![]() ![]() At that time the British did not know that the instrument had US origin and was protected by several patents, but eventually the Bradley's and Chamberlin came to a business agreement and both companies could develop the initial ideas and design further.Ĭhamberlin e.g. The Bradley brothers said yes, and the Musicmaster 600 essentially became the blueprint of the Mellotron MkI and the launch of the company named Streetly Electronics. He presented this unit to a British firm run by the Bradley brothers, asking if they could improve on the design by providing matched tape replay heads. In the early 1960's Bill Fransen, one of Harry Chamberlin's employees, took one or two Chamberlin Musicmaster 600 (a dual-manual machine with 36 sounds) to the UK. And play.Our Mellotron library is the very successful result of a unique cooperation, where the original Mellotron tape banks has been sampled and is now offered to Nord players around the world owning a Nord Sample Library compatible product. ![]() You might be very surprised and pleased by what you hear. To anyone else who is frustrated with even their most expensive software strings VI's, I'd recommend taking a listen to the Montage. I constructed three "hybrid" string sections this way - a violin section, a viola section, and a cello section. It makes the strings sound hyper-real and 3D in a way no sampled string VI can. The envelope of the FM part modulates the sampled string part via an envelope follower, so the sample string part "takes on" the envelope characteristics of the FM part. I did some Montage performances that are two-part - one is an FM string ensemble sound, the other is a sample-based string ensemble. Here's a Montage feature no other synth workstation has - an envelope follower coupled with a true FM synth. The Super Knob can be controlled with a foot pedal connected to Montage's "Foot Controller 2" jack, so you don t have to take your hands off the keyboard to use it. No keyswitching, articulations switch with velocity or are activated by an assignable switch (there are 2), OR, you can use the Super Knob on Montage to sweep through multiple parameters at once, making an ensemble "grow" from a chamber string set to full orchestra, adding octaves, fifths, etc. Not only for basic sound quality, but for expressiveness.because, we Yamaha programmers are required to program string sounds to react expressively to velocity (mostly) followed by expression pedal. Just for grins, I tried recently reassigning some orchestral string parts from Symphobia to Montage, which has a large palette of different sized and style string ensembles.Īnd now.no more using software string libraries for me. release for the Yamaha Montage (I am part of Yamaha's sound design team and contributed a number ofįactory sounds for Montage). But for ensemble strings, I've grown increasingly frustrated.Īs luck would have it, I was assigned to do some new programming for an upcoming O.S. They all sound like Mellotron strings, which isn't a bad thing if you want Mellotron string I own a fair number of solo string VI's (Garritan Strad Violin and Gofriller Cello, Neocymatics, LSS solo strings, Fluffy Audio solo strings, Chris Hein Violin, Spitfire Solo Strings) and a handful of string ensemble VI's (Symphobia, Garritan Personal Orchestra, VSL, NI Session Strings) While I continue to prefer the Garritan solo strings and Chris Hein Violin, I'm still unhappy with all of my ensemble string libraries. ![]()
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