rockstarbassist
Inactive
Honestly, the ONLY (and I mean only!) reason I happened across my Rodman is b/c my gf freaked when she saw it, and said I had to have it.
I'm glad I listened!
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The Official MTD USA Thread
- Thread starter johnpaulbass
- Start date
Honestly, the ONLY (and I mean only!) reason I happened across my Rodman is b/c my gf freaked when she saw it, and said I had to have it.
I'm glad I listened!
Such great basses on this thread.
Even though I don't own a MTD, I have nothing but admiration for the instruments that come out of the MTD workshop.
MTD owners are indeed fortunate bassists
Even though I don't own a MTD, I have nothing but admiration for the instruments that come out of the MTD workshop.
MTD owners are indeed fortunate bassists
My first MTD experience was FAR better than a couple described here. In fact, I still have my first MTD and probably always will.
In my case, I've wanted a Tobias for years, but could only really "afford one" (yeah, right) in recent years. Thing is, I strictly wanted one built by Mike... not Gibson, so my options were an older Tobias, or a new MTD. At least for my prefs, the choice was clear. As great as those older Tobias' are, I like the 535's a lot more.
So I have the usual problem, no shops anywhere near me that would ever have one in stock. I ended up eventually speaking to Glenn at Austin Bass Traders, who is excellent at bass/player matchups, btw, who sold me the one I still have. It's an ash body, void-free maple burl top (with matching rod cover and headstock), in Chianti burst, with a maple neck and straight up Gaboon ebony board. Pretty standard high end bass config... ash/maple/ebony. However, I'd also read all the accolades for the wenge neck'd models, so I also ordered one from another vendor that was also an ash body with a maple top, but a wenge/wenge neck.
I A/B'd them at rehearsal and was blown away by both of them, tho I (obviously) preferred the non-wenge model more, so I sent the wenge model back. I've been addicted ever since.
The thing is, there have been several people who've played that first one I got and been particularly impressed with it, some even calling dibs if I ever choose to sell it. Not sure how serious they all were, but they were definitely impressed, and all of them (unlike me originally) had previous USA MTD experience, so that says something.
Bottom line is, I got that bass totally "off the shelf", and it was one of very few I actually looked at even just for aesthetics, yet it ended up being pretty special even amongst MTDs. In other words, pure unadulterated dumb luck on my part, but I'll take it.
In my case, I've wanted a Tobias for years, but could only really "afford one" (yeah, right
) in recent years. Thing is, I strictly wanted one built by Mike... not Gibson, so my options were an older Tobias, or a new MTD. At least for my prefs, the choice was clear. As great as those older Tobias' are, I like the 535's a lot more.So I have the usual problem, no shops anywhere near me that would ever have one in stock. I ended up eventually speaking to Glenn at Austin Bass Traders, who is excellent at bass/player matchups, btw, who sold me the one I still have. It's an ash body, void-free maple burl top (with matching rod cover and headstock), in Chianti burst, with a maple neck and straight up Gaboon ebony board. Pretty standard high end bass config... ash/maple/ebony. However, I'd also read all the accolades for the wenge neck'd models, so I also ordered one from another vendor that was also an ash body with a maple top, but a wenge/wenge neck.
I A/B'd them at rehearsal and was blown away by both of them, tho I (obviously) preferred the non-wenge model more, so I sent the wenge model back. I've been addicted ever since.
The thing is, there have been several people who've played that first one I got and been particularly impressed with it, some even calling dibs if I ever choose to sell it. Not sure how serious they all were, but they were definitely impressed, and all of them (unlike me originally) had previous USA MTD experience, so that says something.
Bottom line is, I got that bass totally "off the shelf", and it was one of very few I actually looked at even just for aesthetics, yet it ended up being pretty special even amongst MTDs. In other words, pure unadulterated dumb luck on my part, but I'll take it.
