Watch It First
Multiscale basses used to be a boutique-only thing. You’d need to drop serious cash on a Dingwall or a custom build just to try fanned frets. Ibanez blew that up years ago with the Bass Workshop line, and the SRMS805 is still one of the most sensible ways into that world.
Quick heads up before we go further: this review covers the SRMS805, not the SRMS725. The 725 got discontinued and Thomann no longer stocks it — the 805 is the closest current equivalent in the same Workshop family, same multiscale concept, similar price bracket. If you came here looking for the 725 specifically, don’t worry, you’re not missing much by looking at this one instead.
So is a fanned-fret 5-string actually worth the adjustment period? Let’s get into it.
What Even Is a Multiscale Bass?
Quick primer if you haven’t played one. On a multiscale (fanned fret) instrument, the low strings get a longer scale length and the high strings get a shorter one.
On the SRMS805 that’s 35.5″ on the low B down to 34″ on the G string. The idea is simple: longer scale means tighter, punchier low end, shorter scale means the high strings stay comfortable and don’t feel like cables.
The frets angle across the neck instead of sitting straight. Looks weird in photos. Feels weirder for about ten minutes, then your hand just… gets it. IMO it’s one of those things that sounds like a bigger deal than it actually is once you’re playing.
Build and Materials
The body is okoume with a poplar burl top, which is a nice touch at this price point — most basses under this bracket don’t bother with a figured top at all.
Neck is a 5-piece jatoba/walnut lamination, bolt-on, with a panga panga fingerboard and walnut binding. That’s a lot of exotic-sounding wood for the money, and it’s not just cosmetic — the multi-piece neck adds stability, which matters more on a fanned-fret design where the string tension isn’t uniform across the neck.
24 medium frets, offset dot inlays so you can actually tell where you are on that angled fretboard, and the nut width sits at 45mm. Reasonably wide for a 5-string but nothing crazy — if you’ve played a Jazz-style 5-string before you’ll feel at home.
Hardware
- MR5S individually mounted bridges (Mono-rail style) — each saddle is its own unit, which suits the fanned-fret string angles
- Deep Twilight finish — shifts between purple and green depending on the light, genuinely striking in person
- Standard die-cast tuners, nothing flashy but they hold pitch fine
Playability and Feel
This is where the SRMS805 earns its keep. Ibanez necks are famously slim and fast, and that reputation carries over here despite the multiscale layout.
Chords and double-stops near the nut feel a little unusual at first because your fretting hand has to angle slightly. But single-note lines? Scales? Walking bass? Feels completely natural within a session or two.
The B string is where the multiscale design really pays off. It’s noticeably tighter and more defined than a straight-scale 5-string at the same price. No flub, no mud — just a low B that actually sounds like a note instead of a rumble.
Balance on the strap is decent too. Some multiscale basses get neck-heavy because of the angled headstock, and a couple of owner reviews on Thomann mention exactly that gripe here — it’s not a dealbreaker, but don’t expect perfect balance sitting down without a strap.
Sound and Electronics
Two Bartolini BH2 dual-coil pickups feed a proper 3-band EQ with a bypass switch and a 3-way mid-frequency selector. That’s a lot of tonal control for a bass in this range.
Bypass mode is the sleeper feature here. Flip it and you get the pickups completely passive — flat, raw, and honestly great for slap or anything where you want the wood and strings doing the talking rather than a preamp.
With the EQ active, you can dial in everything from a scooped modern metal tone to a warmer, rounder fingerstyle voice. The mid-frequency switch is the real trick — it changes WHERE the mid boost/cut happens, not just how much, so you get more usable tonal range than a basic 3-band setup.
Compared to something like the Sire Marcus Miller M2, which leans more vintage-voiced, the SRMS805 sits firmly in modern territory. Bright top end, tight low end, and enough EQ range to cover metal, prog, funk, whatever.
Who’s This For?
If you’re a 5-string player who’s outgrown a budget straight-scale bass and wants to try multiscale without spending boutique money, this is close to the sweet spot.
It’s also a solid pick if you play a mix of styles — the EQ flexibility means you’re not locked into one tonal lane. Metal players will like the tight B string, funk and fusion players will like the bypass switch.
If you’re brand new to bass entirely, though, maybe start on something simpler first. A short-scale beginner bass or a straightforward 4-string like the Harley Benton PB-50 will get your hands sorted before you throw fanned frets into the mix. Not because the SRMS805 is hard to play — it’s not — but multiscale + 5-string + learning bass all at once is a lot to juggle.
Honest Niggles
Nothing’s perfect, so here’s the real talk:
- Neck-heavy balance — a few owners flag this, and it’s a fair criticism of the multiscale headstock design
- Plastic nut — not a dealbreaker but a bone or synthetic upgrade nut would suit an instrument at this level better
- No case or gigbag included — budget an extra purchase if you’re gigging this
- Learning curve is real — small, but real. Give it a few sessions before you judge it
None of these are surprising for the price bracket, and none of them undo what’s a genuinely well thought out instrument. Just going in with eyes open.
Ibanez SRMS805-DTW Specs
- Body: Okoume with poplar burl top
- Neck: 5-piece jatoba/walnut, bolt-on
- Fingerboard: Panga panga with walnut binding, 24 medium frets
- Scale: Multiscale 35.5″ – 34″
- Nut width: 45mm
- Pickups: 2x Bartolini BH2 dual-coil
- Electronics: Active 3-band EQ with bypass switch, 3-way mid frequency selector
- Bridge: MR5S individually mounted
- Strings: 5
- Finish: Deep Twilight
Final Verdict
The SRMS805 proves you don’t need boutique money to try multiscale. The B string alone justifies the format — tight, defined, no mud.
It’s not without quirks. That neck-heavy balance is real, and the plastic nut is a cost-cutting tell. But the wood combo, the Bartolini pickups, and that flexible EQ add up to a genuinely capable instrument that punches above its price bracket.
If you’ve been curious about fanned frets and don’t want to gamble boutique-bass money to find out if you like them, this is exactly the kind of bass to start with. Worth comparing against the rest of the Ibanez bass lineup before you commit, but it’s a strong contender.
