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Help me make my MTD!

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ashevans09

Apr 15, 2006
25
0
#1
Hi there,

I'm finally taking the leap and ordering a 535! I love how they play but if you guys are willing I'd like to hear your inputs on the wood combos I was thinking before put the money down.

I'm looking for a growly, bright and well defined bass sound that cuts through, though with a nice roundness to it with a hint of warmth.

I definitely want a maple (possibly birdseye depending on price) fretboard, and was thinking an ash neck and body, with a walnut burl top. I've heard absolutely nothing but praise for this wood combo but have never got to hear it!

Any ideas guys? I know there are much more knowledgable people here so I'd love to hear what you think :)

Thanks!

Ash
 
#2
ashevans09 said:
Hi there,

I'm finally taking the leap and ordering a 535! I love how they play but if you guys are willing I'd like to hear your inputs on the wood combos I was thinking before put the money down.

I'm looking for a growly, bright and well defined bass sound that cuts through, though with a nice roundness to it with a hint of warmth.

I definitely want a maple (possibly birdseye depending on price) fretboard, and was thinking an ash neck and body, with a walnut burl top. I've heard absolutely nothing but praise for this wood combo but have never got to hear it!

Any ideas guys? I know there are much more knowledgable people here so I'd love to hear what you think :)

Thanks!

Ash
Click to expand...

Why don't you just call Mike Tobias directly? You seem to have some really specific tone needs happenin' and I think your safest bet is to go right to the source, who can tell you more about the A vs. B vs. C wood combination comparisons associated with MTDs better than anyone.

Lonnybass
 
#5
In a quiet room practicing unplugged, wood has an effect on the acoustic qualities of a bass, but it all pretty much goes out the window in a live setting. I understand the question, but at the end of the day the wood combo is weighted to asthetic side of the equation more than practical tonal side. The electronics package effects the tone of a bass far, far more than the wood. Be sure to pick a combo that looks nice but don't get to wrapped up in the affect on tone.

KT
 
#6
I have only the best opinion over Mr Tobias and his abilities (he certainly does not need my approval, but he sure deserves it). He turned my dream into an equally fantastic bass.

Once you know the direction you are heading, email Mr Tobias with your ideas and thoughts, then LISTEN to what he has to say. THEN decide what to do. That's the way I went and it was a success. My .02
 
#7
KenToby said:
In a quiet room practicing unplugged, wood has an effect on the acoustic qualities of a bass, but it all pretty much goes out the window in a live setting. I understand the question, but at the end of the day the wood combo is weighted to asthetic side of the equation more than practical tonal side. The electronics package effects the tone of a bass far, far more than the wood. Be sure to pick a combo that looks nice but don't get to wrapped up in the affect on tone.

KT
Click to expand...

But with basses like MTD's, different wood combinations DO inevitablely affect the tone majorly, it's well documented that the mahogany/maple combos usually sound very warm and have a huge low end presence but lack mids and I can agree with that one 100%, the wenge/mahogany combos are much more darker and have much more mids but the low end presence is much less, and as previously mentioned, the walnut/ash/maple combo is the middle man of the bunch.

So I think it is worth getting wrapped up in finding the right woods, especially for the price as well.
 
#8
Acoustically you sir are very correct!! Since we are dealing with vibrations routed through electronics however, when playing in a band setting (guitar, keys, singer, cymbols, etc.) through an amp (more electronics) and a mixing board (more electronics), the acoustic qualities of an electronic instrument are minimized.
I think all of us at one time or another have spent a significant amount of time perfecting our tone while alone in a practice setting, only to start over in a live setting.
I have 39 basses of varying woods and electronics combinations. The one I take to the gig is the one that feels, plays and sound the best in a gig setting - Bossa UJB-5. It does not impress me much acoustically however.
By the way, I own an MTD 535-24 w/Mahogany and Flame maple top. On paper this combo should be warm and mellow but in real life (plugged in) the electronics dictate that the output is hot with high end zing. Ofcourse the onboard EQ can make it be what ever I want however. I think wood combo is a factor but it's overrated.
I say consider the electronics package first.

KT


Josh535 said:
But with basses like MTD's, different wood combinations DO inevitablely affect the tone majorly, it's well documented that the mahogany/maple combos usually sound very warm and have a huge low end presence but lack mids and I can agree with that one 100%, the wenge/mahogany combos are much more darker and have much more mids but the low end presence is much less, and as previously mentioned, the walnut/ash/maple combo is the middle man of the bunch.

