mtd 535 cut through the mix?

[LaBassGuy]

I always thought that in these diacussions about which bass is better or fits in the mix, it would be great it people state what music they play generally.

If, for instance, you play blues, a passive p or j with thw tone rolled off is pretty much the tone and will cut through and sit in the mix. That same tone would suck in, say, middle eastern music that is faster and more dense.

 

[Margus Alviste]

I play mostly groove based music with my band - funk, soul, jazz, pop, but as I also play bass parts for other musicians/bands/artists I have to play all kind of music perhaps just not Metal.

 

[bass12]

I always thought that in these diacussions about which bass is better or fits in the mix, it would be great it people state what music they play generally.

If, for instance, you play blues, a passive p or j with thw tone rolled off is pretty much the tone and will cut through and sit in the mix. That same tone would suck in, say, middle eastern music that is faster and more dense.

I wouldn't hesitate to take either of my two main MTDs out on pretty much any gig. I've played my MTDs with a soul band (Stax, Atlantic, Motown, Philly International, etc), with an acoustic-ish quartet (cajon/bongos, acoustic guitar, dan bau, vocals), a reggae band (with material from the '60s to the '00s) and my corporate events band (everything from waltzs to jazz standards to modern top 40), amongst others. The corporate band is a big band, with four strings, three horns, keys, guitar, drums and three vocalists. The MTD works fine "in the mix" and has been my main bass in that band for the past two-and-a-half years. Admittedly, I've been using both my Lull (with Sadowsky preamp) and Sadowsky on that gig recently but that's more for the sake of variety than because they work better than the MTDs. Pretty much the only time I take out my Fender Jazz (which is a great bass) is when it's specifically requested (and that doesn't happen often).

 

[LaBassGuy]

I wouldn't hesitate to take either of my two main MTDs out on pretty much any gig. I've played my MTDs with a soul band (Stax, Atlantic, Motown, Philly International, etc), with an acoustic-ish quartet (cajon/bongos, acoustic guitar, dan bau, vocals), a reggae band (with material from the '60s to the '00s) and my corporate events band (everything from waltzs to jazz standards to modern top 40), amongst others. The corporate band is a big band, with four strings, three horns, keys, guitar, drums and three vocalists. The MTD works fine "in the mix" and has been my main bass in that band for the past two-and-a-half years. Admittedly, I've been using both my Lull (with Sadowsky preamp) and Sadowsky on that gig recently but that's more for the sake of variety than because they work better than the MTDs. Pretty much the only time I take out my Fender Jazz (which is a great bass) is when it's specifically requested (and that doesn't happen often).

There is a youtube clip with MTDs with various wood combos being compared. They all sound a jazz more or less--with a thinner high end. I guess you have to eq to get that sizzle

 

[bass12]

There is a youtube clip with MTDs with various wood combos being compared. They all sound a jazz more or less--with a thinner high end. I guess you have to eq to get that sizzle

Sound like a jazz? How so? Jazzes are very mid-focused in general, with not nearly as much low end as MTDs. MTDs are definitely more full-range than Jazzes. Maybe the recordings weren't that faithful or perhaps the speakers you were listening through weren't allowing for the full sound to come through.

 

[Brad Johnson]

I think it depends on the EQ and how it is used. It's easy to go overboard with onboard EQ and to create more problems.

Yep. In my experience players who don't know how to cut through in the mix seem to have the hardest time doing it.

I can't remember the last time I gigged a passive bass... and the last time I didn't sit well in the mix was a rare exception with a new bass with an electronics of the month package. It needed serious EQing to sound tolerable.

 

[Mike Dimin]

Disclaimer: I have not read the entire thread

I have been in the amp business and a working pro for MANY (some say too many) years. I can tell you that, it is often the case, that the tone you love in the living room, or the showroom, is not the same tone that works on stage.

One must try to balance their idea of a great tone with a tone that works.

 

[Mike Dimin]

Additionally, the bass is just one part of a signal chain that starts with you and ends with the listener. Look at every aspect before placing blame on a single piece of gear. I have no problem buying a bass, I've never heard, because I know that I can always find the tone I'm looking for through technique, strings, action, the bass, the amp, the speakers, effects, etc.