- Jun 24, 2006
- 2,560
- 90
- Disclosures
- Endorsing Artist: MTD basses and strings; Bergantino Amps & Cabs
I have a few questions for all the MTD players here. What was your first experience with playing an MTD bass like? What was your reaction? Where did you try the bass? How soon after did you purchase your own?
I think it would be really interesting to hear the various stories you guys have. I'm sure all of them are great.
After lusting over the Tobias' I saw in magazines and in Jimmy Haslips' hands for years and years, I finally walked into the great man's booth at NAMM 97. Picked up one of his fairly early models, probably in the 2-400's back then. I was initially shocked because NONE of them were neck-throughs. I asked him about that, as I was playing neck-throughs exclusively at the time. He's so cool about stuff, you know, and ALWAYS on the cutting edge; in fact, he MAKES the edge, he determines where the edge is in this industry. I started to see why they were all bolt on - punch, and woody, earthy rawness, organicism. I played a few, was very impressed with the organics of the sound, the way each piece of wood spoke clearly with it's own voice, and the top-end-for-days syndrome. I spoke with Mike for a while, then went back and played his amazing basses some more. Sure were light; sure were comfortable; sure had a LOT of top end. You know...the MTD's heart and soul.
After a bit, somebody came up behind me and said, 'Hey, man, nice playin'.' It was Victor-freakin-Bailey! I was pretty much stupefied; I may have wet myself as well. He took over for Jaco in Weather Report; one of my absolute all-time favorites was giving me, a fat, bald white guy from Canada, a complement on my bass playing. "My heart grew five sizes that day". We chatted for a bit, then Mike asked me up to the hotel room for a bass get together a later that night, and I started to leave, still in complete and total awe that Victor Bailey had said "Nice Playin', man" to me, and that Michael Tobias had asked me up to his place for brewskis. I was in total heaven. Couldn't believe it.
A few doors down was the DR Strings booth; I guess he had seen me hanging with Mike and Victor, reiterated the 'hey, nice playin', man' mantra to me, and asked where I was from, what kind of strings did I use, etc. I told him honestly that DR's were my favorite, which they were, and he gave me a DR String endorsement (a 'partial' endorsement...relax!) on the spot, which I still have to this day. Guess he thought I must be somebody really important to be hanging out with those two.
I still use the MTD's strings since I got my first MTD in 2004 or so. I have been curious about using some DR's on my MTD's - I might just go back for a bit. I really did like the Marcus Miller sets when they first came out. But I really like the high-stiffness factor of the MTD strings, and how hard you can push those strings without them breaking. And I also like how they open up like crazy when pushed.
At the party later, I met some other truly great bass players, and Victor was there, I was still kind of embarrassed and shy. It was really cool hanging out with them. Then we left, went downstairs and saw THE OX sitting in with a local LA rockband, a story I have already told in a BASS PLAYERS thread elsewhere.
And I still think Mr. Tobias' basses are among the best on planet earth. For me, they are THE best. They most closely reflect my own classical approach to electric bass as a serious, ACOUSTIC instrument, just a really quiet one. Like the mouthpiece of a trumpet, it is a really personal thing, and should fit you comfortably like a glove, and together with the rig form the rest of the instrument (the horn). Pure, natural, unboosted, organic, woody sound, as close to an acoustic instrument as is possible without putting in 'F' holes and piezos and the like, MTD's are just magical for me. And the ungodly dynamic range of 'Ms. Munro' still is something I am totally in awe of, as that instrument is finally starting to get broken in and is opening up nicely. And especially through my new little Berg IP rig - that thing is something else, man. It usually takes me about 2 years to really break in a new instrument, and this one is still going through the usual teething pains, new little buzzes and rattles popping up here and there and disappearing just as fast.
Anyway, that's my brush with greatness, and my personal journey to the work of the great Michael Tobias.
Cheers,
Cameron
Bassflute, that is an incredible story! You must have some serious chops to get compliments from those talented musicians.
He does, Cam's the reason I bust my ass every day with my instrument.
