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Hey, you are taking this much toopersonally! I was not being condescending… I am sure that mostplayers on this list can play circles around me. This is only myopinion!!!!!!!...
It sounds as if we agree more thandisagree. When the Mellotron was introduced nothing else could sound like it.So if you wanted your own “orchestra” onstage with you, you had topay the price. When synthesized sounds came into fashion (and yes, I too ownedand programmed a MiniMoog during the 70’s), the Mellotron started to waneto those crappy synth strings (ARP String Ensemble … “Dream Weaver”,etc). Then when digital samplers appeared (Fairlight, CMI) the tron basicallydisappeared…
So why would we spend $2500-$5000 for a tronnow? Because I am a collector and love this instrument for what it is and what itstands for. (Yes, I was freezing my ass off in the rain listening to IanMcDonald play Epitaph, and that changed my musical life!)
I do not begrudge others for selling copiesof it. Hell, I sell samples of obsolete instruments myself. I applaud the folkswho developed the Memotron, as I will for any business person who takes such anenormous financial risk. I am just questioning the wisdom in purchasing such alimited, expensive tool, that’s all…
And so I made a type with “knights”…Big deal… That should be the worst mistake I make when typing an email…
-----Original Message-----
From: Mellotronists@yahoogroups.com [mailto:Mellotronists@yahoogroups.com] On Behalf Of jonesalley
And finally, David. I hope your post was notintended to be as
condescending as it seemed. I'm glad youhave lots of toys. Most real
Mellotron owners seem to also have a lot of toys. My Mellotron is one of
the nineteen keyboards in my collection, whichalso includes some primo
modern toys and some scarce old analog toys. Istarted playing piano
forty-eight years ago, started programming synthsthirty-five years ago, and
I am well aware of the capabilities of moderninstruments. You want to talk
functional, versatile, and reliable? My solestage keyboard for about eight
years has been one tiny nine-and-a-half pound KorgX5D loaded only with my
own custom programs, including painstakingMellotron replications that are
frightfully authentic, even to 8-second cutoff,randomness of attack, and
tape rewind snick. My entire stage rig isthe X5D, a Presonus MP-20 that
serves as mixer and direct box, a pair of SamsonXP-200 powered monitors, a
tall Quik-Lok keyboard stand and a couple ofQuik-Lok's small keyboard
stands on which to elevate my speakers. Ican carry my rig in two trips, by
myself, and set it up in ten minutes. As faras reliable goes, while the
only problems I have ever had are mechanical oneslike broken keys, my rig
is small and inexpensive enough that I carryspares of everything to
performances. A meteor could obliterate myentire setup and I would simply
go out to the car and get the backup rig and beready to play again in
fifteen minutes. Functional andversatile? Rather than giving you a list
of what I can do with it (which happens to includesome of your own
examples, like "(K)Nights in WhiteSatin") I'll be happy to put my money
where my mouth is and let you hear some cuts foryourself, with no overdubs,
no sequences, nothing other than what I makehappen with my ten fingers:
http://www.wichitabandscene.com/bio.asp?showBandName=Jon#music
http://www.wichitabandscene.com/bio.asp?showBandName=ICT#music
So, please grant me the credibility that I haveearned as a player and a
programmer and don't talk down to me.
I still say the Memotron is a boon for people whowant to have the familiar
set of controls, the familiar set of sounds, ataste of the Mellotron
experience, but who don't want to risk theirgenuine Mellotron, and who
don't think that a garden-variety sampler willprovide the right
multi-sensory experience. And I still wishthat our two groups of Mellotron
developers, restorers, preservers would have donethis first, because, as
neat a trick as I think this Memotron thing is, itwould have likely been
done a lot better by the guys that know it best.