Price of Mellotron in 1972
2010-06-15 by partune
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
Thread
Price of Mellotron in 1972
RE: [newmellotrongroup] Price of Mellotron in 1972
2010-06-15 by John Wright
That's interesting. I believe that would be about $24,000 (1967 =100) in today's dollars. That price is about $1,000 higher than a Hammond spinet in the early 70's. "L" and "M" Hammonds probably about half that much used. Wonder how one could afford a Tron then. Did studios buy them and lease them? John #911 ________________________________
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From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune Sent: Tuesday, June 15, 2010 10:34 AM To: newmellotrongroup@yahoogroups.com Subject: [newmellotrongroup] Price of Mellotron in 1972 Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-15 by Tom Doncourt
Certain guitars seem to appreciate on that scale but not m400\u2019s for some reason.
That's interesting. I believe that would be about $24,000 (1967 =100) in today's dollars. That price is about $1,000 higher than a Hammond spinet in the early 70's. "L" and "M" Hammonds probably about half that much used.
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
;
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
RE: [newmellotrongroup] Price of Mellotron in 1972
2010-06-15 by Bruce Daily
Hi all- Yeah, I also have one of the DMI pamphlets. I ordered the info in 1975, but the pamphlet I recieved was dated 1973, and quoted a $3950.00 price (w/muff, cord, pedal). Interestingly, it also came with a November 1975-dated letter from DMI announcing a price reduction to $2995.00 "while stocks last". It's possible the seller was quoting the early price of Dave Kean's MKVI. I have an old 2003 printout. His website used to say "Available at the original 1973 American price of $5200.00 plus shipping. Case included." I guess this seller didn't pay attention to the last line about the case. -Bruce D. --- On Tue, 6/15/10, John Wright <john.wright@consona.com> wrote:
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From: John Wright <john.wright@consona.com> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972 To: newmellotrongroup@yahoogroups.com Date: Tuesday, June 15, 2010, 9:47 AM That's interesting. I believe that would be about $24,000 (1967 =100) in today's dollars. That price is about $1,000 higher than a Hammond spinet in the early 70's. "L" and "M" Hammonds probably about half that much used. Wonder how one could afford a Tron then. Did studios buy them and lease them? John #911 From: newmellotrongroup@ yahoogroups. com [mailto:newmellotro ngroup@yahoogrou ps.com] On Behalf Of partune Sent: Tuesday, June 15, 2010 10:34 AM To: newmellotrongroup@ yahoogroups. com Subject: [newmellotrongroup] Price of Mellotron in 1972 Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
RE: [newmellotrongroup] Price of Mellotron in 1972
2010-06-15 by Thomas C. Doncourt
I remember the price in 1973 being quoted to me at $4,000. Sam Ash music store had a sale for $3000 which is what I paid plus tax. I was working full time in a furniture factory making $80 a week and paid off a$100 a month loan on #390
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> Hi all- > Yeah, I also have one of the DMI pamphlets. I ordered the info in > 1975, but the pamphlet I recieved was dated 1973, and quoted a > $3950.00 price (w/muff, cord, pedal). Interestingly, it also came with a > November 1975-dated letter from DMI announcing a price reduction to > $2995.00 "while stocks last". > It's possible the seller was quoting the early price of Dave Kean's > MKVI. I have an old 2003 printout. His website used to say > "Available at the original 1973 American price of $5200.00 plus shipping. > Case included." I guess this seller didn't pay attention to the last > line about the case. > > -Bruce D. > > > --- On Tue, 6/15/10, John Wright <john.wright@consona.com> wrote: > > > From: John Wright <john.wright@consona.com> > Subject: RE: [newmellotrongroup] Price of Mellotron in 1972 > To: newmellotrongroup@yahoogroups.com > Date: Tuesday, June 15, 2010, 9:47 AM > > > > > > > > That's interesting. I believe that would be about $24,000 (1967 > =100) in today's dollars. That price is about $1,000 higher than a > Hammond spinet in the early 70's. "L" and "M" Hammonds probably about > half that much used. > > Wonder how one could afford a Tron then. Did studios buy them and lease > them? > > John > #911 > > > > From: newmellotrongroup@ yahoogroups. com [mailto:newmellotro > ngroup@yahoogrou ps.com] On Behalf Of partune > Sent: Tuesday, June 15, 2010 10:34 AM > To: newmellotrongroup@ yahoogroups. com > Subject: [newmellotrongroup] Price of Mellotron in 1972 > > > > > Seeing all the posts about the price of the Tron on eBay, I've a copy of a > letter I received in 1972 from DMI quoting a price on a new M400 as > $3,500.00. > > Regards, > partune > > > > > > > > > >
Re: Price of Mellotron in 1972
2010-06-15 by Tron400
#500, (alias #497) was $2900 around late '73. Caruso Music in New Haven found it for me at a music shop in Boston. Bernie --- In newmellotrongroup@yahoogroups.com, "Thomas C. Doncourt" <tomdcour@...> wrote:
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> > I remember the price in 1973 being quoted to me at $4,000. Sam Ash music > store had a sale for $3000 which is what I paid plus tax. I was working > full time in a furniture factory making $80 a week and paid off a$100 a > month loan on #390 > > > Hi all- > >  Yeah, I also have one of the DMI pamphlets.  I ordered the info in > > 1975, but the pamphlet I recieved was dated 1973, and quoted a > > $3950.00 price (w/muff, cord, pedal). Interestingly, it also came with a > > November 1975-dated letter from DMI announcing a price reduction to > > $2995.00 "while stocks last". > >  It's possible the seller was quoting the early price of Dave Kean's > > MKVI. I have an old 2003 printout. His website used to say > > "Available at the original 1973 American price of $5200.00 plus shipping. > > Case included." I guess this seller didn't pay attention to the last > > line about the case. > >  > >   -Bruce D. > > > > > > --- On Tue, 6/15/10, John Wright <john.wright@...> wrote: > > > > > > From: John Wright <john.wright@...> > > Subject: RE: [newmellotrongroup] Price of Mellotron in 1972 > > To: newmellotrongroup@yahoogroups.com > > Date: Tuesday, June 15, 2010, 9:47 AM > > > > > >  > > > > > > > > > > That's interesting. I believe that would be about $24,000 (1967 > > =100) in today's dollars. That price is about $1,000 higher than a > > Hammond spinet in the early 70's. "L" and "M" Hammonds probably about > > half that much used. > >  > > Wonder how one could afford a Tron then. Did studios buy them and lease > > them? > >  > > John > > #911 > > > > > > > > From: newmellotrongroup@ yahoogroups. com [mailto:newmellotro > > ngroup@yahoogrou ps.com] On Behalf Of partune > > Sent: Tuesday, June 15, 2010 10:34 AM > > To: newmellotrongroup@ yahoogroups. com > > Subject: [newmellotrongroup] Price of Mellotron in 1972 > > > > > >  > > > > Seeing all the posts about the price of the Tron on eBay, I've a copy of a > > letter I received in 1972 from DMI quoting a price on a new M400 as > > $3,500.00. > > > > Regards, > > partune > > > > > > > > > > > > > > > > > > > > >
Re: [newmellotrongroup] Re: Price of Mellotron in 1972
2010-06-15 by tony1
#510 was $1500 in 1975.
Fully restored by John and Martin a few yrs ago.
Have the big boy ordered, but keeping the M400.
Tony
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----- Original Message -----From: Tron400Sent: Tuesday, June 15, 2010 2:39 PMSubject: [newmellotrongroup] Re: Price of Mellotron in 1972
#500, (alias #497) was $2900 around late '73. Caruso Music in New Haven found it for me at a music shop in Boston.