 

[synaesthesia]

It's a mix. It depends on what you have in the mix. If you have stuff in the same frequency spectrum then something will give. This or that bass ain't going to cure every mix. 2 instruments or 45 instruments in an audio ensemble, it is a mix, it's cacophony, it is a differentiated soundstage - it's a mix.

 

[Mike Dimin]

It's a mix. It depends on what you have in the mix. If you have stuff in the same frequency spectrum then something will give. This or that bass ain't going to cure every mix. 2 instruments or 45 instruments in an audio ensemble, it is a mix, it's cacophony, it is a differentiated soundstage - it's a mix.

the worst thing for you're really great "living room" tone is the bass drum. Talk about getting lost in the mix

 

[datsaxguy]

I'm going to play devils advocate here.

1. I hear this term "Lost in the mix" used often. Which mix, the house mix or the stage mix? If its the house mix how do u know ur lost? Most times the stage and house mixes sound very different.

2. The use of the gain control on your amp and preamp in ur bass. These are very overlooked places to go when you are not cutting through. Don't dismiss this. Some electronics don't allow mid highs and highs to come through unless the gain is at a certain level.

Just some food for thought.

 

[LeonD]

For me it's the stage mix. I need to hear myself playing on stage to do my best.

I have no control over how the Front Of House sounds.

 

[Mike Dimin]

I'm going to play devils advocate here.

1. I hear this term "Lost in the mix" used often. Which mix, the house mix or the stage mix? If its the house mix how do u know ur lost? Most times the stage and house mixes sound very different.

2. The use of the gain control on your amp and preamp in ur bass. These are very overlooked places to go when you are not cutting through. Don't dismiss this. Some electronics don't allow mid highs and highs to come through unless the gain is at a certain level.

Just some food for thought.

both mixes are important.

another key thing is to cut the bass. We seem to have a desire to constantly boost frequencies. we undervalue cutting

 

[keoliphant]

I am a former owner of a beautiful MTD 535-24. Ash body, ash neck, maple board, crotch walnut top. An absolute stunner. Unfortunately, this bass is no longer with me for the reasons noted in this post. Call it not fitting in the mix....call it scooped frequency....regardless, it wasn't the tone I've been after for 60's, 70's, 80's rock n roll. I've been thrilled with the trade plus cash deal I scored....fbass vF5, alder body rosewood board.

 

[bass12]

I am a former owner of a beautiful MTD 535-24. Ash body, ash neck, maple board, crotch walnut top. An absolute stunner. Unfortunately, this bass is no longer with me for the reasons noted in this post. Call it not fitting in the mix....call it scooped frequency....regardless, it wasn't the tone I've been after for 60's, 70's, 80's rock n roll. I've been thrilled with the trade plus cash deal I scored....fbass vF5, alder body rosewood board.

Of the MTDs I've owned, that wood combo (along with the ash/maple/maple) was my least favourite for live shows.

 

[carlis]

Of the MTDs I've owned, that wood combo (along with the ash/maple/maple) was my least favourite for live shows.

Even this post begins to [DEL]sound[/DEL] look too bright because you have referred to those two combos!

 

[dkelley]

both mixes are important.

another key thing is to cut the bass. We seem to have a desire to constantly boost frequencies. we undervalue cutting

yes, common problem with stingrays too with similar threads evolving. If mtd basses can cut as well as stingrays by turning down the bass and treble somewhat like I do with my 2 band ebmm basses then I expect these mtd basses can be made to cut well also.

However there certainly are basses that cut better than others...

 

[bass12]

Even this post begins to [DEL]sound[/DEL] look too bright because you have referred to those two combos!

I should have added, however, that I liked the sound of my ash/walnut/ash/maple recorded. That ash neck did provide a "growl" that I was never able to get out of any of my other MTDs.

 

[LaBassGuy]

Are there any clips of Andrew Gouche playing a jazz instead of an MTD?

I get the impression that he is such an awesome player, he would sound just as good, if not better, playing a 70s style ash/maple jazz.

 

[LaBassGuy]

Sound like a jazz? How so? Jazzes are very mid-focused in general, with not nearly as much low end as MTDs. MTDs are definitely more full-range than Jazzes. Maybe the recordings weren't that faithful or perhaps the speakers you were listening through weren't allowing for the full sound to come through.

Perhaps. But those MTDs being played had a decent mid range growl.