Hey hey,
I am glad to hear that their samples are working out for them. As a studio owner with a fair deal of old bulky equipment I must say that to me in what I do having the actual instruments makes all the difference. To sidestep just a bit from the Mellotron discussion....I have two Solina/Arp stringensembles. It isn't my favourite sound in the world. Decent sounding and very set in it's time...but in my opinion not that spectacular. But it get's used by bands a fair deal anyway. Bands see it up on a shelf and wonder what it is. You hook it up and say that it is all over David Bowies Low album, Shylock or whatever ( change reference according to the band ) and they will without doubt record something with it.
Of course this isn´t the right way to go about it...but knowing musical references and having the actual piece of furniture in front of you makes a big difference to sitting going through menu's on a sampler. Drawbars on a hammond, Fender rhodes sustain pedals, scratchy Optigan discs. Tuning problems, warped keys and all....
If I would sample my keyboards and equipment note for note with the highest possible sound quality and then sold my bulky woodenclad instruments. Would the studio still be attractive to bands and musicians ? Me in a cupboard with a wonderful tuned grey sampler and discs upon discs of sounds.
I understand completely why people use them. If I didn´t own the little white box I would have samples but I am not sure that I would use them as much as I use the Mellotron.
Best regards,
Mattias
Roth Händle Studios, Stockholm