently in the seventies sound camp. On the other hand, if you're a guitarist looking for the necessary tools, you're always right with the Ibanez RG series.

With the RG 550, which was introduced in 1987 and discontinued in 1992 as a pawn of the grunge fashion wave, one almost inevitably associates the entire world of high gains, sweeping and tapping. The RG series is considered THE incarnation of the Powerstrat alongside its former companions from Jackson, Charvel and Kramer , just that fusion of Strat body lookalike and a sophisticated pickup / hardware arsenal.

The whole thing originally started over 30 years ago, when former and now again Van Halen frontman David Lee Roth secured Zappa pupil Steve Vai as guitarist for his solo band, who worked together with Billy Sheehan on bass and Greg Bissonette on drums hottest metal trio of his time. The guitar/bass parallel on the track “Shyboy” alone must have transformed countless guitar fans into whimpering practice nerds.

Ibanez was the first to recognize the signs of the times and gave Steve Vai a free hand in putting together his dream instrument. He had been desperately searching for a hybrid model for years that would combine the advantages of Stratocaster and Les Paul as intensively as possible in one model, but he always had to resort to saws, glue and chisels himself to get the Stratocaster shape he preferred pimping with more pressure using humbuckers and Floyd Rose vibrato.

The result was the basis of the RG series, which, in addition to Vai-specific Punch and Judy shows such as the Monkey Grip, also had more moderate variants for a wide range of tastes in the warehouse. The success was then unstoppable. The concept of a streamlined version of the Strat, paired with high-output pickups and a neck that was unbeatable in terms of slenderness at the time, hit like a bomb and is still the best-selling horse in the Asian company's stable to this day.


The construction of the Ibanez RG 550 DY

Normally, the cardboard box (unfortunately the Japanese-made instrument does not come with a case or soft case) in which the Ibanez RG 550 DY is delivered should have a sticker that says: “Attention, only open with sunglasses on”. The bright neon yellow, no matter how strong it is in the promotional photos, appears a lot more aggressive in reality. The color name “Desert Sun Yellow” really makes you smile. Once desert sand is this color, you should question your personal LSD consumption.

If all the stage lighting goes out during a live show, no problem, the audience will definitely be able to locate you throughout the hall. As always, I don't give any rating when it comes to the visual coloring, you either like it or you don't, but one thing is for sure, you will definitely stand out with this instrument. By the way, the paint is applied perfectly, you won't find any flaws in the workmanship.

As already mentioned, Ibanez adopted the basic shaping from the original Stratocaster design, including the belly milling and armrest. However, a bevelled version of the neck screw connection has been added, which, in collaboration with extended shaping and far-reaching Curaways, focuses on maximum playing comfort.

When it comes to the choice of wood, we also follow the preferences of Mr. Vai, who pays homage to the lime tree, which tends to be softer when it comes to body wood. The 5-strip neck is once again primarily made of maple (3 strips), which was blocked with 2 thin strips of walnut for stability reasons. In order to protect the very slim neck, which is designed in the “Super Wizard” profile, from the infamous skull base fracture, Ibanez uses a subtle thickening at the transition to the headstock.

Apart from the finish, the overall appearance of the Ibanez RG 550 DY is rather subtle. Simple dot inlays on the maple fingerboard and a solid black hardware area provide a counterpoint in terms of appearance. The tuners come from Gotoh and are not staggered due to the angled headstock.

Apparently the patent on the Floyd Rose vibrato system has now expired, as the “Under License ..” lettering that was embossed for years can no longer be seen on the knife edge system. Instead, the vibrato system, which is still used, among other things. Also incorrectly referred to as a tremolo system by Ibanez, it is now declared as an edge tremolo.

When it comes to pickups, Ibanez relies on an in-house V7 on the neck, an S1 in the middle and a V8 on the bridge. The pickups are said to have been developed in the USA, but unfortunately it was not possible to find out to what extent this was taken over by the house and court supplier DiMarzio. The five-way switch enables the always popular neck serial - neck single coil plus middle PU - middle alone - bridge single coil plus middle PU - bridge serial circuit.

