Banks is quoted as saying that on his first M400 at least, the brass
was out of tune with the violins. Presumably why a lot of later
recordings of "Watcher" live were done on largely brass or largely
violins. So he did have to re-tune whenever he changed between the
two - a bit difficult in the middle of Supper's Ready! Together with
the old CMC whichever it was, tuning must have been a real
headache on stage. He later said his last M400SM (presumably the
black one) was the most stable thing on stage!
Regarding his other tape frame - I know there are flutes on
"Lilleywhite lilith" and cello in "Dancing with..." but what was the third
and was it used on anything? Anybody know?
John
3/005
ps In answer to my earlier question; heard "I believe in Father
Xmas" this morning on radio - definately not tron. Shame 'cause by
the time he'd got the choir in to go "oooh and ahhh" it could have
been.
To:
Mellotronists@yahoogroups.comFrom: "ceccles_ca" <
clay123@...>
Date sent: Fri, 19 Dec 2003 04:42:19 -0000
Subject: [Mellotronists] Re: big chords?
> ....and another thing about Pinder and the MKII in 1969. I don't
> recall seeing or hearing a lot of 'Tron tuning between songs.
>
> Genesis/Banks, on the other hand would always be tuning, detuning,
> retuning and fine tuning (and giving up) between songs.
> I am sure the reason that Gabriel would go on and on and on and ON
> telling his silly stories, was to allow Banks time to NOT tune the
> M400. There are bootlegs from the Selling England tour with
> endless "Gabriel Gab" and endless choir tuning in the background.
>
> Fripp was right.... "Tuning a mellotron doesn't". He always had a
> way with words.
>
> Clay
>
>
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