MTD 532/24 “Lynn Keller” Myrtle Burl 10 top, medium, 32” scale, five string bass, 5 For sale, UK, EU, USA, Michael Tobias, Birmingham, London, Manchester, Warwick, Hand bade, custom bass, Bass Direct.

 


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MTD 532/24 “Lynn Keller” Maple Burl 10 top, 32” scale (list £5449)

SOLD

  1. Export price outside EU £3999.

  2. Please contact us for international shipping rates

  3. Please call or email if you wish to buy this bass.

  4. A stunning, hand build bass by US master luthier Michael Tobias. Featuring MTDs own brand of excellence combined with high quality materials give an instrument of the highest calibre. Featuring a stunning Maple Burl “10” top, 32” scale and 16mm string spacing - a unique, hand crafted instrument from one of the most respected builders in the USA.

  5. Actual instrument shown, please click on images to enlarge;













Standard features;

  1. Body - Mahogany

  2. Top - Maple Burl “10” top ( £600 option)

  3. Natural satin finish, hand rubbed dusk fade on top ( £200 option)

  4. Custom knobs in matching wood and stain (£150 option)

  5. Matching heal - (£50 option)

  6. Matching head - (£50 option)

  7. Neck - Maple 32", 24 fret, asymmetric neck profile

  8. Fingerboard - Ganadillo (£100 option)

  9. Pickups - Custom MTD Bartolini Split Single coils

  10. Preamp  - Custom MTD Bartolini 3 band with 3 way mid select, push/pull active/passive

  11. Harware - Hipshot A style bridge with 16mm spacing, Ultralight tuners

  12. Finish for body and neck is a satin catalyzed urethane.

  13. Weight - 7.14lb /3.5kg

  14. TKL Gig case - £190 option

 


Tel: 01926 886433








Nine months interest free credit on up to £5000 on Instrument purchases! For UK residents aged between 16 and 25.








 

Review: MTD Lynn KellerSignature 532-24

JONATHAN HERRERAMAR 8, 2018 - USA Bass Player Magazine



Lynn Keller has had the sort of long, productive, and diverse career that characterizes a true working bass pro. Raised in Illinois, Keller started on piano and flute but found herself drawn to bass in college. Doubling down on her love for her new axe, Keller moved to Austin and started her professional career. While she thrived there, her mid-’80s move to L.A. saw her fortunes rise, eventually landing gigs with the Original Fifth Dimension, Michelle Shocked, Rita Coolidge, Diana Ross, and more. Her performing career has since expanded to theater, where she’s been in the pit orchestra for a spectrum of touring Broadway productions. Among the many challenges women musicians face, the size of a full-scale bass can be a particularly intractable obstacle. Fortunately, the recent resurgence of shorter-scale basses has substantially increased the options for more petite players. Historically a lot of shorter-scale basses tended to either be re-releases of clunky vintage models or entry-level instruments aimed at the kids’ market. But as the Lynn Keller Signature reviewed here demonstrates, those days are over.


Woodstock, New York-based Mike Tobias is one of the most renowned luthiers in our industry, and each instrument he designs and hand-makes is a singular work of art. Tobias has long been one of the most ambitious and knowledgeable luthiers when it comes to devising a cocktail of body woods to achieve a desired tone—he also has some of the prettiest stock I’ve seen on hand. Our striking Lynn Keller Signature tester was decked out, featuring a mahogany body, myrtle-burl top, maple neck, and chechen fingerboard. The color-matched wood knobs add a tasteful bit of luxury to the aesthetic. The 532 has the same basic contour as Tobias’ legendary 535 model, just slightly reduced in size. The neck is relatively narrow, but I quickly adapted and found there was enough room to dig in and slap comfortably (a requirement Keller specified to Tobias during the instrument’s development).

The MTD’s construction was flawless, as one would expect from a bass of its price. The fret-work was impeccable and the hardware of the highest quality. The Bartolini preamp was no less well installed, and lives in a well-shielded control cavity to reduce noise. Bartolini custom-tuned the preamp and J-style pickups to best suit the instrument’s voice, shorter scale, and smaller body. The strings come courtesy of La Bella, and they, too, were specially designed for the 32" scale length.

While the benefits of the 532 are obvious for smaller players, that doesn’t mean it’s just for them. One of the things I noticed when the bass arrived was that it was in a guitar gig bag. Having endured the fear of not being able to carry-on my bass on countless flights, it’s a big deal being able to use a guitar bag that’s much less likely to engender the disapproving eye of a militant gate attendant. Removing the MTD from the bag, I was beguiled by its light weight and smooth, sinuous lines. On my lap or on a strap, the instrument was exceptionally comfortable and well balanced, and I quickly adapted to the shorter scale. This is subjective, but personally, I dig the way shortening the scale loosens the strings’ tension. There’s something about the increased flexibility that inspires me to be a bit more expressive with my left hand.

