Mellotronists

In a message dated 11/8/02 8:14:41 AM Eastern Standard Time, 
jonesalley@... writes:


> One way or the other, there's really not nearly as much to screw up as there 
> is inside my M400...

Actually, the M400 is basically simple inside, and we're here to help you 
every step of the way (even in Kansas!).  That's what this list is for.  When 
I first joined this list, I was afraid to "pop the top" on my M400.  Now I 
can change tapes in a MKII.  Now *that's* a machine with a lot to screw up 
inside ;-).

Go for it.

Ken M.

Hi all
  I NEVER said I didn't love the real thing.I have been playing keys 
for 32 years,and grew up with all the tron bands major and minor.I 
got my M400 in 1972(#328).I used it on the road for all that time in 
conditions ranging from desert heat to arctic winters.I would use a 
real tron or Chamberlin(and HAVE) in a studio.I think I have paid my 
"tron dues".I was just thinking it would be nice to have something for 
all of us tronsound enthusiasts who prefer to leave their machines at 
home(or have sold theirs for numerous personal reasons)to use in live 
performances without the worries of tapes hassles,etc.And Don's 
mention of the Clavinova (which sucks as a piano)isn't taking into 
consideration all of the BETTER digital pianos(Korg,Rolands,etc.) that 
sound great.I didn't mean to imply that ANY digital instrument would 
recreate the true feel of the real thing.I knew about Hoffman's 
Kurzweil but that is still not a dedicated mellotron duplicate.It's a 
sampler dedicated to being a tron.As mentioned,I would love to see 
something like Korg's BX3 in a beautiful wooden case(MKII or 400 
style) and all,but doing tron/Chamberlin sounds ONLY...a stand 
alone.Something that looks and feels just like a tron but is totally 
digital.If  you have EVERY note sampled from every tape bank at 
highest bandwidth and only eight seconds long,just what is the 
difference aside from the mechanical feel of tapes moving under 
rollers?? The SOUNDS are there.You could probably even duplicate the 
bandwidth/signal to noise/distortion figures of the tron's output on 
the digital.
  Anyway,it's a moot point because such an instrument does not 
exist(yet).Just dreaming out loud for something I,for one,would 
buy.Just how much more could you improve the tape format without 
switching to digital?The MK6 looks beautiful.Where can it go from 
that? Who wouldn't want to have something onstage in their rig that 
sounds,looks,and feels just like a MKII but without the tape jamming 
worries and a fraction of the weight? Oh well.
 And yeah,you're right,most of the listening public has no clue about 
this stuff.By the way,I have NO kids and do have money.I do plan to 
own another "real thing" sometime,for home use only.                   
                                               peace  Charles

> And Don's mention of the Clavinova (which sucks as a piano)isn't
> taking into consideration all of the BETTER digital
> pianos(Korg,Rolands,etc.) that sound great.

The early 1980s Technics range - was it the DX? I thought they sounded
absolutely fabulous; dummy hammers, 17 layers of touch, wooden facings,
the lot. They cost \ufffd2000+ at the time. It sems you an get one now for
about \ufffd200.

> If you have EVERY note sampled from every tape bank at highest
> bandwidth and only eight seconds long,just what is the difference aside
> from the mechanical feel of tapes moving under rollers??

I dunno, but how come so many of us here can tell the difference between
the real thing and samples?

Mike Dickson (tron@...) M400 #996
The Official Cynic of Streetly Electronics
Streetly Sample Library http://www.blackcat.demon.co.uk/tron/

On Sunday, November 24, 2002, at 09:37  am, tron@... 
wrote:

>> And Don's mention of the Clavinova (which sucks as a piano)isn't
>> taking into consideration all of the BETTER digital
>> pianos(Korg,Rolands,etc.) that sound great.
>
> The early 1980s Technics range - was it the DX? I thought they sounded
> absolutely fabulous; dummy hammers, 17 layers of touch, wooden facings,
> the lot. They cost ú2000+ at the time. It sems you an get one now for
> about ú200.

I find a Steinway model D is quite a good piano module where space 
constraints are not important, though some list members may find the 
lack of MIDI facilities on the standard model a bit restricting.

88 Real hammers
infinite levels of touch
wooden everything
the lot.....

>I find a Steinway model D is quite a good piano module where space
>constraints are not important, though some list members may find the
>lack of MIDI facilities on the standard model a bit restricting.
>
>88 Real hammers
>infinite levels of touch
>wooden everything
>the lot.....

Yeah, but does it have wobblies?

HA!  Got ya there!

...kl...M400 #805 - all the wobblies ya want---and more!
* Ken Leonard - Web Table of Contents:  http://www.kleonard.com
* Get Outdoors New England:  http://www.GONewEngland.org
** GONewEngland is a neat, fun, and free Internet Bulletin Board
** for outdoor activities in/around the New England area--and beyond!

