The Ibanez ATK, which I believe was created to pose as an alternative to Musicman Stingray was available in several models with different trim levels since its inception in the mid-90s, it was produced in Japan , Korea and China. The model I have a ATK500 KA was made in Japan in 1995 by Fujigen Gakki-factory. It is identical to the basic model produced at the same time, namely ATK300, except that it has the distinction of having a table Koa. For the rest of the feature are: ash body (with table Koa then), 22 frets maple neck one-piece (rosewood versions also existed on this model but are quite rare) with Gotoh tuners open (Fender-type) arranged in 2 +2, graphite nut and access to the truss rod on a plate on the head, fairly standard bridge (except that it has the particularity to include micro) chromed traversing ropes and bridges in fairly massive steel (like a Musicman), 1 clever micro triple coil splitable by selector, active electronics with 3-band eq (Vol. / Bass / Med. / Treb.) and a plexi pickguard!
Everything is very well equipped and exudes quality, and despite his almost twenty years, she is as beautiful as the first day!
Ergonomics does not call for particular criticism, although some bassists (not me) regret that the edges of the microphones are not comfortable to rest your thumb when playing fingers (besides obviously Ibanez has since remedied this problem because the hood now has a slightly different form). The handle on the other hand may be confusing to many. It is a consistent width - like an old Precision - but it is also relatively thin and its radius is fairly flat, so a typical modern curve typically Ibanez but rather "vintage" width. At first I was a little surprised, but I got accustomed quickly ... Without being excessive, the weight is still quite sensitive, but as this bass is perfectly balanced, it does not cause particular discomfort . Fingers, a pick or slap passes without any worries!
When he emerged in the mid-90s, many people said it was a kind of clone of Musicman Stingray or a "Stingray Killer" in terms of its price (about 6 times cheaper at the time that a Stingray). But for practicing 2 exhaustively, I can say they have all two very distinct characters and there is no question that I compare.
ATK is a low cut primarily for rock, but she also knows how to show relatively versatile thanks to its electronic quasi infinite possibilities, so too, fingers, a pick or slap, everything goes without a hitch. However it should be noted that it has a way of singing vintage typed enough, even if it manages to illusion and give an air of pushing some settings (eg mediums) "well-bred girl," it can never be truly "modern" (which I think is rather a sign of quality and character), and I guess that is wanted from Ibanez. His character is rather savage even brutal and rustic, so it does show leadership and always knows to be heard, it is necessary and is not in finesse. A low rocker I tell you! And as such it will not please everyone! (To me though!)
But be careful, this is a bass that resents being "almost" settled. It will show its true nature once perfectly done!
She gave me the eye upon its release, I was at the time a player Stingray (I still am actually), and I secretly harbored the idea of owning one as an alternate to my Musicman because they were related to me (I was not totally right ... see above). I had to wait until 2010 to find a used and in excellent condition. The wait was long because I specifically wanted a model "Made in Japan" and the table Koa to boot! I do not regret this purchase one second, because it is often my bass of choice for sessions rock / pop in the studio or live ...