I tested the Lynn Keller Signature in my studio and on a gig with a few high-end preamps and an Aguilar rig. With the tone controls flat and the pickups blended, the MTD’s tone was rich and full-bodied, with a ton of high-end zip and the sort of throaty midrange that distinguishes shorter-scale basses. The crystalline treble response helps the bass speak in a mix, but I found myself favoring the sound with the well-voiced treble control slightly rolled off. In the bridge position, the MTD burps with Jaco-esque J-style punch, and it’s especially fun to fly around the diminutive neck with the articulate and precise back-pickup tone. The soloed neck-pickup sound has a more woody bark with greater focus on the instrument’s bountiful bass response. Most notably, while some may decry a 32"-scale 5-string’s ability to have an effective B string, that wasn’t the case with our tester. The B was taut and controlled, with excellent low-register pitch definition and color.

Now that heavyweight luthiers like Mike are in the short-scale bass game, it’s officially a fully matured trend. While the Lynn Keller bass is exorbitantly expensive, you’d be hard pressed to find a better-put-together 32"-scale bass. Any player with the budget who digs the many advantages of a smaller instrument should give MTD a call.

SPECIFICATIONS

MTD
Lynn Keller Signature 532-24

Street $5,600
Pros Flawlessly constructed from topnotch materials; superb sparkly tone; excellent ergonomics
Cons None
Bottom Line There are few more luxurious and better built instruments out there, much less 32"-scale basses.




MTD uses the licensed the Buzz Feiten Tuning System on all our basses, this revolutionary tuning system enhances tuning dramatically, allowing the player greater freedom of expression.


The Buzz Feiten Tuning System solves tuning and intonation problems with 2 simple steps:


1. Shelf Nut

Our exclusive Buzz Feiten Tuning System¨ (BFTS) Shelf Nut moves the strings closer to the first fret according to our Patented Formula. This eliminates sharp notes at the first three frets.

Buzz Feiten Tuning System Shelf Nut


Top View : Each Shelf Nut is precision machined from high quality bone for superb tonal response.



Side View : The strings are moved closer to the first fret a precise distance based on the scale length, fret width and string gauge of your guitar. The slight overhang of our nut (the 'Shelf') does this without altering your guitar in any way. So it's even fine for vintage guitars.

2. Intonation
Your guitar's bridge is adjusted according to our Patented Pitch Offsets, creating balanced intonation over the entire fingerboard - every fret - every string.


Your Bridge Is Adjusted to BFTS Pitch Offsets



Made By Hand. For Life.

MTD Handmade American Basses are available in 4 (MTD435), 5 (MTD535), 6 (MTD635), and 7 (MTD735-24) string configurations. These basses all have 35″ scale bolt-on necks, with 21 fret (plus 0 fret) standard on the 4, 5 and 6 string models, 24 frets optional, 24 frets standard on MTD735-24. Standard necks are maple with a rosewood fingerboard. Ash necks are available at no extra charge. Optional fingerboards are Honduran rosewood, maple, zirocote, ebony and Rose of the Mountain have an additional upcharge. Wood body choices are medium weight ash, domestic tulip wood (aka eastern yellow poplar), alder, or mahogany.

The necks and bodies are available in a variety of combinations.

The most popular are woods combinations (with other combinations are available upon request) are listed below:

  1. Domestic tulip wood (aka poplar) with exotic top, maple neck, rosewood board

  2. Poplar body with exotic top, wenge neck and board

  3. Ash body with exotic top, maple neck and rosewood board

  4. Ash body, with exotic top, wenge neck and board

  5. Ash body with exotic top, maple neck maple board

  6. Ash body with exotic top, ash neck, maple board.

  7. Alder body with exotic top, maple neck ebony board

  8. Mahogany body with exotic top, maple neck maple board

  9. Mahogany body with exotic top, wenge neck and board

The MTD Standard Finish is a catalyzed acrylic urethane satin that looks and feels a lot like oil but is many times harder without building great thickness. This allows the bass to breathe, sounding more wooden. Other finished are available upon request.

MTD Handmade American bodies and necks are ergonomically carved to allow comfortable access to the extended scale bass. In general, ash (medium weight) has more growl and is more aggressive, poplar bodies have more punch, mahogany is more piano like with a slightly darker overall voice. Alder makes a very warm, big sounding, punchy bass, slightly compressed. Adding a top helps to focus the low end. A hard top tends to create a quicker response with more bite and definition while a soft top will tend to round out the voice.

