Mellotronists

I also seem to recall a mention of how difficult it was to get two 24-
track machines to sync properly.  Once again, this was almost thirty 
years and even more brain cells ago...

jonesally wrote:
>>My understanding from reading an article contemporaneous to the album
>>(possibly in Rolling Stone) is that they used the multitrack recorder
>>almost as a fader-controlled Mellotron, with many tracks (if memory
>>serves, something on the order of 48 tracks just relegated to this)
>>each one containing one sustained vocal note, and that during
>>production, they just "played the faders" to bring in and fade out
>>specific pitches to build the harmonic structure of the song.
>>
>>I'd sure like either confirmation or supported contradiction on this.
>>Listening to it with smarter ears now that I'm older and have been
>>doing this for a while seems to confirm the likelihood of my ancient
>>recollection, but it would be nice to have that authenticated.

Andy T wrote:
>That's what I've heard, too. *Definitely* not a Mellotron, anyway!
>
>Andy T.

elsewhere jonesalley wrote:

>I also seem to recall a mention of how difficult it was to get two 24-
>track machines to sync properly.  Once again, this was almost thirty 
>years and even more brain cells ago...

256 seperate voices bounced down to 48 tracks is what I've read elewhere.
Regardless of the actual number it's quite a unique effect, being *all
analog and hand manipulation*!  It requirted all hands on the faders to
manipulate in the final mix.  Very impressive.  Alan Parsons and Dave
Gilmour talk a bit about this kind of process on the "DSOM" DVD, BTW.

 From my post on another list on this same topic:
Correct.  They were multi-tracked overdubbed vocals.  Tape manipulated
directly.  No tron/chamberlin involved, though the same tape replay ideas
were employed.  Eric Stewart over dubbed the group's whispery backing
vocals 256 times for the effect (even today, production wizards marvel at
this technological feat).  Very nice effect.  Laborious to construct then.
Much easier to do now digitally with software chorusing effects.

Note by Alan Parsons, 2003: "I had always admired the productions of 10cc
as well as their vocal and instrumental performances. Eric Stewart's song
writing talent in particular is extraordinary - fantastic lyric ideas
unmatched by anybody. I was particularly impressed with the use of the
vocal loops on I'm Not In Love. Coincidentally, I was experimenting with
continuous tape loops as an instrument too around that time - remember
this was before sampling and pre-digital. Eric has performed some of my
favourite music, both on his own and on my own records."
-- 
Cheers,
SDM -- a 21st century schizoid man
internet music project: <www.soundclick.com/bands/9/systemstheory.htm>
NP: nothing