I remember the first time I got to try Cam's MTD, I wasn't blown away by the tone or color or any of that, what gripped me was how the bass felt in my hands and sat on my body. For myself, I've had to deal with tendonitis and the MTD's have been a god send for me. Even the Heir series have their charm. Some things in life are meant to be though, thanks to Cam I have my MTD 6 and that has allowed me to keep playing and keep exploring music despite any tendonitis issues that have come up.
I remember the first time I got to try Cam's MTD, I wasn't blown away by the tone or color or any of that, what gripped me was how the bass felt in my hands and sat on my body. For myself, I've had to deal with tendonitis and the MTD's have been a god send for me. Even the Heir series have their charm. Some things in life are meant to be though, thanks to Cam I have my MTD 6 and that has allowed me to keep playing and keep exploring music despite any tendonitis issues that have come up.
Ok, so I admit to struggling with some buyer's remorse over the new six. The first two gigs were in ugly sounding rooms and I was fighting off a head cold, so I was really worried about the sound. I kinda' melted a credit card and gave up a Roscoe to get this thing, so I was driving myself crazy over this. Hey, it ain't easy being me.
But, this weekend my head was clear, and the gig locations were definitely better acoustically....the conference center at Oracle's facility (an amazing room which could, and I understand actually has, hosted concerts) and the grand ballroom at the Naval Postgraduate School in Monterey. Long story long, the bass sounded GREAT. I'm loving it!
A picture speaks a thousand words...
And sound files speak a thousand notes, right? Epi UL 502 & 410, all settings flat, except for the horn on the cabinet, which is dialed back to ~ 10 o'clock. Instrument...blend & EQ settings right in the middle, except for the bass, which was boosted just a bit, to roughly 6/10. Recordings via M-Audio Microtrack 24/96, positioned right in front of me, with me positioned right in front of the amp & cab.
1. First set jazz - 'Mercy Mercy'.
2. More jazz - 'Stolen Moments'.
3. Old school - 'At Last'.
4. Time for R&B - Link Removed
5. Thumb tone - 'Play That Funky Music.'
6. A little more R&B - Link Removed
But, this weekend my head was clear, and the gig locations were definitely better acoustically....the conference center at Oracle's facility (an amazing room which could, and I understand actually has, hosted concerts) and the grand ballroom at the Naval Postgraduate School in Monterey. Long story long, the bass sounded GREAT. I'm loving it!
A picture speaks a thousand words...
And sound files speak a thousand notes, right?
Epi UL 502 & 410, all settings flat, except for the horn on the cabinet, which is dialed back to ~ 10 o'clock. Instrument...blend & EQ settings right in the middle, except for the bass, which was boosted just a bit, to roughly 6/10. Recordings via M-Audio Microtrack 24/96, positioned right in front of me, with me positioned right in front of the amp & cab.1. First set jazz - 'Mercy Mercy'.
2. More jazz - 'Stolen Moments'.
3. Old school - 'At Last'.
4. Time for R&B - Link Removed
5. Thumb tone - 'Play That Funky Music.'
6. A little more R&B - Link Removed
rockstarbassist
Inactive
I'll listen to those clips tonight!
That rig is stellar though!
Love that tile in the background, also!
Oh, and I melted a CC and lost a late 90's Dolphin 5 for my 535, but I've long since gotten over that, so it's cool!
That rig is stellar though!
Love that tile in the background, also!
Oh, and I melted a CC and lost a late 90's Dolphin 5 for my 535, but I've long since gotten over that, so it's cool!
VERY nice!!...And sound files speak a thousand notes, right?
...
1. First set jazz - 'Mercy Mercy'.
2. More jazz - 'Stolen Moments'.
3. Old school - 'At Last'.
4. Time for R&B - Link Removed
5. Thumb tone - 'Play That Funky Music.'
6. A little more R&B - Link Removed
Ok, so I admit to struggling with some buyer's remorse over the new six. The first two gigs were in ugly sounding rooms and I was fighting off a head cold, so I was really worried about the sound. I kinda' melted a credit card and gave up a Roscoe to get this thing, so I was driving myself crazy over this. Hey, it ain't easy being me.