Bernie
--- In newmellotrongroup@yahoogroups.com, "Thomas C. Doncourt" wrote:
>
> I remember the price in 1973 being quoted to me at $4,000. Sam Ash music
> store had a sale for $3000 which is what I paid plus tax. I was working
> full time in a furniture factory making $80 a week and paid off a$100 a
> month loan on #390
>
> > Hi all-
> >  Yeah, I also have one of the ;DMI pamphlets.  I ordered the info in
> > 1975, but the pamphlet I recieved was dated 1973, and quoted a
> > $3950.00 price (w/muff, cord, pedal). Interestingly, it also came with a
> > November 1975-dated letter from DMIÂ announcing a price reduction to
> > $2995.00 "while stocks last".
> >  It's possible the seller was quoting the early price of Dave Kean's
> > MKVI. I have an old 2003 printout. His website used to say
> > "Available at the original 1973 American price of $5200.00 plus shipping.
> > Case included."Â I guess this seller didn't pay attention to the last
> > line about the case.
> > Â
> > Â Â -Bruce D.
> >
> >
> > --- On Tue, 6/15/10, John Wright wrote:
> >
> >
> > From: John Wright
> > Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
> > To: newmellotrongroup@yahoogroups.com
> > Date: Tuesday, June 15, 2010, 9:47 AM
> >
> >
> > Â
> >
> >
> >
> >
> > That's interesting. I believe that would be about $24,000 (1967
> > =100) in today's dollars. That price is about $1,000 higher than a
> > Hammond spinet in the early 70's. "L" and "M" Hammonds probably about
> > half that much used.
> > Â
> > Wonder how one could afford a Tron then. Did studios buy them and lease
> > them?
> > Â
> > John
> > #911
> >
> >
> >
> > From: newmellotrongroup@ yahoogroups. com [mailto:newmellotro
> > ngroup@yahoogrou ps.com] On Behalf Of partune
> > Sent: Tuesday, June 15, 2010 10:34 AM
> > To: newmellotrongroup@ yahoogroups. com
> > Subject: [newmellotrongroup] Price of Mellotron in 1972
> >
> >
> > Â
> >
> > Seeing all the posts about the price of the Tron on eBay, I've a copy of a
> > letter I received in 1972 from DMI quoting a price on a new M400 as
> > $3,500.00.
> >;
> > Regards,
> > partune
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
>
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-15 by David Jacques
Some of my wealthy friends bought them. I remember one in particular... I used to rent it from him for some recording dates.
On Jun 15, 2010, at 9:47 AM, John Wright wrote:
That's interesting. I believe that would be about $24,000 (1967 =100) in today's dollars. ; That price is about $1,000 higher than a Hammond spinet in the early 70's. "L" and "M" Hammonds probably about half that much used.Wonder how one could afford a Tron then. Did studios buy them and lease them?John#911From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-15 by lsf5275@aol.com
I had one for a period of time when I was around 20. I rented it for a while and then bought it for $1800.00 1972-1973. I think Jamie Robertson may own it now. In a message dated 6/15/2010 7:49:26 P.M. Eastern Daylight Time, djacques@csulb.edu writes: Some of my wealthy friends bought them. I remember one in particular..Some of my wealthy friends bought them. I remember one in On Jun 15, 2010, at 9:47 AM, John Wright wrote: That's interesting. I believe that would be about $24,000 (1967 =100) in today 's dollars. That price is about $1,000 higher than a Hammond spinet in the early 70's. "L" and "M" Hammonds probably about half that much used. Wonder how one could afford a Tron then. Did studios buy them and lease them? John #911 ____________________________________
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From: newmellotrongroup@newmellotronnewmellotro_mailto:newmellotro_ (mailto:newmellotro) <WBR>ngroup@yaho<WBR>ng On Behalf Of partune Sent: Tuesday, June 15, 2010 10:34 AM To: newmellotrongroup@newmellotronnew Subject: [newmellotrongroup] Price of Mellotron in 1972 Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Chris Dale
Most Mellotrons and especially Chamberlins were bought by studios unless the band had a record label willing to front the money for one. In the Chamberlins case - Harry generally hated rock music and rock musicians and really didn't want anything to do with them. This is why it took so long for Chamberlin Co. to consider that market.
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.
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On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?John#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by djacques@csulb.edu
What I really wonder is how many people could really afford a Mark II? If the 400 was unaffordable for 4000 dollars, who could afford at least twice that much for a Mark II?
Sent via BlackBerry from T-Mobile
From: Chris Dale <unobtainiumkeys@gmail.com>
Date: Wed, 16 Jun 2010 09:58:29 +0900
To: <newmellotrongroup@yahoogroups.com>
Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
Most Mellotrons and especially Chamberlins were bought by studios unless the band had a record label willing to front the money for one. In the Chamberlins case - Harry generally hated rock music and rock musicians and really didn't want anything to do with them. This is why it took so long for Chamberlin Co. to consider that market.
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.
On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?John#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
RE: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Gary Brumm
Come on Chris, you don't really believe that do you. Seriously....many the people who made the instrument famous could afford a boatload of these things IF THEY WANTED THEM.....THEY DON'T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford any instruments they want....they chose to replace the Mellotrons and never looked back. Most are on record of "hating those damn things". There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act "showing it off" than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don't get me wrong....I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do....and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I'm not trying to start a flame war but I've been around this stuff since the early 70's (ok late 60's :)) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV :)... Cheers! Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with. On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com<mailto:john.wright@consona.com>> wrote: Wonder how one could afford a Tron then. Did studios buy them and lease them? John #911 ________________________________
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From: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> [mailto:newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>] On Behalf Of partune Sent: Tuesday, June 15, 2010 10:34 AM To: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> Subject: [newmellotrongroup] Price of Mellotron in 1972 Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by djacques@csulb.edu
You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
Sent via BlackBerry from T-Mobile
From: Gary Brumm <gabru@comsec.net>
Date: Tue, 15 Jun 2010 23:06:25 -0400
To: newmellotrongroup@yahoogroups.com<newmellotrongroup@yahoogroups.com>
Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
Come on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off”
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J…
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.
On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
RE: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Gary Brumm
I used to travel with a C3 & two Leslie 122's (probably 600lbs of wood and steel)......now I have an XK-3c (50 lbs.) and don't go anywhere... go figure....where was it in 1969 ?....I could of saved a lot of back pain :).....I love the sound of the XK-3c but there is something special about playing the original tonewheel monster....the smell of the wood and burning Hammond oil....and still very dependable after all these years...oh well I'll stick to the memories and keep the XK......When I first wanted a Mellotron they could be had new for about $2500 (a fortune to me in those days) and around $1200 used in good condition. I wish I had bought one back then and held on to it....I would have probably worn it out after carting it around and been on Frank's customer list by now :).
