The Mellotron Group

lol!!!


________________________________
 From: "Mike Dickson mike.dickson@gmail.com [newmellotrongroup]" <newmellotrongroup@yahoogroups.com>
To: newmellotrongroup@yahoogroups.com 
Sent: Monday, June 30, 2014 3:52 PM
Subject: Re: [newmellotrongroup] Mellotron, shmellotron
 


  
Rich should take on Gallo.  Just saying.



On 30 June 2014 20:48, lsf5275@aol.com [newmellotrongroup] <newmellotrongroup@yahoogroups.com> wrote:

 
>  
> 
>Nice!
> 
>In a message dated 6/30/2014 12:10:44 P.M. Eastern Daylight Time, newmellotrongroup@yahoogroups.com writes:
>  
>>I would like to address a small part of Rich's post.
>>
>>
>>"No benefit in  the studio either. NONE."
>>
>>
>>A quick personal history. I own a recording  studio that specializes in vintage keyboards. Our inventory includes one of  Markus' M4000D's, and an original M400. I've also owned a number of additional  M400's, a MkV, and a Chamberlin.
>>
>>Some observations on the M4000D. 
  Well-made, great sounding, reliable, nice keyboard. Does it sound like our 
  particular M400? No. And this M400 doesn't sound like our other M400's. The 
  M4000D sounds like a combination of a couple of the M400's we've had. But it 
  sounds NOTHING like our current M400, and again....neither did our past Trons. 
  Not better or worse, just different. Radically different. We use the M4000D 
  for "almost" everything, but occasionally it's simply "Not The Right 
  Mellotron". Just like the M400 is often not the right Mellotron. They are 
  different sounding Mellotrons.
>>
>>Studio benefits: Many of our inventoried 
  instruments are essentially handmade. Therefore, each will have it's own 
  quirks and personality. OUR Rhodes doesn't sound like YOUR Rhodes. OUR 
  Minimoog doesn't sound like YOUR Minimoog. And that, in itself, gives value to 
  having the hardware.
>>
>>However, the point that I consider most important, 
  and often overlooked, is "how does that PARTICULAR instrument influence the 
  performer's music?". Here's how it plays out, in EVERY session. I'm not 
  kidding.
>>
>>Player arrives. He/she has been using vsti's and hardware sims 
  for years. Has never even SEEN most of the authentic instruments. They have 
  all their parts carefully written and rehearsed, based on their vsti's, and on 
  the sims in their workstations.
>>
>>They see the C3 and 122. "Holy shit". 
  Yep. This is serious.
>>
>>I show them how to turn on the C3. The starter 
  motor grinds up to speed, then the run motor wobbles a bit, and kicks the 
  machine into gear. "Holy shit". 
>>
>>They feel the vibrations from the 
  tonewheel generator. They feel the wind from the Leslie. I coach them through 
  the speed switch, drawbars, percussion, and vibrato. I show them how to 
  control the distortion by using the volume pedal. "Holy shit".
>>
>>They 
  play the parts that they had planned. Then....they start modifying the parts, 
  based on the influence of the instrument. They disappear into the experience, 
  and we all just shut up for a while, and let them soak it in, and GET IT. 
  We've had people actually crying while playing this stuff. They can't believe 
  the depth of the experience. The realization that the vsti is THAT far from 
  the real instrument, comes as a profound shock.
>>
>>What they eventually 
  record ends up sounding like the REAL version of what they had originally 
  intended. With far more emotion and power, but it's because of THE WAY THEY 
  PLAY IT, not just the way it sounds.
>>
>>So I do think that "No benefit in 
  the studio either. NONE." may be an unfair assumption. 
>>
>>Cheers,
>>
>>Jim Blair
>>Ape Island Sound
>>Canada
>>


-- 

Mike Dickson
Edinburgh