Ah yes, a nitpickers chance comes again!!!! Let's
have some fun!!
It's a good question since Mike Pinder discusses
the improvements of the MK V which were already present in M400s. He states
in Frank's book:
....."(Streetly) cottoned onto the transistor
amplifier cards that I'd procured. They were new at the time. These cards were
only 2" by 1", and 19 volt DC power supply, very clean, and were really good
transistors. The EQ card followed the NAB curve very, very well. They sound just
as good as the tubes do,without the microphonic effect."
Aren't those our typical pre-amp cards under the
M400 control panel?!
Ian McDonald says this: "...But I just don't think
they (the 400's) sounded the same. The transistorization thinned out the sound
and I just never cared for them particularly".
Maybe the difference is using two keyboards.
Obviously there is much more sound colour
available when playing 2 keyboards as opposed to just one.
Regardless, we really can't judge one model (the
400) as inferior unless you've played each and every one of them to
discern an inferior quality, and that's never going to happen at this
point. ;
Sound quality now depends more on the condition of
the tapes/tape heads in each individual machine, especially after so many
years. Playability/ease of use is also an influence. Historically another factor
in sound (on albums) is the way the machine was recorded in studio (effects,
amplification etc.).
;
Opinions are also formed by what model one's
first mellotron or chamberlin encounter was and how positive/negative the
experience. It's condition/sound influences how other machines compare.
Tony Banks/Rick
Wakeman hated MK II's and preferred the 400's but Mike Pinder/Ian
McDonald preferred the inverse. And Justin Hayward preferred
the Chamberlin to the Mellotron during the recording of Seventh
Sojourn.
We can easily generalize about sound and
quality of one model but when you think of all the variables today - overall
physical condition, customization, age of original electronics, replacement
electronics and parts, mechanical vs electronic switches, different tape
masters, wear of tapes, tape head alignment, tubes,
transistors, digital vs analog recording of tapes, temperature, reliability
etc. it now all comes down to a matter of the individual instrument in
question.
Chris Dale
----- Original Message -----From: J.K.BeresfordSent: Wednesday, September 25, 2002 3:55 AMSubject: Re: [Mellotronists] More on MKIIMark,
What is it about the MkV that makes it sound comparable to the
MkII? I know it had a larger flywheel and an sms2 - But MP talked
about electronic differences. What were these exactly and were
they fitted to later M400s? If it sounded so good why isn't this
available to us as an option now? Why isn't this incorporated into
the new MKIV instead of the valve amp?
Confused!
John
M300 #005
>
> From reading Frank Samagaio's book, and my experience with having
> owned a Mk.V, I have to agree with Mike Pinder'and others feeling that
> the M400 simply doesn't come up sonically to the Mk.II or the Mk.V.
> Mike felt that the Mk.V finally incorporated all of the improvements
> that the Mk.II and M400 should have had (or were made during the life
> of it). Having played an M400 recently, I would have to agree - I
> feel that sonically it just doesn't have the "heft" and dynamic range
> of the Mk.II or Mk.V.
>
> Given the price levels of the Mk.II and Mk.V these days, the best
> alternative is good samples of the Mk.II / Mk.V.
>
> I know, heresy! :)
>
>
> ---------------------------------------------------------
> Mark S. Glinsky - Arlington, TX
> Email - glinskym@...
> http://www.markglinsky.com/ManualManor.html
> "Be Seeing You...." - No. 6
> ---------------------------------------------------------
>
>
>
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