The main source of my puzzlement has been the attack on the upper-register notes - it has a lot of the same feel as the way the initial attack on the tapes comes in, and I even hear a couple of places that sound like blurred notes, not lifting off one finger before pressing the next key. Could this have been overdubbed, perhaps? (Either keyboard or flute overdubbing could explain either of those, and believe me, I've listened to this thing at least a hundred times just this week.)
----- Original Message -----
Sent: Tuesday, May 14, 2002 8:03 PM
Subject: Re: Fw: [Mellotronists] duh moment
In a message dated 5/14/02 4:30:35 PM Pacific Daylight Time, jonesalley@... writes:
Also, I have been working on recreating "Nights in White Satin" for MY
rehearsal tomorrow night, and have been listening to the original with the
ear microscopes the last few weeks. The more I listen, the more I think the
flute solo which I had always assumed was Ray's work, is instead Mr. Pinder.
Although it was not reflected in Mike's interview in the book, a quick reference back to my tapes of the original conversations (in toto) reveal that it was, in fact, Ray's work. Listen again to the track, and notice the variations in intonation -- Mike would have had to do some intricate pitch-bending work to accomplish this, as opposed to playing a flute with a poor embouchure. Besides, being a woodwind/flute player (as opposed to being a flautist), I can attest to this. Ricky and Vicky B., I'm sure you would concur.
Frank Samagaio
M400 #908
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