Korg D1600 Reports Mellotron Mark VI What’s a T APE-PLAYBACK KEYBOARD Chamberlin? See page 54. Speed selector offers two Lid is hinged at the Exclusive!Exclusive! user-adjustable speeds. back, facilitating quick tape-frame changes.

Even with the major upgrades, Mark VI tape frames can be used in vintage M400s (and vice-versa).

Tone control helps tailor high Silhouette is the same, but there’s Heads are original never-used EQ to Mellotron and the more almost nothing that hasn’t been Mellotron parts. hi-fi Chamberlin libraries. changed, upgraded, or enhanced.

by Ken Hughes parts. Kean eventually acquired the worldwide Mellotron trademark as well. The original idea ince this is your April issue, A quick back story is in order: According to was to resume making tapes and parts available you’re naturally expecting Markus Resch of Mellotron Archives, vintage to the vintage Mellotron user base, a small but some kind of joke content. synth and keyboard conservator David Kean loyal band of enthusiasts who keep these Well, this ain’t it. The acquired the master tapes and tape-making charming tape players alive.At some point some- Mellotron Mark VI is indeed equipment of the U.S.-based Mellotron company one asked for a motor control board, and Resch a real product, and while it’s in 1990. He later acquired the masters from the got involved. Resch also built over a hundred Sfunctionally identical to its ancestor the M400, British Mellotron operation as well, along with upgraded M400 tape frames. From there, the it couldn’t in reality be a more different instru- a cache of NOS (“New, Old Stock;” refers to project mushroomed into a completely new ment; even the exterior dimensions have parts made back in the day but never built into ’Tron — the Mark VI — which is now available. changed slightly from the vintage piece. the final assembled product) original ’Tron Keyboard brings you this exclusive review.

52 KEYBOARD APRIL 2004 www.keyboardmag.com Tape-playback keyboard with replaceable tape sets.

Pros: It’s the real thing. Dead reliable, unlike previous models. Vastly more playable than previous models. Cons: Cost puts it out of reach for many.

Mellotron Archives (Stockholm, Sweden), (011) 46 70 424 02 21, [email protected], www.mellotron.com

$5,200

One manual Inside, tape-path friction has been reduced the tracks are uniformly spaced across the not enough for you? dramatically, which means the new ’Tron is tape so this effect is even easier to achieve, and Check out page 56. way easier to play; less force is required to with better fidelity. keep the keys down and the tape engaged. The new tube preamp is quiet and well Modulating the attack with key touch and isolatedfrom buzz and interference, although pseudo-aftertouch tremolo effects are other I noticed that at high gain settings, a fair amount old ’Tron techniques that are greatly eased by of hiss was present. Here again, this preserves the new design. A stronger motor works in the character of the original article. With the Overview tandem with the reduced friction to keep noise, though, comes fat tube saturation. On chords from sounding flat relative to single big chords, the sound grows some hair and For the uninitiated, the Mellotron’s mystique notes. The motor is also now calibrated so gets a little rude. Outstanding. I’ll put up with comes from its status as a primordial sample- that with the Pitch knob at zero, you actually a little extra noise in exchange for that. playback instrument. Arguably, its most famous get A=440 concert pitch. A heavier flywheel appearance is on the Beatles’ “Strawberry further aids pitch stability. The half-speed Sounds Fields Forever.” If you were the keyboardist mode takes advantage of the calibration and in a psychedelic or prog band in the ’60s or drops the pitch exactly one octave (or any Mellotron Archives sent us two tape frames to ’70s, a Mellotron likely crossed your path at interval you like; speed is adjustable at both try out. One contained the “Strawberry Fields” some point. You’re likely to see them onstage ends). There is a funny little pitch hiccup just flutes, violin trio, and solo cello. The other gave at prog festivals today, too. It was the only way before the target speed is reached, but it fits us the classic eight-voice mixed choir, solo for keyboardists to play “real” sounds until the the vibe of the instrument and prevents all the trumpet, and bass clarinet. advent of digital sampling in 1979 or so. quirky charm from being lost to new precision. The flutes are an iconic sound. What more How does it work? Each key directly depresses The range of the pitch knob covers roughly a can be said? They are the sound made familiar a pinch roller and a pad against a master capstan fifth north or south of concert pitch. by the Fab Four. Except we get more than the and a length of analog three-track tape. The Head azimuth is now pre-adjusted and eight seconds Sir George Martin had. The new roller and capstan cause the tape to roll, the pad locked off, eliminating the need for the tedious design allows for a couple of extra seconds at presses the tape against a playback head, and periodical adjustments that once plagued road the end. The funny end-of-tape pitch gargle you hear the recorded sound of a flute, violin going ’Tron owners. Mellotron Archives has unique to the vintage model has thankfully not section, small choir, you name it. A mechanical exploited and actually improved the usefulness been eliminated. It’s another thing that gives slide mechanism moves the head block left and of the “flaw” that allowed you to layer sounds. the ’Tron its charm. I appreciated the new tone right to select which of the three available On vintage machines, you could sort of jam control, as it allowed me to dial back the highs sounds is heard. There are a couple hundred the sound selector between detents to play for even more retrolicious sounds, as if the heads different sounds available from Mellotron two adjacent tracks at once. On the Mark VI, were in desperate need of cleaning or the tapes Archives and a new ’Tron can be factory-loaded with any three of your choice.

