The Mellotron Group

I would have named it something completely unrelated to the Mk or M series. Maybe Digitron?

Bernie

--- In newmellotrongroup@yahoogroups.com, "Charles" <charel196@...> wrote:
>
> I agree about the name...is there any documentation proving who named their instrument first? Not taking sides....just asking.
>  What would YOU have named Markus' unit? I'd probably say something like MK8 (since it was next from the MK7) or M8000.
> And yes...I want one.....wish now I had ordered one before the price jump:(
> 
> --- In newmellotrongroup@yahoogroups.com, lsf5275@ wrote:
> >
> > It's a machine. It exists. It's poorly named. It does what it is supposed  
> > to. Knowing Markus, it's probably well made. It's poorly named. It will  
> > sell.
> >  
> >  
> > In a message dated 1/23/2011 6:00:55 P.M. Eastern Standard Time,  
> > MAinPsych@ writes:
> > 
> >  
> >  
> >  
> > BTW, none of my  remarks should construed as defending Markus or demeaning 
> > Streetly.  I'm  just commenting on what I have actually heard with my own 
> > ears  firsthand.  Markus is a big boy and can defend himself, if  needed.
> > 
> > Frank  1
> >  
> >  
> >  
> > In a message dated 01/23/11 14:53:51 Pacific Standard Time, mainpsych  
> > writes:
> > 
> >    
> >  
> > In a message dated 01/23/11 08:14:35 Pacific Standard Time, lsf5275  writes:
> > 
> > Clay,
> >  
> > How would Markus sample all of those  Chamberlin sounds. It is my 
> > understanding that swapping tapes in any  Chamberlin would be a pain in the ass. Even 
> > if you were to sample the  sounds from an old Music Master, the tapes would 
> > likely be old and worn.  Mattias has one now. so maybe he can tell us how 
> > his tapes are. But even  if they're great, they're not all of the sounds. So 
> > if he wants to use the  Chamberlin Masters, he would have to play them in a 
> > Mark VI or a 400.  Doing that alters the dynamics of the intended sound. But 
> > then again,  Markus makes no claim that I have seen, read or heard as to 
> > how the tapes  were sampled. Maybe the Chamberlin sounds were all sampled from 
> > a  Mellotron. Then they wouldn't be authentic, but who's gonna  know?
> > 
> >  
> > We really need  to move from the philosophical/speculative realm to the 
> > real world, i.e.,  sonority (what sounds good).  50 people, 50 opinions, no 
> > consensus, no  progress.  After all, strict music theory would dictate that the 
> >  dissonance of playing a B and a C together is a major no-no (or parallel  
> > fifths), but listening to Wakeman's brass intro to "Siberian Khatru" says  
> > it's perfect for that musical phrase, both starting and ending on such an  
> > interval.  I don't know Markus' sound source, but I can tell you  firsthand 
> > that, say, the Mellotron Cello and Chamberlin Cello can be played  together or 
> > solo on an M400D and you can move back and forth between the two  by the 
> > twist of a knob for an instant A/B comparison.  While both are  good, 
> > objectively, the Chamby Cello is much more authentic  sounding.   The point being 
> > that Markus could not have achieved  that other than sampling a source oth er 
> > than direct from  tape.
> > 
> >  
> > My only real disappointment about Markus'  machine is the name. I can 
> > certainly see its appeal and its purpose. I'm  not sure I am aware of his 
> > marketing strategy, if any, but there certainly  is interest. I am surprised that 
> > he isn't more involved with the Mellotron  community.
> > 
> >  
> > I had intended  to ask Markus about this very issue; unfortunately, he was 
> > not present at  NAMM this year.
> > 
> > Frank  1
> >
>