So I think it is worth getting wrapped up in finding the right woods, especially for the price as well.
Click to expand...
 
#9
KenToby said:
Acoustically you sir are very correct!! Since we are dealing with vibrations routed through electronics however, when playing in a band setting (guitar, keys, singer, cymbols, etc.) through an amp (more electronics) and a mixing board (more electronics), the acoustic qualities of an electronic instrument are minimized.
I think all of us at one time or another have spent a significant amount of time perfecting our tone while alone in a practice setting, only to start over in a live setting.
I have 39 basses of varying woods and electronics combinations. The one I take to the gig is the one that feels, plays and sound the best in a gig setting - Bossa UJB-5. It does not impress me much acoustically however.
By the way, I own an MTD 535-24 w/Mahogany and Flame maple top. On paper this combo should be warm and mellow but in real life (plugged in) the electronics dictate that the output is hot with high end zing. Ofcourse the onboard EQ can make it be what ever I want however. I think wood combo is a factor but it's overrated.
I say consider the electronics package first.

KT
Click to expand...

+1, nail in the coffin

i'd suggest wenge/wenge for both aesthetics and acoustics.
 
#10
I can offer that I absolutely LOVE the sound of my walnut-over-ash/maple-maple 535. It is a tonal beast, and seems to fit what you described in the original post. I am hoping that the 635 soon-to-arrive sounds close, and if so it'll be bought instantly.

I'll have to disagree about the importance of wood to the tone of an instrument, however, and I'll use my MTD as a prime example. When I bought - for over a month before I bought, actually - the store had my instrument on the wall, and right next to it another 535 of identical woods. Literally the "same" instrument, and even more so if you're looking at this solely from an electronics perspective. Everything...down to fresh batteries and strings...was identical between the two instruments. Aside from the grain patterns in the top, you wouldn't tell them apart. Until plugging them in. One cut, the other didn't. It's as simple as that, but digging deeper, the lows were much beefier on the one I bought, the lower mids were significantly more pronounced, and the highs were less thin (for lack of a better phrase). Visually and on paper the instruments were identical; sonically they couldn't be more different.

I know some of this is related to semantics, and I respect the spirit of what's being said here. But for me, I've narrowed down over the years what seems to make my ears happy (in a live performance setting, not individual practice). The two lessons - I like ash and maple, and every instrument, no matter what, is unique.
 
#11
Lonnybass said:
Why don't you just call Mike Tobias directly? You seem to have some really specific tone needs happenin' and I think your safest bet is to go right to the source, who can tell you more about the A vs. B vs. C wood combination comparisons associated with MTDs better than anyone.

Lonnybass
Click to expand...

Word, Mr. T is pretty damn good about answer calls and taking as much time talking about woods as necessary.
 
#12
The same "type" of woods (even with the same ellectronics) don't = the same tone. Thats not because wood doesn't have an influence but because it DOES. The same type of wood cured in 2 diff ways will produce 2 diff tones. It's not the only factor but it is enough of a factor to make a very real difference. Disagree? Just ask Mr. Tobias.
 
#13
My wenge/wenge (actually I just realized it's a one-piece!) + myrtl burl+tulipwood (just like Norm's... ;)) is great for just about everything.

My next one will be maple+ash neck and flamed maple+ash or alder body. I know not everyone likes alder, but my ex-older Modulus Q5's were all alder, and were dang fine pieces. Sounded a lot better to my ears than the ash bodied one I had made.

But yeah- Mike will do you right. :)
 
#14
KenToby said:
In a quiet room practicing unplugged, wood has an effect on the acoustic qualities of a bass, but it all pretty much goes out the window in a live setting. I understand the question, but at the end of the day the wood combo is weighted to asthetic side of the equation more than practical tonal side. The electronics package effects the tone of a bass far, far more than the wood. Be sure to pick a combo that looks nice but don't get to wrapped up in the affect on tone.

KT
Click to expand...

Well, I will have to disagree with you this time Ken, there is no doubt that the electronics have a major impact of the sound but I have been fortunate enough to own dozens of different basses throughout the years with different combinations of woods and electronics and I thought just like you at start but very quickly realized that good pickups and preamps only there to bring out the natural sound of the wood combination and acoustic qualities of the instrument.
 
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