Bassic Review: MTD Kingston Norm Stockton Signature Saratoga

First Impressions

As soon as I unboxed the KNSJ5, I fell in love with its satin blue burst finish and sleek, contoured J-style body. I am not normally a fan of the way a J-style body feels while seated, but the contours made this specific instrument very comfortable. I was also pleased by its balanced and relatively lightweight feel (9.2 pounds) for a 35-inch scale 5-string. These specifications made the bass less daunting for a smaller player like myself, who happens to exclusively play 4-string basses, and I found the bass just as “giggable” when standing. As I ran my left hand along the neck, the asymmetrical profile nested into it perfectly (thick to thin from the B to G string) as I felt the superb ergonomic innovation expected from MTD. I could already tell that if I was going to attempt to get comfortable with such a massive extended range bass, this would be the one.

Once I finished assessing the build of the bass, I was wowed by the rest of the KNSJ5’s luxurious features. The smoked chrome hardware created a classy, yet edgy aesthetic that paired perfectly with the finish to mimic the bass’ US-made parent model, but without featuring the wood-matched knobs and ramp. While it would have been nice to see a ramp on the Kingston version, I understand how the need for that feature may be subjective depending on technical playing needs, and thus not mandatory for a mass-produced model. Besides this difference, the MTD Kingston NSJ5 (China) did a magnificent job of embodying the beauty and functionality of the MTD Norm Stockton Signature (USA). Impressed by the boutique looks of this bass, I was more than ready to plug in and hear its USA Bartolini electronics sing.

The Blue Beast

Considering that this is an artist signature bass designed to match the rigorous standards of Norm Stockton, a high-caliber professional, I expected extreme versatility and tonal precision going into play testing. After all, this is an instrument that should be just as at home on a stage as it would be in a recording studio, so I tested it across the whole spectrum of sound and genre applications, from heavy to funky, warm to bright, etc. Familiar with the electronics layout from my experience with other Tobias-style instruments, I found the controls very intuitive and instantly took to dialing in my recipes. For the sake of accuracy and clarity in this review, the core controls offer independent boost/cut of treble, midrange, and bass, alongside a pickup blend and master volume, making for a full-service onboard 3-band EQ/preamp experience. In addition to this 3-band preamp, we have an active/passive switch and a mid-shift switch from 250Hz (down) to 450Hz (up). It is critical to note that the mid-shift switch centers on the same frequencies as the MTD USA model. In fact, these two options for midrange frequency selection are my favorite feature on the KNSJ5, because they hit just the right part of the mix, especially if playing in a band with a keyboardist.

With such a comprehensive approach to tone-shaping, it feels like this bass is endlessly tweakable, with so many “safety nets” built-in, guaranteeing players impeccable and punchy Bartolini tone, no matter the circumstance (even if your batteries run out on the gig). So, with the midrange and supporting EQ/preamp in mind, I focused on blending the pickups in a way that would accentuate my settings and match my intended musical style. As always, I recorded all samples into my DAW through the clean “Studio” patch of my BOSS GX-10 with no added effects or extra processing.

While grooving, I instantly fell in love with the high-output, crystal clarity of every tone that I conjured with this bass. No matter how I knob-turned the preamp or utilized the low B string, stellar articulation and sustain took center stage. While I admit that I personally had to work harder to play this bass cleanly with my small hands, the instrument rewarded me at every turn with supreme musicality and general ease of use. The only specification that felt a bit uncomfortable was the 19mm string spacing, which felt wide across 5 strings. However, I feel that reviewing this bass made me a better bassist, which is a major testament to how an instrument’s design can directly support a diverse range of players – even ones who may not be as oriented to that type of instrument. Of course, in the spirit of how Norm Stockton would use this bass in a variety of professional settings, my experience affirms the KNSJ5’s versatility and accessibility from a playing standpoint.

For aggressive tones, I loved blending toward the bridge pickup or keeping things equal, while capitalizing on the boosting power of the preamp. The only nuance here is that the KNSJ5’s pickups are not quad-coil with split-able coils, like on the MTD USA model, so it is key to treat the blend knob as a pickup blend, instead of a coil blend. Using my “Heavy” (brightest) playing sample as an example, I opted for a 450Hz midrange boost accompanied by some boosted treble to add some serious bite. Meanwhile, a slight cut to the bass and a gentle pan toward the bridge pickup tightened things up, while still retaining a solid amount of low end, demonstrating the mind-blowingly wide frequency response of the Bartolini electronics. On many other (presumably cheaper) basses, settings like these would yield a terribly thin and “plastic” tone. Conversely, in my bluesy sample, more classic-style tones shined through by focusing around the neck pickup, 250Hz midrange boost, bass boost, and a slight cut to the treble. The expressive warmth from this combination would be right at home on a roots gig. Lastly, across my entire play test, passive mode was least utilized, as everything that I desired came from engaging active mode. I would go as far to say that I would not run this bass in passive mode unless the batteries died or I did not want to hit a certain rig with a hot, active signal.

The Bottom Line