Advertisement

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Chamberlin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Birotron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Roland VP330 Plus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Function Knob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Pitch Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Tone Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Volume Knob . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Advertisement

Table of Contents
loading

Summary of Contents for M-Audio M-Tron

  • Page 1: Table Of Contents

    M-Tron – a brief history ..............................3 Sound Sources .
  • Page 2: M-Tron - A Brief History

    M-Tron – a brief history The M-Tron is a virtual emulation of one of the most inspirational and unique instruments ever produced, the Mellotron . This ® instrument was used on countless records in the heady days of the 1960’s and 1970’s from Yes’ ‘Heart Of The Sunrise’ to Led Zepplin’s ‘Stairway to Heaven’...
  • Page 3: Birotron

    Birotron Conceived by Dave Biro with the help of keyboard wizard Rick Wakeman, the Birotron attempted to overcome the problems of the eight-second note duration by implementing the use of eight-track cartridges instead of the various tape widths used in both Chamberlin’s and Mellotron’s.
  • Page 4: Installing The M-Tron & Tape Banks

    Installing the M-Tron & Tape Banks Because every note of each Mellotron sound was sampled separately, the average size of an M-Tron Tape Bank is approximately ® 21MB. There are over 100 Tape Banks featured in this collection resulting in close to 2.5GB of data. The installation takes place via 4 CDs, each one containing a different selection of Tape Banks.
  • Page 5: M-Tron Controls

    M-Tron Controls Function Knob. A. Once the M-Tron is open the control panel appears with the Function Knob set to position A and the panel lid closed. Playing the M-Tron from its own keyboard (or connected MIDI Keyboard) will play the default sound. B.
  • Page 6: The Tape Banks

    The Tape Banks 15 Choir A rare 15 male/female voice choir. An interesting alternative to the famous 8 choir. Accordion Chords A selection of accordion chords recorded from a Mk II. Note: There are only 16 notes in this Tape Bank. Accordion Bass + Violins &...
  • Page 7 Brass 2 Mixed Brass section comprising of trombone, sax and trumpets. Brass B Revised The ‘tron’s most famous brass in its ultimate extremely fat and powerful version. Cello This favorite of King Crimson was originally played by Reg Kirby, the cellist who performed on classic tracks such as ‘Eleanor Rigby’ . The first five notes are actually a Double Bass because Reg refused to retune his instrument to these notes during the recording of this Tape Bank.
  • Page 8 EFX 2 A variety of interesting, unusual and weird sound effects. English Accordion Recorded from a Mk II ‘tron, this sound is pure nostalgia. Flutes Probably the most recognizable flute sound of all time. Originally made famous on ‘Strawberry Fields’ and ‘Stairway To Heaven’ and more recently used by Oasis.
  • Page 9 Megatron Organ A hybrid organ sound created by layering a more recent recording of a church organ together with old ‘tron tapes. Big and powerful. Megatron Strings A hybrid string section created by layering a more recent recording of tremolo strings with old ‘tron string recordings. Male Female Choir A split male and female choir.
  • Page 10 Muted Brass Another microphoned recording for total authenticity. One of the Moody Blues’ ingredients of their early orchestral sound. Oboes Oboes recorded directly from a Mk II ‘tron Orchestra The ultimate symphonic ‘tron powertool. Orchestra & Moog Fat orchestra with a big Moog bottom. Pipe Organ Undoubtedly used in Yes recordings at some time.
  • Page 11 Second Flute This is a real rarity of the early 80’s. Intended to push the good old ‘tron further in the battle against the forthcoming digital samplers, the second flute never quite made it to the 1963 (first) flute’s full fame. Solo Viola One of the presumably ‘lost master-tapes’...
  • Page 12 Vibes Recorded from a set of tapes that had clearly seen better days, we’ve been surprised at the number of people who love this vibe sound. Viola & Cello An ultra-rare combination of the presumably lost master-tape‚ Viola and a slightly different Cello recording. Violins 1 The famous 3 Violins recorded from the line-out of a modified MkII.
  • Page 13 Bill Wyman’s Mk II M400 – Walnut An M300 with speaker cabinet Klaus Schulz’s Mk V, M400 – known as ‘Snowwhite’...
  • Page 14: Contact

    ........

Table of Contents