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From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of djacques@csulb.edu Sent: Tuesday, June 15, 2010 8:22 PM To: newmellotrongroup@yahoogroups.com Subject: Re: [newmellotrongroup] Price of Mellotron in 1972 You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter. Sent via BlackBerry from T-Mobile ________________________________ From: Gary Brumm <gabru@comsec.net> Date: Tue, 15 Jun 2010 23:06:25 -0400 To: newmellotrongroup@yahoogroups.com<newmellotrongroup@yahoogroups.com> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972 Come on Chris, you don't really believe that do you. Seriously....many the people who made the instrument famous could afford a boatload of these things IF THEY WANTED THEM.....THEY DON'T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford any instruments they want....they chose to replace the Mellotrons and never looked back. Most are on record of "hating those damn things". There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act "showing it off" than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don't get me wrong....I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do....and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I'm not trying to start a flame war but I've been around this stuff since the early 70's (ok late 60's :)) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV :)... Cheers! Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with. On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com<mailto:john.wright@consona.com>> wrote: Wonder how one could afford a Tron then. Did studios buy them and lease them? John #911 ________________________________ From: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> [mailto:newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>] On Behalf Of partune Sent: Tuesday, June 15, 2010 10:34 AM To: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> Subject: [newmellotrongroup] Price of Mellotron in 1972 Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by lsf5275@aol.com
Mike Pinder got his first Mark II used from the Employee's Lounge of the Avon Tire (Tyre) Company, as I recall. For years I would call around to every NTB (NTW back then) here in the States hoping they might have one. No one even knew what a Mark II was. However one store manager offered me an accordion that someone left in their customer lounge. (bada bing) In a message dated 6/15/2010 9:21:16 P.M. Eastern Daylight Time, djacques@csulb.edu writes: What I really wonder is how many people could really afford a Mark II? If the 400 was unaffordable for 4000 dollars, who could afford at least twice that much for a Mark II? Sent via BlackBerry from T-Mobile ____________________________________
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From: Chris Dale <unobtainiumkeys@unobtaini> Date: Wed, 16 Jun 2010 09:58:29 +0900 To: <newmellotrongroup@newmellotronnew> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972 Most Mellotrons and especially Chamberlins were bought by studios unless the band had a record label willing to front the money for one. In the Chamberlins case - Harry generally hated rock music and rock musicians and really didn't want anything to do with them. This is why it took so long for Chamberlin Co. to consider that market. Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with. On Wed, Jun 16, 2010 at 12:47 AM, John Wright <_john.wright@john.wright_ (mailto:john.wright@consona.com) > wrote: Wonder how one could afford a Tron then. Did studios buy them and lease them? John #911 ____________________________________ From: _newmellotrongroup@newmellotronnew_ (mailto:newmellotrongroup@yahoogroups.com) [mailto:_newmellotrongroup@newmellotronnew_ (mailto:newmellotrongroup@yahoogroups.com) ] On Behalf Of partune Sent: Tuesday, June 15, 2010 10:34 AM To: _newmellotrongroup@newmellotronnew_ (mailto:newmellotrongroup@yahoogroups.com) Subject: [newmellotrongroup] Price of Mellotron in 1972 Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by tronbros
The artists in the UK that liked their 'trons and those that didn't are split into two camps; those that dealt with the factory and those that dealt with London head orifice. BJH, ELO, OMD, Greenslade, Macca and many more loved the tron because Les Bradley and team gave excellent service. Wakeman, Banks and others used London and became jaundiced. Plus very few owners ever had them serviced and then blamed the instrument! Of course, in the USA you were right royally shortchanger by Gary S and Sound Sales who should never have been allowed near a mellotron. Secondly, Jonsi, Weller, The Kooks, BJH, Jean Michel Jarre, Julian Cope and others still tour with 'trons and this not for effect, it's because they love the sound and their instruments are RELIABLE! Finally, most M400s we see for the first time have not been touched since being manufactured. It's easy to criticise mellotrons but electro mechanical devices need regular servicing yet most were left to struggle on and the bad reputation was born. Alive and well and in Copenhagen, Martin Sent from my iPad
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On 16 Jun 2010, at 04:06, Gary Brumm <gabru@comsec.net> wrote: > Come on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford > > a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford > > any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”. > > There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off” > > than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I l oved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J… > > Cheers! > > > > Studio ownership of Mellotrons also explains why many bands that used the Mell otron back then don't use them now - they never owned them to begin with. > > > > > > On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote: > > > > > > Wonder how one could afford a Tron then. Did studios buy them and lease them? > > > > John > > #911 > > > > From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune > Sent: Tuesday, June 15, 2010 10:34 AM > To: newmellotrongroup@yahoogroups.com > Subject: [newmellotrongroup] Price of Mellotron in 1972 > > > > Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. > > Regards, > partune > > > > >
Re: Price of Mellotron in 1972
2010-06-16 by Tron400
Martin, What was the relationship between the London office and Streetly? Were they like the Sound Sales of England? Bernie --- In newmellotrongroup@yahoogroups.com, tronbros <tronbros@...> wrote:
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> > The artists in the UK that liked their 'trons and those that didn't are split into two camps; those that dealt with the factory and those that dealt with London head orifice. BJH, ELO, OMD, Greenslade, Macca and many more loved the tron because Les Bradley and team gave excellent service. Wakeman, Banks and others used London and became jaundiced. Plus very few owners ever had them serviced and then blamed the instrument! Of course, in the USA you were right royally shortchanger by Gary S and Sound Sales who should never have been allowed near a mellotron. > > Secondly, Jonsi, Weller, The Kooks, BJH, Jean Michel Jarre, Julian Cope and others still tour with 'trons and this not for effect, it's because they love the sound and their instruments are RELIABLE! > > Finally, most M400s we see for the first time have not been touched since being manufactured. It's easy to criticise mellotrons but electro mechanical devices need regular servicing yet most were left to struggle on and the bad reputation was born. > > Alive and well and in Copenhagen, > > Martin > > > > > > > > Sent from my iPad > > On 16 Jun 2010, at 04:06, Gary Brumm <gabru@...> wrote: > > > Come on Chris, you donât really believe that do you. Seriouslyâ¦.many the people who made the instrument famous could afford > > > > a boatload of these things IF THEY WANTED THEMâ¦..THEY DONâT! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford > > > > any instruments they wantâ¦.they chose to replace the Mellotrons and never looked back. Most are on record of âhating those damn thingsâ. > > > > There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act âshowing it offâ > > > > than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I l oved the sound the first time I heard it so donât get me wrongâ¦.I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still doâ¦.and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. Iâm not trying to start a flame war but Iâve been around this stuff since the early 70âs (ok late 60âs J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J⦠> > > > Cheers! > > > > > > > > Studio ownership of Mellotrons also explains why many bands that used the Mell otron back then don't use them now - they never owned them to begin with. > > > > > > > > > > > > On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@...> wrote: > > > > > > > > > > > > Wonder how one could afford a Tron then. Did studios buy them and lease them? > > > > > > > > John > > > > #911 > > > > > > > > From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune > > Sent: Tuesday, June 15, 2010 10:34 AM > > To: newmellotrongroup@yahoogroups.com > > Subject: [newmellotrongroup] Price of Mellotron in 1972 > > > > > > > > Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. > > > > Regards, > > partune > > > > > > > > > > >
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by lsf5275@aol.com
So you've relocated then? In a message dated 6/16/2010 3:27:16 A.M. Eastern Daylight Time, tronbros@aol.com writes: Alive and well and in Copenhagen, Martin
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Chris Dale
Hi Gary:
Well I believe it but only to a certain point.
A band like Chicago, Fleetwood Mac or Mahogany Rush may have used it in the studio or rented one for live use, but it wasn't essential to their sound then and isn't today - so of course they don't bother. Those are the type of musicians I'm generally referring to.
Or if they owned them - they only owned them for a short while and sold them. Studios and producers had more interest and more money for them as they did Neumann microphones, Fairchild compressors etc..
I met the keyboardist for Il Balletto Di Bronzo recently and he told me that although the Mellotron is prominent on their album, he never actually owned it and just used the Mellotron in a studio. Ditto the guys from Osanna.
The musicians you mention - Banks, Wakeman, Fripp, Pinder etc are more the exception than the rule because they liked the sound and it was a larger and integral part of the music that they had to have it with them.
And they generally still had to have record company money to buy them because they were only just starting to make money in those days. Nobody was instantly rich enough to buy one.
For example King Crimson's first Mellotron was purchased by Ian McDonald's uncle. Pinder got his because he knew of one for cheap.
These guys later bought mutiple machines to have as backups, but you can be sure their record company advances helped pay for those.
And with there only being about 2000 of these made, it was never going to be available to everyone even if the cost was cheaper.
Mellotrons were relegated to psychedelia and progressive rock for the most part. The 'unreliability' label and push to embrace the latest things lessened the interest in Mellotrons.
As far as Chamberlins go, you can hear them on a lot more 60's and 70's top 40 songs than you can in prog rock. And you generally had to wait for your Chamberlin to be built. Recording studios got first pick with those because they had all the money upfront. Someone like Olivia Newton John (who didn't want the female voices louder than hers because she was afraid of being shown up) wasn't going to buy one of those machines.
You're right about Hammonds / Leslies - those are as common as pennies by comparison, but also the Hammond and Leslie has been used to make music since the 1930's and spans many genres, so there's a lot more of them around, and a lot more knowledge of them.