Am I then correct in understanding that Salisbury Hill and Solsbury 
Hill are two different locations?  AND that Tull's keyboardist got 
snipped?  I have to get out more.  If only I could get over this 
damned cold.  Khatru.  Khatru!  Oh, I'm sorry, excuse me, but that's 
much better now...

----- Original Message -----

From: "jonesalley" <jonesalley@...>
To: <Mellotronists@yahoogroups.com>
Sent: Friday, January 23, 2004 9:16 PM
Subject: [Mellotronists] clarification


> Am I then correct in understanding that Salisbury Hill and Solsbury
> Hill are two different locations?

Don't think there is such as a place as 'Salisbury Hill' specifically.
Salisbury's surrounded by low hills, but sits in a valley - the town/city
centre's absolutely flat.

AND that Tull's keyboardist got
> snipped?

It would appear so! A weird business, transexuality, but I fully support his
right to do whatever he wishes to his body. FWIW...

I have to get out more.  If only I could get over this
> damned cold.  Khatru.  Khatru!  Oh, I'm sorry, excuse me, but that's
> much better now...

As for that word,

http://nfte.org/back-issues/0208

says:

"As for the definition according to "Yes: The Authorized Biography" by Dan
Hedges it's supposedly a Yemeni word that roughly means "As you wish"."

But what that's got to do with Siberia is anyone's guess. Too many drugs.

Quite the little smartarse tonight, aren't I? Dunno why, as I've just
finished my 19th day of *straight* work, I'm back in tomorrow morning, and
my brain's turned into mush.

Andy T.

I read an interview with Jon Anderson way back when (sometime in the 70s?)
and he said that a lot of Yes lyrics don't really mean anything but are
simply "words that sound good together."

"Sharp.  Distant.  How can the wind with its arms all around me."

I gave up trying to figure out Yes lyrics years ago and just take them as
stream-of-consciousness sonorous phonemes.

And I never did figure out how, or in what sense, Jon Anderson wants to be
my "roundabout." :)

Best,
Babz

> I've been trying for years to figure out what is a "Siberian Khatru"
> to no avail...
> 
> I have to get out more.  If only I could get over this
>> damned cold.  Khatru.  Khatru!  Oh, I'm sorry, excuse me, but that's
>> much better now...
> 
> As for that word,
> 
> http://nfte.org/back-issues/0208
> 
> says:
> 
> "As for the definition according to "Yes: The Authorized Biography" by Dan
> Hedges it's supposedly a Yemeni word that roughly means "As you wish"."

> From: Babz <Babz@...>
   > Date: Sun, 25 Jan 2004 17:28:34 -0500
   > 
   > I read an interview with Jon Anderson way back when (sometime in
   > the 70s?)  and he said that a lot of Yes lyrics don't really mean
   > anything but are simply "words that sound good together."

Sure; it's 'impressionism' applied to lyrics.

(And Michael Stipe did the same basic thing a decade later with REM
lyrics.) 

  -- Don

-- 
Don Tillman
Palo Alto, California
don@...
http://www.till.com

Speaking for myself, it's all about the instrumental parts. With few
exceptions the singers annoy me.

Tony
#510
----- Original Message ----- 
From: "Babz" <Babz@...>
To: <Mellotronists@yahoogroups.com>
Sent: Sunday, January 25, 2004 5:28 PM
Subject: [Mellotronists] Re: clarification


>
>
> I read an interview with Jon Anderson way back when (sometime in the 70s?)
> and he said that a lot of Yes lyrics don't really mean anything but are
> simply "words that sound good together."
>
> "Sharp.  Distant.  How can the wind with its arms all around me."
>
> I gave up trying to figure out Yes lyrics years ago and just take them as
> stream-of-consciousness sonorous phonemes.
>
> And I never did figure out how, or in what sense, Jon Anderson wants to be
> my "roundabout." :)
>
> Best,
> Babz
>
>
>
>
>
> > I've been trying for years to figure out what is a "Siberian Khatru"
> > to no avail...
> >
> > I have to get out more.  If only I could get over this
> >> damned cold.  Khatru.  Khatru!  Oh, I'm sorry, excuse me, but that's
> >> much better now...
> >
> > As for that word,
> >
> > http://nfte.org/back-issues/0208
> >
> > says:
> >
> > "As for the definition according to "Yes: The Authorized Biography" by
Dan

> > Hedges it's supposedly a Yemeni word that roughly means "As you wish"."
>
>
>
>
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>
>

Well, I guess that's sort of the dividing line between like prog rock (Yes, ELP, Utopia, Genesis etc.) and fusion (RTF, etc.), which tends to be instrumental.

I like both, but tend to find it more interesting if there are words.  But whatever.   As long as it's got TRON in it, close enough.  :)

Babz

On Monday, January 26, 2004, at 11:31AM, tony <amoffet1@...> wrote:

>Speaking for myself, it's all about the instrumental parts. With few
>exceptions the singers annoy me.
>
>Tony
>#510