Yes, you feel exactly the same way most of us do here. Many of us have one
or more of these aforementioned instruments, and for those of us who don't
you'll find that we work ∗very∗ hard at making any samples sound authentic
and true to the character of the original instrument. If we do anything
differently it's with intent for both creativity and passion for musical
expression. You'll also find a lot of us using decent recording equipment
and accessories as well, so please bear with us if we get carried away,
though I find you'll always learn something new even if we've beaten a topic
to death.
Regarding the chamberlins - are you sure about there being 100 Model 200's
made? I would think there might be less than that as the 200 was a rather
experimental beast made from 1951-59 I believe. I have 2 M1 models of which
I know at least100 were made, their production run going from 1970 to around
1981, and even here there are minor differences in size and adjustment.
I can guarantee you that many of these machines have been destroyed. I know
of a fellow who was given a chamberlin in place of some money owed to him
along with an ARP Omni. Since he knew the Omni could do string sounds he saw
no need for the chamberlin and put it in the trash outside near his
driveway. Then there's Rick Wakeman's "marsh - mellow" tron roast where he
incinerated two machines in a rage on Guy Fawkes night. I've heard of
sacrificial Optigan burnings as well, and an orchestron that became both a
cigarette ashtray and a Keith Emerson style L100 replacement.
Another thing besides oddball-ness/rarity that I find intriguing is that
they all represent leaps forth in technology. The tape keyboards are
basically the first samplers, and the disc based keyboards represent the
first CD players. Makes you wonder what's next - maybe something just as
odd, like holographic based instruments?!!
Chris
----- Original Message -----
From: "Maxwell Hiller" <maxwellhiller@...>
To: "Chris Dale" <chris.dale@...>; <mellotronists@yahoogroups.com>
Sent: Monday, December 08, 2003 6:21 PM
Subject: Re: [Mellotronists] Re: Chamberlin 200
> Thank you Chris. I just think with this stuff that there were SO few of
them made originally (apparently only about 100 Chamberlin 200's), that to
let one die is to actually affect the "survival of the species" as a whole.
It's not like with a roland or something. First of all, I think the average
joe with a schematic and a soldering iron could build most roland keyboards.
Mellotrons, Chamberlins and the like are much more obscure in their
workings. PLus, I just have a hard time imagining a world where we were
down to the last handful of known alpha juno synthesizers. When it comes to
Chamberlins, or even Mellotrons, its so much different. I mean, I own 1% of
the Chamberlin 200's in the world, and that's assuming that none of them
have been destroyed. Yet look at the importance of the instrument. I'm
rambling, but I would think that everyone on this list can feel the, and I
know this sounds corny, but, the magic of playing such a wonderful and rare
bird of an instrument as a mellotron or chamberlin. Can everyone tell that
I'm kind of excited to have joined this group?
>
> Max
>
> -----Original Message-----
> From: Chris Dale <chris.dale@...>
> Sent: Dec 8, 2003 4:56 PM
> To: maxwellhiller <maxwellhiller@...>,
> Mellotronists <mellotronists@yahoogroups.com>
> Subject: Re: [Mellotronists] Re: Chamberlin 200
>
> Hello Max:
>
>
> Welcome to our group, and congratulations on your purchase. I must tell
you
> I was in a similar situation several years ago.
>
> I picked up a double manual mellotron that was in just the same if not
worse
> condition as the Ebay Chamberlin you bought. It was filled with dirt,
mold,
> mouse crap, rust, corrosion, was totally out of adjustment, came in
several
> pieces and in any sane man's view probably should have been left on it's
> journey to the dumpster. It became a very questionable project to say the
> least, and I struggled very much with that machine. I'm talking tears of
> frustration!
>
> Nevertheless I renovated it (with help from some members of this list) to
> pretty much original spec. and I can reassure you from personal experience
> that with enough enthusiasm, time and effort, your machine will sing
again.
>
> It's well worth the effort in my opinion to keep these wonderful machines
> going. Mellotrons, Chamberlins, Optigans, Orchestrons etc all have a
certain
> indescribable charm to them and I don't think it's a waste of time
restoring
> them.
>
>
> Good luck
>
>
> Chris
>
> ----- Original Message -----
> From: "maxwellhiller" <maxwellhiller@...>
> To: <Mellotronists@yahoogroups.com>
> Sent: Monday, December 08, 2003 4:56 PM
> Subject: [Mellotronists] Re: Chamberlin 200
>
>
> > That would be the same beat to hell little chamberlin on ebay. You
> > know, I figured it would be one of my only opportunities to have
> > one. I shelled out $2500 for my M400, and that was probably the last
> > time in a long time that I will be able to pay that much for an
> > instrument, let alone the $6000 that I've seen other chamberlins go
> > for. I happen to have an absolute genius of a tech, and I'm willing
> > to take on some pretty wild stuff just for the hell of it (I live in
> > chicago, grew up in minnesota, and know that a winter without a
> > project is a hard winter). I will not only keep this group updated
> > on my progress, I will probably be asking for some advice along the
> > way.
> >
> > Max
> >
> > --- In Mellotronists@yahoogroups.com, "jonesalley" <jonesalley@s...>
> > wrote:
> > > So,would that be the forlorn little Chamberlin that just sold for
> > > $370.00 on eBay? If so, it looks like you have acquired a pretty
> > > ambitious project - I hope you can share the tales of the
> > restoration
> > > with us.
> > >
> > > Jon E Salley
> > > M400 #886
> >
> >
> >
> > To unsubscribe from this group, send an email to:
> > Mellotronists-unsubscribe@yahoogroups.com
> >
> >
> >
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http://docs.yahoo.com/info/terms/
> >
> >
> >
>
>
>
>
>
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