Show quoted textHide quoted text
On Tue, Jun 15, 2010 at 11:06 PM, Gary Brumm <gabru@comsec.net> wrote:
Come on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off”
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J…
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Chris Dale
Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.
But I bet the new trons are guaranteed to be trouble free.
I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.
And the more you play them, the better they work.
I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.
I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
Show quoted textHide quoted text
On Tue, Jun 15, 2010 at 11:21 PM, <djacques@csulb.edu> wrote:
You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
Sent via BlackBerry from T-Mobile
From: Gary Brumm <gabru@comsec.net>Date: Tue, 15 Jun 2010 23:06:25 -0400Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
Come on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off”
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J…
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by lsf5275@aol.com
The reality is not that they improve, necessarily, but that by playing them regularly, they remain in good working order. The motor needs to run, the bearings need to revolve and the electronics need to warm up. Cleaning a Mellotron or Chamberlin regularly is also critical to their reliability and playability. Frank In a message dated 6/16/2010 10:04:03 A.M. Eastern Daylight Time, unobtainiumkeys@gmail.com writes: And the more you play them, the better they work.
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by djacques@csulb.edu
I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not.
Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.
Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.
Sent via BlackBerry from T-Mobile
From: Chris Dale <unobtainiumkeys@gmail.com>
Date: Wed, 16 Jun 2010 10:03:54 -0400
To: <newmellotrongroup@yahoogroups.com>
Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.
But I bet the new trons are guaranteed to be trouble free.
I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.
And the more you play them, the better they work.
I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.
I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
On Tue, Jun 15, 2010 at 11:21 PM, <djacques@csulb.edu> wrote:
You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
Sent via BlackBerry from T-Mobile
From: Gary Brumm <gabru@comsec.net>Date: Tue, 15 Jun 2010 23:06:25 -0400Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
Come on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off”
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J…
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Chris Dale
Martin:
In my conversations with Wakeman (about the double tron / birotron) - he confirms exactly your observations. Mellotronics did not offer much after-sales service or support, and when they did it was inconsistent.
He also didn9;t know about dealing with Streetly directly to get things fixed, and left things to their management to do. And in the early 70's there was a difference in the tuning of tapes between Mellotronics and Streetly as well. This also was a problem even when everything else was working properly.
I also concur about the servicing of these machines - all of them - both tape and disc replay. When they're serviced properly they work reliably. I suspect that many machines out there that seem in great shape probably aren't as good as they could be.
Sound Sales - though largely gouging people, did have a few decent employees who tried to do things right. Unfortunately Mr Eberline, Mr Schwartz, and Mr Kinney are not included in that group.
Show quoted textHide quoted text
On Wed, Jun 16, 2010 at 3:27 AM, tronbros <tronbros@aol.com> wrote:
The artists in the UK that liked their 'trons and those that didn't are split into two camps; those that dealt with the factory and those that dealt with London head orifice. BJH, ELO, OMD, Greenslade, Macca and many more loved the tron because Les Bradley and team gave excellent service. Wakeman, Banks and others used London and became jaundiced. Plus very few owners ever had them serviced and then blamed the instrument! Of course, in the USA you were right royally shortchanger by Gary S and Sound Sales who should never have been allowed near a mellotron.Secondly, Jonsi, Weller, The Kooks, BJH, Jean Michel Jarre, Julian Cope and others still tour with 'trons and this not for effect, it's because they love the sound and their instruments are RELIABLE!Finally, most M400s we see for the first time have not been touched since being manufactured. It's easy to criticise mellotrons but electro mechanical devices need regular servicing yet most were left to struggle on and the bad reputation was born.Alive and well and in Copenhagen,Martin
Sent from my iPadCome on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off”
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I l oved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J…
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mell otron back then don't use them now - they never owned them to begin with.On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Chris Dale
Dave - I know what you mean:
I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing.
He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing.
I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I';d be the only one to observe the sound quality!
He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies.
He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box".
He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf.
But yes, the music today isn't what it once was.
That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else.
Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it.
Young kids certainly seem facinated by Mellotrons.
Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them.
Show quoted textHide quoted text
On Wed, Jun 16, 2010 at 10:24 AM, <djacques@csulb.edu> wrote:
I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not.
Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.Sent via BlackBerry from T-Mobile
From: Chris Dale <unobtainiumkeys@gmail.com>Date: Wed, 16 Jun 2010 10:03:54 -0400Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.But I bet the new trons are guaranteed to be trouble free.I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.And the more you play them, the better they work.I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
On Tue, Jun 15, 2010 at 11:21 PM, <djacques@csulb.edu> wrote:
You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
Sent via BlackBerry from T-Mobile
From: Gary Brumm <gabru@comsec.net>Date: Tue, 15 Jun 2010 23:06:25 -0400Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
Come on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off”
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J…
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
RE: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Gary Brumm
Thanks for the warning Chris :) Green Eyed Lady with a fake organ sound!!! Now that's like using an ARP String Ensemble to play In the Court of the Crimson King!! What's next Keith Emerson on a Casio? And I have to admit that my stomach turns a bit every time I see a keyboard player playing a laptop on stage.... Cheers All!
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From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of Chris Dale Sent: Wednesday, June 16, 2010 8:00 AM To: newmellotrongroup@yahoogroups.com Subject: Re: [newmellotrongroup] Price of Mellotron in 1972 Dave - I know what you mean: I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing. He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing. I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I'd be the only one to observe the sound quality! He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies. He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box". He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf. But yes, the music today isn't what it once was. That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else. Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it. Young kids certainly seem facinated by Mellotrons. Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them. On Wed, Jun 16, 2010 at 10:24 AM, <djacques@csulb.edu<mailto:djacques@csulb.edu>> wrote: I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not. Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them. Sent via BlackBerry from T-Mobile ________________________________ From: Chris Dale <unobtainiumkeys@gmail.com<mailto:unobtainiumkeys@gmail.com>> Date: Wed, 16 Jun 2010 10:03:54 -0400 To: <newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972 Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about. But I bet the new trons are guaranteed to be trouble free. I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things. And the more you play them, the better they work. I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience. I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more). On Tue, Jun 15, 2010 at 11:21 PM, <djacques@csulb.edu<mailto:djacques@csulb.edu>> wrote: You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter. Sent via BlackBerry from T-Mobile ________________________________ From: Gary Brumm <gabru@comsec.net<mailto:gabru@comsec.net>> Date: Tue, 15 Jun 2010 23:06:25 -0400 To: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com><newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972 Come on Chris, you don't really believe that do you. Seriously....many the people who made the instrument famous could afford a boatload of these things IF THEY WANTED THEM.....THEY DON'T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford any instruments they want....they chose to replace the Mellotrons and never looked back. Most are on record of "hating those damn things". There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act "showing it off" than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don't get me wrong....I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do....and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I'm not trying to start a flame war but I've been around this stuff since the early 70's (ok late 60's :)) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV :)... Cheers! Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with. On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com<mailto:john.wright@consona.com>> wrote: Wonder how one could afford a Tron then. Did studios buy them and lease them? John #911 ________________________________ From: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> [mailto:newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>] On Behalf Of partune Sent: Tuesday, June 15, 2010 10:34 AM To: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> Subject: [newmellotrongroup] Price of Mellotron in 1972 Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. Regards, partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by tony1
Oh no that just wouldn't be right at all.
None of it.
Tony
----- Original Message -----
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From: Gary BrummSent: Wednesday, June 16, 2010 12:49 PMSubject: RE: [newmellotrongroup] Price of Mellotron in 1972
Thanks for the warning Chris J
Green Eyed Lady with a fake organ sound!!! Now thats like using an ARP String Ensemble to play In the Court of the Crimson King!!
Whats next Keith Emerson on a Casio? And I have to admit that my stomach turns a bit every time I see a keyboard player playing
a laptop on stage .
Cheers All!
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of Chris Dale
Sent: Wednesday, June 16, 2010 8:00 AM
To: newmellotrongroup@yahoogroups.com
Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
Dave - I know what you mean:
I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing.
He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing.
I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I'd be the only one to observe the sound quality!