In practice

Even though the majority of readers will probably be familiar with how a free floating vibrato system works, here are the special features of this system, which has many pros and just as many cons. A vibrato system, which works according to the knife edge principle, attempts to minimize the friction that occurs when the string changes pitch, i.e. the tension of the string, by reducing all moving parts during vibration to the two edges on the impact sleeves. This is also the reason why the strings are fixed using a clamp saddle. There should be no friction in the saddle and during a dive bomb the strings should find their way back to the fretboard without getting caught in the saddle. The pitch change can be carried out downwards and upwards and allowed the musician previously unimagined possibilities of expression in his playing. So much for the pros.

On the other hand, there are primarily 3 points that suffer from the free floating system. On the one hand, it is the process of tuning. Due to the clamping saddle, the strings can only be retuned using the bridge's fine tuner, but this always means interaction with the other strings, which means that the tuning process takes many times longer and adjusting the instrument to a different string thickness can take hours.

On the other hand, when the spring chamber is hit hard, it forms a kind of Hall spiral because it always resonates. Appropriate foam can help, but you should make sure that nothing gets stuck. Last but not least, when bending, you have to make sure that the path of the pulled string is significantly longer than on a guitar with a fixed bridge, i.e. you have to change your playing style or you do all the vibrati with the vibrato system.

P.S. It goes without saying that you don't string 013 strings in standard tuning on a knife edge system, but I also had to painfully discover this when the two drive-in sleeves on a Jackson guitar of mine broke out of the body wood due to the extremely high string tension.

In terms of gameplay, however, you get everything you could want from a Powerstrat from the Ibanez RG 550 DY. Due to the moderate weight of just over 3 kilograms, pretty much any musician can wear the instrument around their neck without experiencing the feeling of Bundeswehr marching luggage. Similarly, 90 percent of all guitarists will feel at home on the instrument from the first chords or leads. The concept, which has been tried and tested hundreds of thousands of times, leaves only very marginal scope for personal criticism of handling; too often the instrument has been optimized with regard to its suitability for the masses.

The term “almost plays itself”, which is unfortunately used far too often and to the point of being irrelevant, actually finds good breeding ground with this instrument. The wide yet slim neck with a diameter of 430 mmR and a thickness of 17 - 19 mm has become one of THE features of the RG series since the model was introduced and truly offers comparatively low resistance, from which modern playing techniques in particular benefit. Whenever you leave the alternate picking paths and give preference to ergonomics over the individual touch, the Ibanez RG 550 DY can really shine in its flagship disciplines.

Tappings, sweeps, glides, hammer-ons and pull-offs glide over the fretboard with welcome ease and make many parts easier that sometimes have to be fought for with effort and tears in the land of half baseball bats. In terms of sound, the combination of woods / pickups is a successful mix, which has gained a place in the crowd, especially thanks to its great all-rounder abilities. Important trademarks from the two major guitar worlds Strat / Les Paul were adapted and transferred to the Powerstrats camp with a good dose of independence.


Conclusion

With the Ibanez RG 550 DY, Japan's flagship model for guitar production is based on the decade of the great guitar heroes. With a visually polarizing appearance, the company manages to optimize the points that make up the RG series thanks to the model that has matured over decades.

The instrument's workmanship is of a high standard and detailed solutions have been implemented effectively. It is not for nothing that the RG series has developed into a guide for all-round guitars, even among direct or indirect competitors, which knows how to reveal a maximum of tonal flexibility with ergonomic lines.

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Additional Informations:

In the realm of electric guitars, aesthetics play a pivotal role alongside sonic performance. Among the myriad of design choices available to guitarists, few are as eye-catching and distinctive as neon-colored finishes. In this comprehensive article, we delve into the vibrant world of neon-colored Ibanez guitars, exploring their origins, evolution, and enduring appeal.

**Origins of Neon Finishes**

Neon-colored finishes first gained popularity in the 1980s, a decade characterized by bold fashion trends, technological innovation, and a thriving music scene. Inspired by the exuberance of the era, guitar manufacturers began experimenting with unconventional paint schemes to create instruments that not only sounded great but also looked visually stunning.