Improvements and Custom Finishes Enhancements The options for custom looks are limited pretty The Mark VI incorporates countless electronic much only by your pocket- and mechanical improvements over the M400, book and imagination. Noel starting with a sturdier yet lighter cabinet of Gallagher of Oasis had his Baltic birch plywood, the same stuff used to Mark VI done in chocolate make Marshall speaker cabinets. M400 cabinets brown, and it looks delicious. were made of fiberboard, a heavier yet weaker The company’s website material. The keys are now sourced from the showcases a sleek black same plant that makes keys for Steinway; key Mark VI too. Sexiest of all, warpage is no longer a concern. The black keys though, is this mahogany are real ebony, a luxurious touch. The lid model. Dare ya to take that hinges instead of coming all the way off, and the on the road. . . . cabinet is a little taller so it’s more comfortable to play while standing.

www.keyboardmag.com APRIL 2004 KEYBOARD 53 Mellotron Mark VI

Vital Stats were worn.With the tone dimed, though, a Sound generation analog tape playback new clarity (and a bit of noise) came forth that Polyphony full was unlike any recorded Mellotron part I’d Tape speeds 7.5 ips, 3.75 ips; user adjustable ever heard. Just goes to show that the original Output balanced 1/4" recordings were pretty dang good. Tube complement 2 x E88CC The strings really benefited from the tone Other connections 1/4" TRS volume pedal jack control’s range, since they were downright S/N ratio –60 dB strident with the knob all the way up, but Dimensions/weight 34" H x 33" W x 22" D; 98 lbs. creamy and mellow at lower tone settings. Included accessories flight case They sound the way grainy black-and-white Optional accessories replacement tapes, $250; empty tape frames, $350 film images look. The Chamberlin solo cello was new to me; if I’ve ever heard a recorded Chamberlin cello The solo trumpet is also from the Cham- under a tarp on a rainy afternoon, rolling it on part I’m unaware of it. The recorded cellist berlin library and is downright snappy. Due the flight case’s wheeled baseplate, and wrestled apparently really dug in with the bow, as some to the improved tape mechanism, it’s possible it solo without much difficulty into the car and of the low notes feature heavy string buzzing. to play much faster than on an old M400, so the strapped it down for the 30-mile drive to the Nice.A big, rosin-y tone was captured that day trumpet becomes useful in more R&B-oriented gig. That thirty miles is a hilly, twisty, bumpy, and makes a nice lead sound at original pitch. parts; those dat-dats and bat-dows are within stop-and-go freeway ride that gave the ’Tron a At low speed, it takes on a menacing character reach now. Falls and doits are easy to achieve pretty good shakedown. with a fair amount of subsonic energy. with the pitch control. I had a blast — no pun I should back up here. When we first rolled The choir is a mixed bag. Get it? Mixed intended — trying to cop Earth, Wind, and the machine into the Keyboard studio, we noticed choir, mixed bag....Never mind. Seriously, Fire horn parts. I could almost do the horn that the sound selector’s range was limited and this is another of those iconic ’Tron tones and breakdown from Phil Collins’ “Sussudio.” it didn’t give us access to all three sounds. A one that, honestly, I never actually liked except Almost. The Mark VI wasn’t quite fast enough quick call to Resch in Sweden (unlimited tech for creepy atonal cluster chords; Exorcist stuff. for that.It will surprise no one that there’s a support is also included in the purchase price) From one key to the next, the soprano is all lovely, warm analog sound to everything. It is revealed two possible scenarios. It turned out over the map dynamically, and some of the altos analog tape, after all. that a part of the selector linkage known as the and tenors are dodgy too. Then there are the Learning to use the pitch knob like a bender “polycarbonate head-block connecting plate” notes where all of them are a little off-pitch, takes a little practice but can be worth it. The (Resch and I nicknamed it “the plastic thingy”), and it all adds up to one gloriously crummy speed switch also makes a nifty mock whammy which is designed to be adjustable, had simply choir that’s exactly as you remember it (or bar. Go ahead. The new motor and control vibrated or been shocked out of whack during would like to) from the original machine. If board can take the abuse. the trip across the Pond. Resch reckoned it “had you must have this sound — again, it looms to have been one hell of a shock.” I imagine it large in the ’Tron’s legend — it’s here in all its, In Use did; the parts involved don’t have much mass. uh, splendor. A little spring reverb or tape delay A little gentle persuasion without tools sorted (to keep it vintage) diffuses it nicely, as does I employed the Mark VI in the studio and onstage. it out and we were in business. But the plate lowering the tone control. In the studio there were no surprises; I got exactly was cracked. This is the one and only weak what I wanted from the instrument, which was point I found in the Mark VI. That plate should Chamberlin? its signature sepia tone melancholy vibe. It called probably be made from a stronger material no undue attention to itself by freaking out or going forward. Had it broken in transit (Resch The Chamberlin was the American pre- faltering in any way. The artist I’m producing can share shipping horror stories that make it cursor to the original Mellotron. It was indulged me a little experimentation, and due seem a wonder he’s never had one break yet), much more complicated: Drum loops to the quick-change tape frames, I didn’t have we’d have had a useless Mellotron on our hands and fills were part of the package, as to call a break in order to swap out sound sets. until the part could be replaced. were a couple more octaves of keys. Frankly, it took less time to load three fully Back on the road to my gig, the Mark VI was Despite major improvements, the polyphonic sounds into the analog tape-based getting another good vibration test. Loaded in and Chamberlin fell victim to poor market- Mark VI than it used to take to load a single fired up at the venue, the previous adjustment ing, unreliability of the early machines, and underfunding. Harry Chamberlin’s sound on my first eight-voice digital sampler. had held tight and the ’Tron was ready to rock. I marketing man later took a couple of So much for new technology trumping old. Four connected its output to a Danelectro Reel Echo, units to England, secured new financing, thumbscrews secure the key frame. Unscrew a simulated tape-delay stompbox. From there and the Mellotron was born. (Harry was them and it lifts out. The lid of the tape spill it went into a D.I. box and off to the board. The eventually compensated.) box lifts off. Four more thumbscrews liberate Reel Echo delay and the touch of reverb added When they remastered all the Mellotron the tape frame. That lifts out. Drop the new tape at front-of-house gave the sound a nice space recordings in 1997, Mellotron Archives frame in, reverse the process, and you’re done. to sit in and softened some of the grainy edge did the same with the Chamberlin tape It takes, maybe, a minute. Very nice. inherent in the flute/strings/cello tape set I’d library. This allows you to order tape The Mark VI’s deadly serious flight case brought. An iMac running Reason sat on top of frames pre-loaded with the sounds of (included in the purchase price) was way too the Mark VI, and the setup garnered chuckles your choice from either or both libraries. big to fit in my car (a Chrysler PT Cruiser) but for its extremes of retro and current technology. a nude Mark VI would just fit. I loaded it out I was compelled to play the Strawberry Fields