He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies.
He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box".
He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf.
But yes, the music today isn't what it once was.
That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else.
Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it.
Young kids certainly seem facinated by Mellotrons.
Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them.
On Wed, Jun 16, 2010 at 10:24 AM, <djacques@csulb.edu> wrote:
I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not.
Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.Sent via BlackBerry from T-Mobile
From: Chris Dale <unobtainiumkeys@gmail.com>
Date: Wed, 16 Jun 2010 10:03:54 -0400
Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.
But I bet the new trons are guaranteed to be trouble free.
I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.
And the more you play them, the better they work.
I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.
I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
On Tue, Jun 15, 2010 at 11:21 PM, <djacques@csulb.edu> wrote:
You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
Sent via BlackBerry from T-Mobile
From: Gary Brumm <gabru@comsec.net>
Date: Tue, 15 Jun 2010 23:06:25 -0400
Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
;
Come on Chris, you dont really believe that do you. Seriously .many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM ..THEY DONT! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want .they chose to replace the Mellotrons and never looked back. Most are on record of hating those damn things.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act showing it off
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so dont get me wrong .I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do .and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. Im not trying to start a flame war but Ive been around this stuff since the early 70s (ok late 60s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by lsf5275@aol.com
Everything bit of work Gary Schwartz (Sound Sales) ever did on a Mellotron that I have seen, terrible. Oddly, he seemed to enjoy autographing his work and all of it was crap. In a message dated 6/16/2010 10:25:40 A.M. Eastern Daylight Time, unobtainiumkeys@gmail.com writes: Sound Sales - though largely gouging people, did have a few decent employees who tried to do things right. Unfortunately Mr Eberline, Mr Schwartz, and Mr Kinney are not included in that group.
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by djacques@csulb.edu
And there are the videos of recent Spooky Tooth concerts where Gary Write is playing a Keytar using terrible Hammond sounds. Sad.
Sent via BlackBerry from T-Mobile
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From: Gary Brumm <gabru@comsec.net>
Date: Wed, 16 Jun 2010 12:49:20 -0400
To: newmellotrongroup@yahoogroups.com<newmellotrongroup@yahoogroups.com>
Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
Thanks for the warning Chris J
Green Eyed Lady with a fake organ sound!!! Now that’s like using an ARP String Ensemble to play In the Court of the Crimson King!!
What’s next Keith Emerson on a Casio? And I have to admit that my stomach turns a bit every time I see a keyboard player playing
a laptop on stage….
Cheers All!
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of Chris Dale
Sent: Wednesday, June 16, 2010 8:00 AM
To: newmellotrongroup@yahoogroups.com
Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
Dave - I know what you mean:
I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing.
He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing.
I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I'd be the only one to observe the sound quality!
He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies.
He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box".
He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf.
But yes, the music today isn't what it once was.
That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else.
Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it.
Young kids certainly seem facinated by Mellotrons.
Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them.
On Wed, Jun 16, 2010 at 10:24 AM, <djacques@csulb.edu> wrote:
I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not.
Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.
Sent via BlackBerry from T-Mobile
From: Chris Dale <unobtainiumkeys@gmail.com>
Date: Wed, 16 Jun 2010 10:03:54 -0400
Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.
But I bet the new trons are guaranteed to be trouble free.
I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.
And the more you play them, the better they work.
I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.
I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
On Tue, Jun 15, 2010 at 11:21 PM, <djacques@csulb.edu> wrote:
You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
Sent via BlackBerry from T-Mobile
From: Gary Brumm <gabru@comsec.net>
Date: Tue, 15 Jun 2010 23:06:25 -0400
Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
Come on Chris, you don’t really believe that do you. Seriously….many the people who made the instrument famous could afford
a boatload of these things IF THEY WANTED THEM…..THEY DON’T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
any instruments they want….they chose to replace the Mellotrons and never looked back. Most are on record of “hating those damn things”.
There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act “showing it off”
than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don’t get me wrong….I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do….and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I’m not trying to start a flame war but I’ve been around this stuff since the early 70’s (ok late 60’s J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J…
Cheers!
Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.
On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@consona.com> wrote:
Wonder how one could afford a Tron then. Did studios buy them and lease them?
John
#911
From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune
Sent: Tuesday, June 15, 2010 10:34 AM
To: newmellotrongroup@yahoogroups.com
Subject: [newmellotrongroup] Price of Mellotron in 1972
Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
Regards,
partune
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by lsf5275@aol.com
Wright In a message dated 6/16/2010 2:50:56 P.M. Eastern Daylight Time, djacques@csulb.edu writes: And there are the videos of recent Spooky Tooth concerts where Gary Write is playing a Keytar using terrible Hammond sounds. Sad. Sent via BlackBerry from T-Mobile
Re: Price of Mellotron in 1972
2010-06-16 by Tron400
Dave, What do you think of the Korg Electro 3's Hammond sound? Bernie --- In newmellotrongroup@yahoogroups.com, djacques@... wrote:
Show quoted textHide quoted text
> > And there are the videos of recent Spooky Tooth concerts where Gary Write is playing a Keytar using terrible Hammond sounds. Sad. > Sent via BlackBerry from T-Mobile > > -----Original Message----- > From: Gary Brumm <gabru@...> > Date: Wed, 16 Jun 2010 12:49:20 > To: newmellotrongroup@yahoogroups.com<newmellotrongroup@yahoogroups.com> > Subject: RE: [newmellotrongroup] Price of Mellotron in 1972 > > Thanks for the warning Chris :) > Green Eyed Lady with a fake organ sound!!! Now that's like using an ARP String Ensemble to play In the Court of the Crimson King!! > What's next Keith Emerson on a Casio? And I have to admit that my stomach turns a bit every time I see a keyboard player playing > a laptop on stage.... > > Cheers All! > > From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of Chris Dale > Sent: Wednesday, June 16, 2010 8:00 AM > To: newmellotrongroup@yahoogroups.com > Subject: Re: [newmellotrongroup] Price of Mellotron in 1972 > > > Dave - I know what you mean: > > > I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing. > > He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing. > > I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I'd be the only one to observe the sound quality! > > He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies. > > He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box". > > He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf. > > But yes, the music today isn't what it once was. > > That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else. > Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it. > > Young kids certainly seem facinated by Mellotrons. > Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them. > > > > > > > > On Wed, Jun 16, 2010 at 10:24 AM, <djacques@...<mailto:djacques@...>> wrote: > > > I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not. > > Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them. > > Sent via BlackBerry from T-Mobile > > ________________________________ > From: Chris Dale <unobtainiumkeys@...<mailto:unobtainiumkeys@...>> > Date: Wed, 16 Jun 2010 10:03:54 -0400 > To: <newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>> > Subject: Re: [newmellotrongroup] Price of Mellotron in 1972 > > > Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about. > But I bet the new trons are guaranteed to be trouble free. > > I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things. > And the more you play them, the better they work. > > I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience. > > I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more). > > > > > > > > On Tue, Jun 15, 2010 at 11:21 PM, <djacques@...<mailto:djacques@...>> wrote: > > > You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter. > > Sent via BlackBerry from T-Mobile > > ________________________________ > From: Gary Brumm <gabru@...<mailto:gabru@...>> > Date: Tue, 15 Jun 2010 23:06:25 -0400 > To: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com><newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>> > Subject: RE: [newmellotrongroup] Price of Mellotron in 1972 > > > > Come on Chris, you don't really believe that do you. Seriously....many the people who made the instrument famous could afford > > a boatload of these things IF THEY WANTED THEM.....THEY DON'T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford > > any instruments they want....they chose to replace the Mellotrons and never looked back. Most are on record of "hating those damn things". > > There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act "showing it off" > > than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don't get me wrong....I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do....and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I'm not trying to start a flame war but I've been around this stuff since the early 70's (ok late 60's :)) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV :)... > > Cheers! > > > Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with. > > > > On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@...<mailto:john.wright@...>> wrote: > > > Wonder how one could afford a Tron then. Did studios buy them and lease them? > > John > #911 > > ________________________________ > From: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> [mailto:newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com>] On Behalf Of partune > Sent: Tuesday, June 15, 2010 10:34 AM > To: newmellotrongroup@yahoogroups.com<mailto:newmellotrongroup@yahoogroups.com> > Subject: [newmellotrongroup] Price of Mellotron in 1972 > > > Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. > > Regards, > partune >
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by djacques@csulb.edu
Yeah I know its "Wright". Damn spell checker on my bb strikes again.