Ibanez, a brand known for pushing the boundaries of guitar design, embraced this trend wholeheartedly, introducing a range of neon-colored finishes across their lineup. These vibrant hues, reminiscent of the neon lights that adorned city streets and nightclubs, captured the zeitgeist of the era and appealed to a new generation of guitarists seeking instruments that reflected their individuality and style.

**Evolution of Neon-Colored Ibanez Guitars**

From their inception, neon-colored Ibanez guitars quickly became synonymous with innovation and forward-thinking design. The brand's commitment to quality craftsmanship and attention to detail ensured that these instruments not only looked striking but also delivered exceptional performance on stage and in the studio.

One of the most iconic neon-colored models in Ibanez's lineup is the JEM series, designed in collaboration with legendary guitarist Steve Vai. Featuring bold neon finishes such as "Shockwave Blue" and "Laser Blue," the JEM series pushed the boundaries of guitar design and set a new standard for both aesthetics and playability.

In addition to the JEM series, Ibanez introduced neon finishes across a range of other models, including the RG series, S series, and AZ series. Each model showcased a unique combination of features, from high-output pickups and fast-playing necks to innovative tremolo systems and ergonomic body designs, catering to the diverse needs and preferences of modern guitarists.

**Enduring Appeal and Cultural Impact**

Despite the passage of time, neon-colored Ibanez guitars continue to captivate musicians and collectors alike, thanks to their timeless appeal and iconic status. Whether wielded by virtuosic shredders, progressive metal bands, or indie rockers, these instruments stand out on stage and in music videos, commanding attention with their bold colors and sleek designs.

Moreover, neon-colored Ibanez guitars have left an indelible mark on popular culture, appearing in films, TV shows, and music videos as symbols of creativity, expression, and individuality. Their distinctive aesthetic has become synonymous with the spirit of the 1980s and continues to evoke nostalgia for a bygone era of neon lights and synth-pop anthems.

**Conclusion**

In conclusion, neon-colored Ibanez guitars represent a bold fusion of artistry, innovation, and cultural zeitgeist. From their humble beginnings in the 1980s to their continued popularity in the modern era, these instruments have transcended their status as mere musical tools to become icons of style, expression, and self-discovery.

As guitarists continue to seek instruments that reflect their unique identities and aspirations, neon-colored Ibanez guitars remain a timeless choice, offering a perfect blend of form and function. Whether dazzling audiences on stage or inspiring creativity in the studio, these vibrant instruments continue to shine brightly, reminding us of the enduring power of music and the boundless possibilities of artistic expression.

TEST: Ibanez Iron Label

 The older readers will still know the practice. I think it was Fender who first started outsourcing the production of American instruments to Asian regions in the late 1970s for manufacturing cost reasons. At that time there was the first league in the form of “Made in USA” and the second league in the form of “Made in Japan”. But as Asians are, just a few years later the Japanese themselves became excellent craftsmen when it came to making electric guitars, which in turn brought the neighboring country of Korea onto the scene as an alternative.

This game has now been expanded several times to include the states of China, Malaysia, Vietnam and Indonesia, always with the same result. The former novices in instrument making quickly became more and more adept at manufacturing technology, while at the same time rationalizing manufacturing costs. Anyone who thinks that instruments manufactured in the above-mentioned countries only cover the dregs of the manufacturer's respective range is very much mistaken. The best example is the Ibanez Iron Label Sapphire Blue Flat, which, despite being manufactured in Indonesia, barely hits the 1000 euro mark in terms of selling price.

Oh yes, some readers will ask themselves, why this? Well, if you look at the individual components of the instrument, you will quickly notice that a similar production would have cost twice as much in Japan and probably even three times as much in the USA. Because one thing is certain, there were almost no savings here, which the following test will show.


construction

“Iron Label”, you could say. Even the unbiased user will quickly notice that this instrument, indeed the entire product range, was designed specifically for the metallic consumer group. Although many musicians still only cite the variations of the Explorer or Flying V form as the only legitimate forms of metal, the different varieties of Powerstrats have held up more than just bravely in the last few decades.

Ibanez in particular has a huge range of variations with their RG series, so that the interested artist will find an above-average selection and, in contrast to the Flying V, can also play for a tea dance with an RG in emergency situations without receiving disdainful looks.