54 KEYBOARD APRIL 2004 www.keyboardmag.com Mellotron Mark VI

Mark VII intro ad nauseam as each musician arrived:“You and charming, and removed nearly all gotta hear this! Play it again for him.”Wide eyes the hassle of ownership. Even more or disbelieving laughter followed. remarkably — though it has to be said Our drummer doubles on Irish whistle, but that five grand is a lot of bread — the rather than give him the melody of a ballad we new instrument is slightly cheaper in were to play, the bandleader decided to have today’s dollars than the original. me try that part on the Mellotron. With the Now, who in their right mind would speed control on high, playing in the top octave, choose this over G-Media’s M-Tron I got a breathy sound with a quavering vibrato software instrument, or, for that matter that evoked the same feel as the whistle. the sample CDs available from Mellotron On another song, I tried a part I normally Archives? M-Tron has no moving parts, play on organ with the Mellotron strings requires no disassembly to change For ultra-fanatic Mellotron devotees, Mellotron instead. I had to adjust for the 10-second hold “tapes,”and weighs exactly what the host Archives has cooked up the dual-manual Mark limit and find a place to retrigger the held note computer does. Sample CDs are even VII and will make it available on a limited basis. unobtrusively. Dealing with the limitations more flexible. The Mark VI is for the Price? Just $9,800. forces creative thinking; you can’t just coast enthusiast, the fanatic. Those for whom on this thing. only the real thing will do. Just as the experience player around seems just . . . so yesterday, the I had a great time playing it, the bandleader of sitting in front of a real Hammond influences Mellotron Mark VI is clearly not for you. Grab was really pleased with the new colors it gave the way you play, just as sitting at a real Rhodes, a copy of M-Tron or some of the soundware him, and a couple of audience members came Wurly, or Clavinet feels different from playing Mellotron Archives offers and God bless you. up afterward to see what the big white box was. an imitation, the experience of playing this But if you revel in the thought of following in unlikely contraption has an unmistakable yet the footsteps of Tony Banks, Mike Pinder, John Conclusions indescribable vibe-enhancing property.Working Paul Jones, Sparklehorse, and of course the around its limitations, quirks, and — let’s just Beatles, there’s no reason not to go for it. This Mellotron Archives has achieved something face it — defects impacts your creativity in very is an entirely worthy instrument. k pretty remarkable. They’ve preserved the cool and groovy ways. essential character of the vintage Mellotron, If the thought of shelling out five large for Ken Hughes performs, records, and produces in the quirks and limitations that make it so unique the “privilege” of carting a big, expensive tape the San Francisco Bay Area.

56 KEYBOARD APRIL 2004 www.keyboardmag.com