Sent via BlackBerry from T-Mobile
From: lsf5275@aol.com
Date: Wed, 16 Jun 2010 18:16:47 EDT
To: <newmellotrongroup@yahoogroups.com>
Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
And there are the videos of recent Spooky Tooth concerts where Gary Write
is playing a Keytar using terrible Hammond sounds. Sad.
Sent via BlackBerry from
T-MobileWright
In a message dated 6/16/2010 2:50:56 P.M. Eastern Daylight Time,
djacques@csulb.edu writes:
Re: [newmellotrongroup] Re: Price of Mellotron in 1972
2010-06-16 by David Jacques
He is not using anything close to a modern clone... especially when he turns on his "leslie" effect...
That being said, Mike Harrison still sounds fantastic!
On Jun 16, 2010, at 4:38 PM, Tron400 wrote:
Dave,
What do you think of the Korg Electro 3's Hammond sound?
Bernie
--- In newmellotrongroup@yahoogroups.com, djacques@... wrote:
>
> And there are the videos of recent Spooky Tooth concerts where Gary Write is playing a Keytar using terrible Hammond sounds. Sad.
> Sent via BlackBerry from T-Mobile
>
> -----Original Message-----
> From: Gary Brumm <gabru@...>
> Date: Wed, 16 Jun 2010 12:49:20
> To: newmellotrongroup@yahoogroups.com<newmellotrongroup@yahoogroups.com>
> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
>
> Thanks for the warning Chris :)
> Green Eyed Lady with a fake organ sound!!! Now that's like using an ARP String Ensemble to play In the Court of the Crimson King!!
> What's next Keith Emerson on a Casio? And I have to admit that my stomach turns a bit every time I see a keyboard player playing
> a laptop on stage....
>
> Cheers All!
>
> From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of Chris Dale
> Sent: Wednesday, June 16, 2010 8:00 AM
> To: newmellotrongroup@yahoogroups.com
> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Dave - I know what you mean:
>
>
> I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing.
>
> He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing.
>
> I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I'd be the only one to observe the sound quality!
>
> He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies.
>
> He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box".
>
>; He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf.
>
> But yes, the music today isn't what it once was.
>
> That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else.
> Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it.
>
> Young kids certainly seem facinated by Mellotrons.
> Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them.
>
>
>
>
>
>
>
> On Wed, Jun 16, 2010 at 10:24 AM, mailto:djacques@...>> wrote:
>
>
> I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not.
>
> Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.
>
> Sent via BlackBerry from T-Mobile
>
> ________________________________
> From: Chris Dale mailto:unobtainiumkeys@...>>
> Date: Wed, 16 Jun 2010 10:03:54 -0400
> To: <newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>>
> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.
> But I bet the new trons are guaranteed to be trouble free.
>
> I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.
> And the more you play them, the better they work.
>
> I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.
>
> I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
>
>
>
>
>
>
>;
> On Tue, Jun 15, 2010 at 11:21 PM, mailto:djacques@...>> wrote:
>
>
> You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
>
> Sent via BlackBerry from T-Mobile
>
> ________________________________
> From: Gary Brumm mailto:gabru@...>>
> Date: Tue, 15 Jun 2010 23:06:25 -0400
> To:newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com><newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>>
> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
>
>
>
> Come on Chris, you don't really believe that do you. Seriously....many the people who made the instrument famous could afford
>
> a boatload of these things IF THEY WANTED THEM.....THEY DON'T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
>
> any instruments they want....they chose to replace the Mellotrons and never looked back. Most are on record of "hating those damn things".
>
> There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act "showing it off"
>
> than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don't get me wrong....I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do....and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I'm not trying to start a flame war but I've been around this stuff since the early 70's (ok late 60's :)) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV :)...
>
> Cheers!
>
>
> Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.
>
>
>
> On Wed, Jun 16, 2010 at 12:47 AM, John Wright mailto:john.wright@...>> wrote:
>
>
> Wonder how one could afford a Tron then. Did studios buy them and lease them?
>
> John
> #911
>
> ________________________________
> From: newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com> [mailto:newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>] On Behalf Of partune
> Sent: Tuesday, June 15, 2010 10:34 AM
> To: newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>
> Subject: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
>
> Regards,
> partune
>
Re: [newmellotrongroup] Price of Mellotron in 1972
2010-06-16 by Rick Blechta
On Jun 16, 2010, at 6:53 PM, djacques@csulb.edu wrote:
Yeah I know its "Wright". Damn spell checker on my bb strikes again.
Re: [newmellotrongroup] Re: Price of Mellotron in 1972
2010-06-17 by Chris Dale
It's a good performance.
But for something like Green Eyed Lady - the original song has changing organ sounds, (drawbars in and out / percussion on / off) so those dynamics are lost using one of those key-tar style keyboards.
I also saw the Band play years ago and Garth Hudson was using a Roland D50 sound for the organ sounds in Chest Fever - disappointing.
I would have sworn they were a bar cover band if I didn't know better.
I'm glad I didn't pay money to see them.
These bands seem to forget how much body and texture those old keyboards added to the song.
Show quoted textHide quoted text
On Thu, Jun 17, 2010 at 7:58 AM, David Jacques <djacques@csulb.edu> wrote:
He is not using anything close to a modern clone... especially when he turns on his "leslie" effect...
That being said, Mike Harrison still sounds fantastic!On Jun 16, 2010, at 4:38 PM, Tron400 wrote:Dave,
What do you think of the Korg Electro 3's Hammond sound?
Bernie
--- In newmellotrongroup@yahoogroups.com, djacques@... wrote:
>
> And there are the videos of recent Spooky Tooth concerts where Gary Write is playing a Keytar using terrible Hammond sounds. Sad.
> Sent via BlackBerry from T-Mobile
>
> -----Original Message-----
> From: Gary Brumm
> Date: Wed, 16 Jun 2010 12:49:20
> To: newmellotrongroup@yahoogroups.com<newmellotrongroup@yahoogroups.com>
> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
>
> Thanks for the warning Chris :)
> Green Eyed Lady with a fake organ sound!!! Now that's like using an ARP String Ensemble to play In the Court of the Crimson King!!
> What's next Keith Emerson on a Casio? And I have to admit that my stomach turns a bit every time I see a keyboard player playing
> a laptop on stage....
>
> Cheers All!
>
> From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of Chris Dale
> Sent: Wednesday, June 16, 2010 8:00 AM
> To: newmellotrongroup@yahoogroups.com
> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Dave - I know what you mean:
>
>
> I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing.
>
> He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing.
>
> I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I'd be the only one to observe the sound quality!
>
> He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies.
>
> He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box".
>
> He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf.
>
> But yes, the music today isn't what it once was.
>
> That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else.
> Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it.
>
> Young kids certainly seem facinated by Mellotrons.
> Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them.
>
>
>
>
>
>
>
> On Wed, Jun 16, 2010 at 10:24 AM, mailto:djacques@...>> wrote:
>
>
> I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not.
>
> Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.
>
> Sent via BlackBerry from T-Mobile
>
> ________________________________
> From: Chris Dale mailto:unobtainiumkeys@...>>
> Date: Wed, 16 Jun 2010 10:03:54 -0400
> To: <newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>>
> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.
> But I bet the new trons are guaranteed to be trouble free.
>
> I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.
> And the more you play them, the better they work.
>
> I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.