A wenge neck and board add compression and focus to the speaking voice of the bass. A maple neck and rosewood board is more open and slightly warmer than a maple neck and maple board. Ebony on maple is very quick in its response with lots of snap. Michael Tobias has been trying ash as a neck material and found it to be leaning towards wenge but more “open”.

The pickups and active electronics are a proprietary design for MTD made by Bill Bartolini which consist of a master volume and pan pot, treble, mid, bass cut and boost, with center click (from neck to bridge). The three position switch selects the mid range cut and boost point. Down is lower mids, center is middle and up is upper mids. When the mid pot is at center click, the switch has minimal effect. The EQ has 2 batteries and is a +/- 9 volt system.

  1. There is great variety in the settings of the EQ. The basses can be made to sound very traditional by cutting the mids all the way at 1000 (switch in top position), and boosting the bass and treble to 10 with the blend pot at center. This offers a great slap tone. Boosting the mids at 250 ( switch in lower position), with bass at 10 and treble at 9-10 with the blend pot on the bridge pick up gives the early Bartolini TCT tone. This offers a very percussive finger tone. These are just suggestions. The tone will vary depending on the rig and technique used.

Bridges and tuners are custom manufactured for MTD Handmade American Basses by Hipshot.

MTD Handmade American Basses all use the Buzz Feiten Tuning System. This revolutionary tuning system enhances tuning dramatically, allowing the player greater freedom of expression.

The Buzz Feiten Tuning System solves tuning and intonation problems with 2 simple steps:


1. Shelf Nut

Our exclusive Buzz Feiten Tuning System¨ (BFTS) Shelf Nut moves the strings closer to the first fret according to our Patented Formula. This eliminates sharp notes at the first three frets.

Buzz Feiten Tuning System Shelf Nut


Top View : Each Shelf Nut is precision machined from high quality bone for superb tonal response.



Side View : The strings are moved closer to the first fret a precise distance based on the scale length, fret width and string gauge of your guitar. The slight overhang of our nut (the 'Shelf') does this without altering your guitar in any way. So it's even fine for vintage guitars.

2. Intonation
Your guitar's bridge is adjusted according to our Patented Pitch Offsets, creating balanced intonation over the entire fingerboard - every fret - every string.


Your Bridge Is Adjusted to BFTS Pitch Offsets


Available Options

  1. “10″ Top (Price depending on choice of wood)”

  2. 24 Fret Fingerboard

  3. Birds Eye Maple Fingerboard

  4. Black Limba Body

  5. Chambers (semi-hollow body)

  6. Ebony Fingerboard, Honduran rosewood, Rose of the Mountain, other exotic woods.

  7. Epoxy Fingerboard (for lined or unlined fretless)

  8. Korina Body

  9. Laquer Finish
    (Sunbursts, See-through’s, Fades: red, coral blue, amber, tobacco, cherry)

  10. Lined Fretless

  11. Maple Fingerboard

  12. Matching Peghead Veneer (matches face of instrument)

  13. Matching Trussrod Cover (matches face of instrument)

  14. Matching Trussrod Cover (matches fingerboard)

  15. Piezo Bridge System (Ghost Piezo system in Hipshot A bridge with matching Bartolini preamp)

  16. Rubbed Oil Stain
    (Sunbursts, stains, Fades:chianti, amber, tobacco)

  17. Walnut Body

  18. Wenge Neck/Fingerboard (very limited supply)




“I am Michael Tobias, and I have been building instruments since 1974. I started in Washington, D.C., working in The Guitar Shop and doing repairs for a time to learn about other luthiers’ instruments and construction methods. Most of my early work was on acoustic instruments. I worked on a great variety of instruments including Martin, Gibson, Fender, Kohno, Ramierez, banjos and mandolins, harp guitars and even a few sitars.

The most important thing I learned is that, no matter what the instrument is, it is first and foremost acoustic. If an instrument sounds weak acoustically, adding pick-ups will just amplify its shortcomings. Throughout my career I have tried to apply this principal to everything I build. By experimenting with different types and combinations of wood, I seek to get the best possible tone from an instrument. And, by using different woods for body and neck, I am able to offer a wide variety of speaking voices and tonal capabilities.

Music has evolved over the years but there are still a few basic and fundamental constants; rules that must be dealt with. The instrument must satisfy the creative and emotional needs of the owner and it must play in tune.

After leaving Tobias Guitars at the end of 1992, and fulfilling my contractual obligations for consulting and non-competition with Tobias, I started building MTD (Michael Tobias Design) instruments at the beginning of 1994. There is more detail in the History section below.

I have a small shop in the town of Woodstock, New York, in which my part-time helpers and I currently produce about 10 instruments per month. I enjoy building instruments and consider myself quite lucky to be doing something daily that creates a great deal of satisfaction for my customers and myself.