But, this weekend my head was clear, and the gig locations were definitely better acoustically....the conference center at Oracle's facility (an amazing room which could, and I understand actually has, hosted concerts) and the grand ballroom at the Naval Postgraduate School in Monterey. Long story long, the bass sounded GREAT. I'm loving it!
A picture speaks a thousand words...
And sound files speak a thousand notes, right?
1. First set jazz - 'Mercy Mercy'.
2. More jazz - 'Stolen Moments'.
3. Old school - 'At Last'.
4. Time for R&B - Link Removed
5. Thumb tone - 'Play That Funky Music.'
6. A little more R&B - Link Removed
Very nice indeed. My favorite was I wish...
Ok, so I admit to struggling with some buyer's remorse over the new six. The first two gigs were in ugly sounding rooms and I was fighting off a head cold, so I was really worried about the sound. I kinda' melted a credit card and gave up a Roscoe to get this thing, so I was driving myself crazy over this. Hey, it ain't easy being me.
But, this weekend my head was clear, and the gig locations were definitely better acoustically....the conference center at Oracle's facility (an amazing room which could, and I understand actually has, hosted concerts) and the grand ballroom at the Naval Postgraduate School in Monterey. Long story long, the bass sounded GREAT. I'm loving it!
A picture speaks a thousand words...
And sound files speak a thousand notes, right?
1. First set jazz - 'Mercy Mercy'.
2. More jazz - 'Stolen Moments'.
3. Old school - 'At Last'.
4. Time for R&B - Link Removed
5. Thumb tone - 'Play That Funky Music.'
6. A little more R&B - Link Removed
Very nice indeed. I have virtually that same rig. I have the 902 C. I use my 112 most of the time, then my 310, and for big rooms with no PA support I bring out my 410 and 310. In either combination that's a smokin rig. My favorite was "I Wish"...
VroomVroom, once again, those were great clips. Thanks for letting us hear your bas and playing.
Ahh...I just hope you can trudge through the playing to hear the bass.
Seriously, thanks for the kind words, folks. I am REALLY digging this bass. From palm-mute to slap, from playing softly over the front pickup to laying into it on the back one, the instrument just speaks. My only worry in giving up the Roscoe was in losing that compressed sweetness...but, even though the tonal character is different, that sound is in the MTD as well. I tried to capture all of those nuances in the sound files - not sure if I was overly successful - but this really is a terrific instrument that covers a huge range of sonic possibilities.
I've got a trio date this weekend, and I'll be doing a little A/B action between the five and the six. The drummer/leader on the gig was really an influence in me buying the 535, so he's anxious to hear how the six compares. Realistically, the 535 is just a beast, so no comparison is totally fair, but it is interesting that it emphasizes the lows/lower mids while the 635 really speaks in the upper-mid range.
Seriously, thanks for the kind words, folks. I am REALLY digging this bass. From palm-mute to slap, from playing softly over the front pickup to laying into it on the back one, the instrument just speaks. My only worry in giving up the Roscoe was in losing that compressed sweetness...but, even though the tonal character is different, that sound is in the MTD as well. I tried to capture all of those nuances in the sound files - not sure if I was overly successful - but this really is a terrific instrument that covers a huge range of sonic possibilities.
I've got a trio date this weekend, and I'll be doing a little A/B action between the five and the six. The drummer/leader on the gig was really an influence in me buying the 535, so he's anxious to hear how the six compares. Realistically, the 535 is just a beast, so no comparison is totally fair, but it is interesting that it emphasizes the lows/lower mids while the 635 really speaks in the upper-mid range.
Keep the reports coming!
Oh, and I know exactly what you mean with the Roscoes... no offense to the Roscoe fans out there, but I've become fairly disenchanted with them, especially compared to an MTD.