>
> I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
>
>
>
>
>
>
>
> On Tue, Jun 15, 2010 at 11:21 PM, mailto:djacques@...>> wrote:
>
>
> You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
>
> Sent via BlackBerry from T-Mobile
>
> ________________________________
> From: Gary Brumm <gabru@...<mailto:gabru@...>>
> Date: Tue, 15 Jun 2010 23:06:25 -0400
> To:newmellotrongroup@yahoogroups.com<;mailto:newmellotrongroup@yahoogroups.com><newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>>
> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
>
>
>
> Come on Chris, you don't really believe that do you. Seriously....many the people who made the instrument famous could afford
>
> a boatload of these things IF THEY WANTED THEM.....THEY DON'T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
>
> any instruments they want....they chose to replace the Mellotrons and never looked back. Most are on record of "hating those damn things".
>
> There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act "showing it off"
>
> than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don't get me wrong....I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do....and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I';m not trying to start a flame war but I've been around this stuff since the early 70's (ok late 60's :)) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV :)...
>
> Cheers!
>
>
> Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.
>
>
>
> On Wed, Jun 16, 2010 at 12:47 AM, John Wright mailto:john.wright@...>> wrote:
>
>
> Wonder how one could afford a Tron then. Did studios buy them and lease them?
>
> John
> #911
>
> ________________________________
> From: newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com> [mailto:newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>] On Behalf Of partune
> Sent: Tuesday, June 15, 2010 10:34 AM
> To: newmellotrongroup@yahoogroups.comnewmellotrongroup@yahoogroups.com>
> Subject: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
>
> Regards,
> partune
>
Re: [newmellotrongroup] Re: Price of Mellotron in 1972
2010-06-17 by tronbros
London were the head office where the men in suits controlled the purse strings but not much else. Streetly manufactured and London sold. It was a working relationship but not a friendship. London were very controlling and had little vision, knew nothing of manufacturing and produced non mellotron azimuth tapes. They sounded nasal and unpleasant for the most part and you couldn't blend tracks as they didn't have the special tape head with the narrow guard bands. London had one chap called Peter Nicholls who was liked and innovative. The rest drank brandy(probably)and talked loudly in restaurants. All a bit nerdy Bernie but you asked! Best, M Sent from my iPad
Show quoted textHide quoted text
On 16 Jun 2010, at 13:06, "Tron400" <tron400@yahoo.com> wrote: > > > Martin, > > What was the relationship between the London office and Streetly? Were they like the Sound Sales of England? > > Bernie > > --- In newmellotrongroup@yahoogroups.com, tronbros <tronbros@...> wrote: > > > > The artists in the UK that liked their 'trons and those that didn't are split into two camps; those that dealt with the factory and those that dealt with London head orifice. BJH, ELO, OMD, Greenslade, Macca and many more loved the tron because Les Bradley and team gave excellent service. Wakeman, Banks and others used London and became jaundiced. Plus very few owners ever had them serviced and then blamed the instrument! Of course, in the USA you were right royally shortchanger by Gary S and Sound Sales who should never have been allowed near a mellotron. > > > > Secondly, Jonsi, Weller, The Kooks, BJH, Jean Michel Jarre, Julian Cope and others still tour with 'trons and this not for effect, it's because they love the sound and their instruments are RELIABLE! > > > > Finally, most M400s we see for the first time have not been touched since being manufactured. It's easy to criticise mellotrons but electro mechanical devices need regular servicing yet most were left to struggle on and the bad reputation was born. > > > > Alive and well and in Copenhagen, > > > > Martin > > > > > > > > > > > > > > > > Sent from my iPad > > > > On 16 Jun 2010, at 04:06, Gary Brumm <gabru@...> wrote: > > > > > Come on Chris, you donât really believe that do you. Seriouslyâ¦.many the people who made the instrument famous could afford > > > > > > a boatload of these things IF THEY WANTED THEMâ¦..THEY DONâT! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford > > > > > > any instruments they wantâ¦.they chose to replace the Mellotrons and never looked back. Most are on record of âhating those damn thingsâ. > > > > > > There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act âshowing it offâ > > > > > > than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I l oved the sound the first time I heard it so donât get me wrongâ¦.I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still doâ¦.and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. Iâm not trying to start a flame war but Iâve been around this stuff since the early 70âs (ok late 60âs J) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV J⦠> > > > > > Cheers! > > > > > > > > > > > > Studio ownership of Mellotrons also explains why many bands that used the Mell otron back then don't use them now - they never owned them to begin with. > > > > > > > > > > > > > > > > > > On Wed, Jun 16, 2010 at 12:47 AM, John Wright <john.wright@...> wrote: > > > > > > > > > > > > > > > > > > Wonder how one could afford a Tron then. Did studios buy them and lease them? > > > > > > > > > > > > John > > > > > > #911 > > > > > > > > > > > > From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com] On Behalf Of partune > > > Sent: Tuesday, June 15, 2010 10:34 AM > > > To: newmellotrongroup@yahoogroups.com > > > Subject: [newmellotrongroup] Price of Mellotron in 1972 > > > > > > > > > > > > Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00. > > > > > > Regards, > > > partune > > > > > > > > > > > > > > > > > > >
Re: [newmellotrongroup] Re: Price of Mellotron in 1972
2010-06-17 by Tom Doncourt
It kind of amazed me to find that a world class, renowned group like the Band really didn\u2019t have the resources in later years to setup any different than a cover band. Garth had one roadie and they schlepped in and out of sloppy clubs all through the 80\u2019s.
I know he valued great keyboard sounds and was doing a lot of experimenting even with the FM stuff. Playing live was just something they had to do to keep going and moving around huge keyboards was not feasible.
Both my tron and my Hammond have been remarkably reliable over the years- I\u2019ve had more troubles with my digital gear.
But.....I would hesitate to perform with either because of logistics.It is a thought I wrestle with all the time. I don\u2019t enjoy getting mellotron sounds out of a sampler ,I\u2019m not sure why but it doesn\u2019t feel the same-I can\u2019t feel the tapes moving around. But if I had to play on a regular basis in and out of NYC and Brooklyn clubs I just couldn217;t bring the tron or hammond anymore .
It's a good performance.
But for something like Green Eyed Lady - the original song has changing organ sounds, (drawbars in and out / percussion on / off) so those dynamics are lost using one of those key-tar style keyboards.
I also saw the Band play years ago and Garth Hudson was using a Roland D50 sound for the organ sounds in Chest Fever - disappointing.
I would have sworn they were a bar cover band if I didn't know better.
I'm glad I didn't pay money to see them.
These bands seem to forget how much body and texture those old keyboards added to the song.
On Thu, Jun 17, 2010 at 7:58 AM, David Jacques wrote:
He is not using anything close to a modern clone... especially when he turns on his "leslie" effect...
http://www.youtube.com/watch?v=fre89067f1g
That being said, Mike Harrison still sounds fantastic!
On Jun 16, 2010, at 4:38 PM, Tron400 wrote:
Dave,
What do you think of the Korg Electro 3's Hammond sound?
Bernie
--- In newmellotrongroup@yahoogroups.com , djacques@... wrote:
>
> And there are the videos of recent Spooky Tooth concerts where Gary Write is playing a Keytar using terrible Hammond sounds. Sad.
> Sent via BlackBerry from T-Mobile
>
> -----Original Message-----
> From: Gary Brumm
> Date: Wed, 16 Jun 2010 12:49:20
> To: newmellotrongroup@yahoogroups.com >
> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
>
> Thanks for the warning Chris :)
> Green Eyed Lady with a fake organ sound!!! Now that's like using an ARP String Ensemble to play In the Court of the Crimson King!!
> What's next Keith Emerson on a Casio? And I have to admit that my stomach turns a bit every time I see a keyboard player playing
> a laptop on stage....
>
> Cheers All!
>
> From: newmellotrongroup@yahoogroups.com [mailto:newmellotrongroup@yahoogroups.com ] On Behalf Of Chris Dale
> Sent: Wednesday, June 16, 2010 8:00 AM
> To: newmellotrongroup@yahoogroups.com <;mailto:newmellotrongroup%40yahoogroups.com>
> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Dave - I know what you mean:
>
>
> I saw and met Jerry Corbetta of Sugarloaf and he was doing the same thing.
