> The Mellotron imparts many variables upon the
> tape
> voice, INDEPENDENT of the individual/grouped sounds.
>
> So far, sampling keyboards don't address these
> aspects. Like a key or keys being depressed and
> slowing down the capstan briefly & slightly. Then
> the
> motor catching up, maybe overshooting, then settling
> down. Or, just the irregularities of the turning
> capstan, which are imparted IN UNISION on all tapes,
> no matter which are being played (and when). Or the
> wow & flutter of a worn set of tapes, particularly
> on
> ones played a lot. This stuff could be programmed
> in,
> and maybe assigned user controls.
>
> Hisses & fizz? Please, no. But keep the
> creaking
> chairs, coughs, sniffs, auto crashes & breaking
> wind... (thanks Mike D.) ;-)
This is interesting. All of the other irregularities
are OK, yet the anomalies on the master tapes aren't?
Hmmmmm...
I'd like to open up something to general opinion on
this subject, particularly regarding recording and
mellotron quality.
Firstly, among recordists that use mellotron, of
course we'd all like our trons to run as "perfectly"
as possible, as this means we have a properly running
machine in good condition. This is a given. But it
has been my experience that the wobble, click and
other clumsy functions of a somewhat "vulnerable" unit
are often preferred to a clean and even playback.
There have been many times in my studio that EMI103S
has been running too well for the track (surprise,
surprise as it ended up #8 on the worst list). As my
tron has good days and "bad", we have often had to
either simulate these instabilities (bumping the
flywheel on occasion or adjusting the action, etc.) or
wait and record the next day or so when the tron had a
more irreverent functionality. There is nothing more
eerie or emotionally gripping as a mellotron's
plaintive wobble, especially dry and direct.
Secondly, do you think that, in this world of digital,
where we can fix, clean, cut and paste our way to
perfection, that we've lost touch with the charming
and human element that comes from the occasional chair
bump, tape noise/saturation, string buzz and what-not,
that associates us with the artist?
Now, I'm not talking about bad performances, or
legitimate recording blunders. That's just bad
recording. But it's my opinion that a certain measure
of scrappiness has added to content and energy of many
of the greatest recordings. I've always felt that the
Mellotron is exemplary of this.
Thoughts anyone?
Cheers!
-Jack
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