- Jun 24, 2006
- 2,560
- 90
- Disclosures
- Endorsing Artist: MTD basses and strings; Bergantino Amps & Cabs
Keep the reports coming!
Oh, and I know exactly what you mean with the Roscoes... no offense to the Roscoe fans out there, but I've become fairly disenchanted with them, especially compared to an MTD.
which is why I found it strange when Jimmy Haslip went from Tobias' to Roscoes. They always sound like an MTD with dead strings to me. Nice basses, but...
The MTD mantra; 'nice bass, but...' Seems there's always a 'but' with other basses now.
Cheers,
Cameron
- Jun 24, 2006
- 2,560
- 90
- Disclosures
- Endorsing Artist: MTD basses and strings; Bergantino Amps & Cabs
Very nice indeed. I have virtually that same rig. I have the 902 C. I use my 112 most of the time, then my 310, and for big rooms with no PA support I bring out my 410 and 310. In either combination that's a smokin rig. My favorite was "I Wish"...
and I was just thinking how nice Tom Bowlus' carpet would go with that wallpaper...
Cheers,
Cameron
- Apr 3, 2003
- 35,515
- 19,942
- Disclosures
- Editor-in-Chief, Bass Gear Magazine
and I was just thinking how nice Tom Bowlus' carpet would go with that wallpaper...
Cheers,
Cameron
It's my pleasure to let you know what Mr.Tobias told me...
Honnestly, i had the chance to go to last year namm. At that time i wasn't a mtd fan because i haven't tried one.
I had to chance to sit down and talk with Mike for a few minutes. He talked about basses(of course), is philosophy and himself!!!
Meeting the man and the discussion worth the trip to Ahaheim from Montreal.
After the discussion, i said to myself i need to buy a bass from this guy. So i decided to try one but there was so much noise and i wasn't allowed to crank the volume (Namm sound police,LOL) so i almost didn't here anything. At least anything that would tell me what this bass had to offer. I really enjoyed the playability,BTW....
I sat down with him for a second time and he gave me a prescription (alder body, rosewood top maple neck, birdseye FB) I was looking for a growly and versatile bass...
This bass will be home in 2 months, YEAH!!
There was so much talking about the ASH!ASH combo i decided to get a second one...
They better be good because it will cost 9000$ to get both, LOL!!!
My consolation, i'm a zillion dollar away of what Mr. Bowlus spend each year on gear,
Honnestly, i had the chance to go to last year namm. At that time i wasn't a mtd fan because i haven't tried one.
I had to chance to sit down and talk with Mike for a few minutes. He talked about basses(of course), is philosophy and himself!!!
Meeting the man and the discussion worth the trip to Ahaheim from Montreal.
After the discussion, i said to myself i need to buy a bass from this guy. So i decided to try one but there was so much noise and i wasn't allowed to crank the volume (Namm sound police,LOL) so i almost didn't here anything. At least anything that would tell me what this bass had to offer. I really enjoyed the playability,BTW....
I sat down with him for a second time and he gave me a prescription (alder body, rosewood top maple neck, birdseye FB) I was looking for a growly and versatile bass...
This bass will be home in 2 months, YEAH!!
There was so much talking about the ASH!ASH combo i decided to get a second one...
They better be good because it will cost 9000$ to get both, LOL!!!
My consolation, i'm a zillion dollar away of what Mr. Bowlus spend each year on gear,
Hey guys, just a quick question.
I've got a 435, korina body/wenge neck/fb, running through an Eden WT550 and 210XST. As we've all discussed, wenge slap tone cuts like a knife. However, I find that the slap tone on my bass just fades into the mix. Just wondering what you think. Is it the amp, the wood combo, or something else?? Thanks.
DRay
I've got a 435, korina body/wenge neck/fb, running through an Eden WT550 and 210XST. As we've all discussed, wenge slap tone cuts like a knife. However, I find that the slap tone on my bass just fades into the mix. Just wondering what you think. Is it the amp, the wood combo, or something else?? Thanks.
DRay