>
> He used one of those strap on 80's style keyboards with inferior / fake organ sounds for Green Eyed Lady. It was disappointing.
>
> I tactfully mentioned this to him, and he said he thought it sounded good enough, and that the audience is generally there to drink and have a good time and doesn't care....and that I'd be the only one to observe the sound quality!
>
> He also said he can't cart around the B3 and Leslie anymore - too much work for both him (he's getting on) and the roadies.
>
> He did tell me he liked the Mellotron but that his only experience was using Chamberlin music box sounds for his song "Music Box".
>
> He's also a stauch believer in UFOS as alien ships and told an intriguing story about driving through the back roads of Mexico while on tour with Sugarloaf.
>
> But yes, the music today isn't what it once was.
>
> That's why I'd rather give the audience a real show - offer something they sadly might never see anywhere else.
> Even if my playing sucks that night, and everything goes wrong, and the Mellotron broke down - at least the audience in some small way still gets some special intangible thing out of it.
>
> Young kids certainly seem facinated by Mellotrons.
> Raised on a diet of computer games and software, they are completely blown away by the mechanics of these instruments. It's nothing short of witnessing a miracle for many of them.
>
>
>
>
>
>
>
> On Wed, Jun 16, 2010 at 10:24 AM, > wrote:
>
>
> I guess I am just to cynical regarding the education of the audience. I don't think most of them know the difference. I see it all the time when bands like Three Dog Night perform with crappy sounding B3 clones and rave how great the organ sound was. If it was up to me I would perform with a B3 for every gig, but my XK3c sounds very close (but not totally there). But again they rave about the sound of the organ. I know better, but I am afraid most do not.
>
> Regarding education I always show off my mellotron when I have people over to the house. Its a curiosity to them.
>
> Sent via BlackBerry from T-Mobile
>
> ________________________________
> From: Chris Dale >
> Date: Wed, 16 Jun 2010 10:03:54 -0400
> To: >>
> Subject: Re: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Your right Dave, it's easier. I don't fault anyone for using samples live - not everyone can psychologically deal with the real things, and some may not want the headache if they've got other things to worry about.
> But I bet the new trons are guaranteed to be trouble free.
>
> I still rely on mine live and as long as I'm good to it, it behaves. Same with the Chamberlin. I've also learned some people will go to a performance just to see those instruments so I'm only too happy to let them hear and enjoy the real things.
> And the more you play them, the better they work.
>
> I also like the aromas of those old machines, enjoy feeling the motors under the keys, and watching the mechanics so it's not just about the sound for me - it's the whole experience.
>
> I would only ever use the samples as a backup. I feel if I've got the real thing, I should share that (especially with kids - and give them a window into the past that helps them appreciate music, engineering, and history a bit more).
>
>
>
>
>
>
>
> On Tue, Jun 15, 2010 at 11:21 PM, > wrote:
>
>
> You would have to be very brave to depend on a classic mellotron during a live performance. I own my mellotron as a collectors piece. I still play it in my studio, but perform with a Motif and my tron samples. Not only will it be in tune and mechanically dependable, its also a lot lighter.
>
> Sent via BlackBerry from T-Mobile
>
> ________________________________
> From: Gary Brumm >
> Date: Tue, 15 Jun 2010 23:06:25 -0400
> To:newmellotrongroup@yahoogroups.com > >>
> Subject: RE: [newmellotrongroup] Price of Mellotron in 1972
>
>
>
> Come on Chris, you don't really believe that do you. Seriously....many the people who made the instrument famous could afford
>
> a boatload of these things IF THEY WANTED THEM.....THEY DON'T! Tony Banks, Robert Fripp, Rick Wakeman, ect. can afford
>
> any instruments they want....they chose to replace the Mellotrons and never looked back. Most are on record of "hating those damn things".
>
> There is still a very limited market of collectors and musicians but you are more likely to see one on stage with a lower budget act "showing it off"
>
> than headlining talent with the budget for several as spares. They are a fascinating piece of musical history and I loved the sound the first time I heard it so don't get me wrong....I appreciate it for what it is and was. Musicians are much more likely to carry around the much heavier Hammond/Leslie combo than a tron and many still do....and the cost of the equipment is about the same or more in some cases. A B3/Leslie is also standard equipment in many more studios than a tron. I'm not trying to start a flame war but I've been around this stuff since the early 70's (ok late 60's :)) as I am sure many of you on this list have been so I am speaking only from my experiences and YMMV :)...
>
> Cheers!
>
>
> Studio ownership of Mellotrons also explains why many bands that used the Mellotron back then don't use them now - they never owned them to begin with.
>
>
>
> On Wed, Jun 16, 2010 at 12:47 AM, John Wright > wrote:
>
>
> Wonder how one could afford a Tron then. Did studios buy them and lease them?
>
> John
> #911
>
> ________________________________
> From: newmellotrongroup@yahoogroups.com > [mailto:newmellotrongroup@yahoogroups.com >] On Behalf Of partune
> Sent: Tuesday, June 15, 2010 10:34 AM
> To: newmellotrongroup@yahoogroups.com >
> Subject: [newmellotrongroup] Price of Mellotron in 1972
>
>
> Seeing all the posts about the price of the Tron on eBay, I've a copy of a letter I received in 1972 from DMI quoting a price on a new M400 as $3,500.00.
>
> Regards,
> partune
>
Re: Price of Mellotron in 1972
2010-06-17 by ClayE
With digital gear the troubles are almost always a sudden and total failure like "no output" or "hopelessly out of tune". The old electro-mechanical and analog instruments tend to fail more gracefully. I have seen / heard a few live keyboard disasters recently. The Spoons in Toronto last year. The synth arpeggiator stuff was way out of tune, and off tempo for every song. The rest of the band looked like they wanted to kill the synth geek. --- In newmellotrongroup@yahoogroups.com, Tom Doncourt <tomdcour@...> wrote: > > I¹ve had more troubles with my digital gear.
Re: [newmellotrongroup] Re: Price of Mellotron in 1972
2010-06-17 by tony1
Analog, analog, analog!
Tony
----- Original Message -----From: ClayESent: Thursday, June 17, 2010 11:46 AMSubject: [newmellotrongroup] Re: Price of Mellotron in 1972With digital gear the troubles are almost always a sudden and total failure like "no output" or "hopelessly out of tune". The old electro-mechanical and analog instruments tend to fail more gracefully.
I have seen / heard a few live keyboard disasters recently. The Spoons in Toronto last year. The synth arpeggiator stuff was way out of tune, and off tempo for every song. The rest of the band looked like they wanted to kill the synth geek.
--- In newmellotrongroup@yahoogroups.com, Tom Doncourt wrote:
> > I¹ve had more troubles with my digital gear.
Re: [newmellotrongroup] Re: Price of Mellotron in 1972
2010-06-17 by David Jacques
I used to perform with a MiniMoog in the 70's and 80's... I cannot tell you how many times I had to tune that thing during a performance. I have never had issues with my Motif's in performance.... Now I love analog gear and grew up during the 60's and 70's playing this gear. But when it comes to live performance, I prefer the stability of good digital gear.
On Jun 17, 2010, at 10:11 AM, tony1 wrote:
Analog, analog, analog!Tony----- Original Message -----From: ClayESent: Thursday, June 17, 2010 11:46 AMSubject: [newmellotrongroup] Re: Price of Mellotron in 1972With digital gear the troubles are almost always a sudden and total failure like "no output" or "hopelessly out of tune". The old electro-mechanical and analog instruments tend to fail more gracefully.
I have seen / heard a few live keyboard disasters recently. The Spoons in Toronto last year. The synth arpeggiator stuff was way out of tune, and off tempo for every song. The rest of the band looked like they wanted to kill the synth geek.
--- In newmellotrongroup@yahoogroups.com, Tom Doncourt wrote:
> > I¹ve had more troubles with my digital gear.