Wherever it says RG, there is also RG in it, which in turn clearly defines the key points of the instrument. Once again, the Ibanez Iron Label Sapphire Blue Flat has an expansive Stratocaster shape, although the two cutaways have been milled significantly deeper for the benefit of playing in high registers. In combination with the very soft, round milling on the body part, you can actually play the instrument up to the 24th fret without any restrictions. No knobby neck foot in the Les Paul style, no square board and counter plate in the Stratocaster design, just a free ride into the weekend.

Conceptually, the Ibanez Iron Label Sapphire Blue Flat follows the principle of a continuous neck with glued-on body wings made of ash. The side parts were subjected to a special sandblasting process, which highlights the annual rings in three dimensions. The neck itself is a 7-piece construction made of maple and walnut, while the fingerboard is made of ebony with a long scale length (25.5”). Standard Jumbo Frets are used as frets. Some people will be aware of the selling price here.

It continues with very good components such as Gotoh locking mechanics and a fixed Gibraltar bridge. On the back of the instrument, the offset holes allow one or two question marks to appear on the user's forehead. However, a look at the front of the instrument makes sense of the undertaking. In order to keep the contact pressure of the strings as high as possible, the manufacturer tries to bend the strings immediately behind the individual riders at the greatest possible angle towards the body. Depending on the octave purity, however, the riders have different distances from the respective drill hole, which in turn would exert different pressures on the riders.

In order to at least rudimentarily counteract this, Ibanez decided to use a two-hole solution for four of the six strings in order to be able to react accordingly depending on the string length. I guess the Gibraltar Bridge is aligned according to the D and G strings, the different drill holes do the rest. Clever!

In terms of color, the Ibanez Iron Label Sapphire Blue Flat comes in a matt, transparent-dark blue with a slight tendency towards turquoise, which sometimes appears darker or lighter depending on the wood underneath. The different woods and their partly standing, partly lying annual rings result in an immense variety of shades of blue. An interesting finish, a successful variation on the ever-popular high-gloss finish.

Personally, I always like small detailed solutions, such as the cover of the truss rod on the headstock. Where you otherwise have to suffer through (eventually) spinning mini-Phillips screws with strings that are inevitably loosened, the Ibanez Iron Label Sapphire Blue Flat simply has a small plastic disc that you can push to the side. Adjust the neck with full string tension, push the disc back, done! A very simple principle, a huge relief. Why do only the Japanese always come up with such little things?

In terms of circuitry, the popular metal combination EMG 81 as a bridge pickup and EMG 60 as a neck pickup (hardly anyone knows that the 60 was originally designed as a bridge pickup) is managed with a classic three-way switch, with a massive kill switch if necessary popular extreme tremolo effect generated by hand. Despite being anchored directly in the wood, both pickups sit firmly in their holes. No comparison to the still popular foam knob pushers, which never allow a parallel line to the string guide. When it comes to knobs, a volume control, call it a day, no one needs a treble fader in metal!

If you're ever reminded of "Made in Indonesia", it's in the form of the three-way switch, which has a rather wobbly plastic version and will give up the ghost at some point in its life a little earlier than the rest of the hardware components.


Practice

When it comes to playability, you would actually only need to drop the name “Ibanez RG”, the rest is self-explanatory. Like almost all representatives of the RG series, the Ibanez Iron Label Sapphire Blue Flat also has all the advantages of the established concept. Every musician who has ever held an RG in their hands will be lastingly impressed by the easy handling, the ergonomic concept and the legendary neck dimensions.

“But what about the sustain?” I can already hear the first ones shouting in the background, an objection that couldn’t be dismissed, especially with the first instruments in the RG series due to the small wood mass. However, these same concerns can safely be dismissed. The continuous neck turns out to be a true sustain monster with the neck-thru-body string guide, as is the case with other representatives of this design. Not a tone that doesn't have an above-average vibration duration, coupled with a quick response and a tasteful fade-out. Fans of modern playing techniques such as tappings, sweeps, glides, hammer-ons and pull-offs will really enjoy the instrument.


Conclusion

With the Ibanez Iron Label Sapphire Blue Flat, Japan's figurehead when it comes to power strats once again shows where the metal hammer lies. With the Iron Label series, which is specially tailored for metal, the company offers fans of the hard style a good selection of battle axes, which, due to their construction, play into the hands of the ambitious solo guitarist.

