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A little bit of my history with Mark II #123 and M400 #1285....
Q:"Sounds like you owned Dave Keane's MKII (#123 is famous). I've seen that played on his"Sounds" video, and it appears to be in greatshape (at least it was when the video wasmade, ten years ago). "
A: The history of MkII #123 for me was as follows: I acquired it in1975 from a Mr. Art
Polhemus (famous for producing the Blues Magoos' "We Ain't Got NothingYet!") in New York City, where I lived at the time. He had it sitting inthe corner of his studio. The left keyboard cycling was broken. Hence hethought it was a completely busted tron. The cabinet, however wasin pristine condition and I kept it that way. He offered it to me for $1000.Needless to say, I whipped out my checkbook then and there. I got StudioInstrument Rentals to cart the beastback to my "studio" apartment on theupper east side. I used the machine to record both athome and at sessionsaround town after completely restoring it with the help of Frank Levi III(Rick Wakeman's tech) and the Bradley's from UK. I still have their lettersof correspondence and all the paperwork in my collectors files onthis transaction. I recall asking "Sound Sales" to look at it and theysaid it couldn't be repaired. Les Bradley told me that was nonsense and with his and Frank's help, we got that sucker back to good as new! Afterabout a year of running around with this gigantic thing all over town,it became obvious to me that the Mark II was "not made for walkin'". The cycling kept going every time I moved the blessed thing from studioto studio! (This doesn't even get into the tape spillage that usedto keep me busy for hours rewinding tapes that fell on the floor of sessions-althoughthey NEVER snapped or broke!).
Frank approached me (at this point, he was working for DMI thru NightOwl Music) and offered the following trade: I traded in the Mark II toDallas and they gave me a new M400 (#1285) and SIX tape frames of my choice.Given the value of these things at that time and the fact that I had only$1000 invested at that point, and given the portability issue, I grabbedat that deal and took it.
The 400 served me VERY well well into the 1980's when I finally soldthat machine to Frank. The tapes I had for it were custom made in somecases including a "Mark II violins / 8 choir / flutes" rack whicvhI used a lot. I still have the recordings from the Mark II in my collection.I'll look for them if you like. They include Traffic, Beatles and CrimsonSFX and exist on reel-to-reel 7 1/2IPS format on plastic reels. God knowsif they still play but I know that I've got em!
The SFX include excerpts from "Hole In My Shoe", Beatles White Album,Crimson's "Mars" and "Epitaph" efx and the entire set of Mk II Rhythm tapeswhich I sampled onto reel-to-reel with the never realized expectation ofgetting them on to a M400 tape frame. This includes both the breaks andfills tapes from the left keyboard.
On the recordings I played on in UK, I used Mark II's present in studiosabout town. But #123 was my first machine that I owned for myself. WishI still had that one.
I'm on the lookout for a Mark II or Mark V these days for collectorand home recording use.
Anyone?
Regards,
Les Fradkin