Feature – 1982 Ibanez PT9 Phaser

Model Description:

The orange Ibanez PT9 was a core model in the extensive ‘9’ series pedals, comprising 16 different effects. The PT9 shares many standardised characteristics with its peers, which make it familiar to so many guitarists. The solid and compact PT9, made in Japan by partner company Maxon, replaced the outgoing blue ‘0’ series’ PT‑909 Phase Tone in 1982 and lasted in production until 1984 before being superseded. One wonders if Ibanez changed the colour from the blue of the PT‑909 to orange of the PT9 to compete head on with the industry‑leading MXR phasers. By the early‑mid 1980s, phaser pedals were becoming de facto, with manufacturers seemingly obliged to include a model in their line ups with little to differentiate between them. Under the skin, the PT9 uses a 4‑stage analogue modulation circuit to give it a remarkably smooth phase sound. In keeping with its predecessor, it uses three control knobs to adjust the effect. For whatever reason, the reputation of the PT9 never reached the giddy heights of the MXR (Phase 45, 90 & 100) and Electro‑Harmonix phasers (Small Stone and Bad Stone), so they are still relatively ubiquitous and affordable on the vintage effect market. Perhaps because it wasn’t a big hit first time around, Ibanez has not seen fit to reissue the PT9 to‑date.

Pedal Description:

While the celebrated TS‑808 Tube Screamer was the king of the Ibanez crop, the PT9 was, to be honest, a competent but fairly average phaser of the time. Acquiring it was, to some extent, opportunistic and partly a gap‑filling exercise. Adding it to the ‘collection’ confirmed my suspicions that the PT9 wasn’t a premium class leader that had somehow slipped under the radar. The pluses include a lovely chiming sound to treble strings, while the lower strings can become a bit thick and muddy if pushed too hard. Used in the right circumstances, however, and its pulsing swooshes make for a very nice analogue vintage timbre. The smooth, warm tones are devoid of the typical sibilance common to newer digital phasers. Sounds are easy to dial in and are predictably lush. This example is in very good overall condition for its several decades of use, with just a few superficial scuff marks here and there but nothing of any concern. The black ‘Made In Japan’ base label is intact and identifies it to 1982. The advantage of moving away from the PT9’s main competitors is that it might just sound different enough to be unfamiliar. While the PT9 may not get you overly‑excited about its sonic signature, it is certainly a very capable and represents a genuine classic effect that modern phase pedals just can’t seem to emulate. The original 1980s pedals were clearly a good phase for Ibanez.

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