Equipped with enough independence in terms of finish, sound and concept, the Ibanez Iron Label Sapphire Blue Flat will once again ensure that the name Ibanez will continue to be one of the first names in the industry.

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Additional Informations:

In the realm of electric guitars, certain models stand out not only for their sonic prowess but also for their rich history and evolution. Among these, the Ibanez Powerstrat holds a unique position, blending elements of classic designs with modern innovations to create a versatile instrument prized by musicians across genres. In this comprehensive article, we delve into the fascinating genesis of the Ibanez Powerstrat, tracing its roots, examining its key features, and exploring its enduring appeal.

**Origins and Influences**

To understand the genesis of the Ibanez Powerstrat, we must first look back at the early days of electric guitar development. The 1950s and 1960s marked a period of intense innovation in the guitar world, with brands like Fender and Gibson leading the charge. Fender's Stratocaster, introduced in 1954, quickly became an icon, renowned for its sleek design, versatile tone, and playability. Meanwhile, Gibson's Les Paul, with its mahogany body and humbucking pickups, offered a contrasting but equally influential sonic palette.

In the 1970s, Japanese guitar manufacturers began to emerge as serious contenders in the market, with brands like Ibanez gaining recognition for their high-quality instruments. Drawing inspiration from American classics, Ibanez sought to create their own interpretations of iconic designs, blending traditional craftsmanship with innovative features.

**Birth of the Powerstrat**

The Ibanez Powerstrat emerged during the 1980s, a decade defined by rapid technological advancements and a flourishing music scene. Inspired by the enduring popularity of Fender's Stratocaster, Ibanez set out to craft a guitar that combined the Strat's timeless aesthetic with modern features tailored to the needs of contemporary players.

At the heart of the Powerstrat's design is its body shape, which bears a striking resemblance to the classic Stratocaster silhouette. Crafted from select tonewoods such as alder or basswood, the Powerstrat's body offers a balanced blend of resonance, sustain, and ergonomic comfort. However, Ibanez infused the design with their own unique touches, including sculpted contours and refined finishes, giving the Powerstrat a distinctive identity all its own.

**Innovative Electronics and Hardware**

While paying homage to tradition, the Ibanez Powerstrat also incorporates several innovative features that set it apart from its predecessors. Central to its sonic versatility are the pickups – crucial components that capture the nuances of the player's performance and shape the guitar's sound. Ibanez outfitted the Powerstrat with a range of pickup configurations, including single-coil, humbucker, and hybrid options, allowing players to dial in a diverse array of tones suitable for any musical style.

Moreover, the Powerstrat boasts a wealth of electronic controls, enabling precise tone shaping and sonic experimentation. From traditional volume and tone knobs to push-pull coil-splitting and series/parallel switching, the guitar offers an extensive sonic palette at the player's fingertips. Combined with high-quality hardware such as locking tuners, tremolo systems, and adjustable bridges, the Powerstrat delivers unparalleled performance and reliability on stage and in the studio.

**Evolution and Enduring Legacy**

Over the years, the Ibanez Powerstrat has undergone numerous iterations and refinements, reflecting the ever-changing needs and preferences of musicians. From signature models developed in collaboration with renowned artists to limited-edition releases featuring exotic tonewoods and custom finishes, the Powerstrat continues to evolve while staying true to its core identity.

Its enduring legacy is a testament to its timeless design, exceptional craftsmanship, and unwavering commitment to quality. Whether wielded by virtuosic shredders, blues maestros, or alternative rockers, the Powerstrat remains a symbol of innovation and inspiration in the world of electric guitars.

**Conclusion**

In conclusion, the Ibanez Powerstrat stands as a testament to the enduring legacy of iconic guitar designs and the relentless pursuit of excellence in craftsmanship and innovation. Born from the intersection of tradition and modernity, the Powerstrat continues to captivate players with its distinctive sound, versatile performance, and unmistakable style. As it continues to evolve and adapt to the ever-changing demands of the musical landscape, the Powerstrat remains a timeless icon, inspiring generations of guitarists to push the boundaries of creativity and expression.