mikepinder.com :: View topic - Keyboards used on certain 'Moodies' tracks

Jimlad · Member

Hi Mike,
I am new to this forum and firstly, many thanks for such a great site. For many years, I have been very interested in all aspects of the ‘Mellotron’ and this includes your association with it - from the earliest days, when you were with the ‘Moody Blues’ and now.
As a newcomer, I do hope that I am not walking over ‘well-trodden’ ground here or that I have posted this to the incorrect forum category, but the following is related to when you were with the ‘Moodies’ and have had me wondering for a long while:

1) What particular instrument(s) did you use for the ‘strings’ and other keyboard ‘voices’ on my No.1 favourite track: ‘Out And In’ from the Moodies: ‘To Our Children’s, Children’s, Children’ album? I ask this because, in my opinion, the ‘strings’ on this particular track sound distinctly clearer, are more lush and are of a richer texture compared to many other tracks. I seem to remember reading somewhere, that apart from the Mellotron Mk II, you might have used a Chamberlin on the track: ‘Watching And Waiting’ from the same album; was this the same case for: ‘Out And In’? In addition, I would also be very interested to know of tracks where you used Chamberlins?

2) Another Moodies standout track – in my opinion where the ‘strings’ sound very clear and lushly textured - although sounding different to ‘Out And In’, is: ‘New Horizons’ from the: ‘Seventh Sojourn’ album. What keyboards did you use on this track?

3) On the Moodies: ‘Caught Live + Five’ album, to my ear, your live Mellotron sounds distinctly clearer and sweeter on some tracks vs. others on the same album. I particularly refer to, ‘Never Comes The Day’ and ‘Tuesday Afternoon’ - which in my view, are the standout Mellotron tracks from that live album. I was wondering if this was simply due to the recording, process / techniques employed at the time? Also, was the varying sound quality perhaps in part be attributed to your Mellotron ‘misbehaving’ during that live performance at the Royal Albert Hall?

4) Perhaps because of their structure and maybe because you composed some of these, to me and to many others – I’m sure, certain Moodies tracks are ideally suited to make optimum use of the Mellotron. In line with this, were any Moodies tracks composed purely as a showcase for the Mellotron? I would be very interested to know your favourite ‘Mellotron Friendly’ tracks?

Apart from the five tracks mentioned above, a few more of my favourite Moodies’ Mellotron classics include: Nights In White Satin (live version from: ‘Caught Live + Five’) / The Sunset (live version from: ‘Caught Live + Five’) / The Voyage / What Am I Doing Here / Question / Gypsy/ Eternity Road / How Is It (We Are Here) / My Song / When You’re A Free Man.

Quite a lot for one post, I know, but I would greatly appreciate it if you or any other members could possibly respond to some of these – many thanks.

Cheers and regards,
Jimlad.

Charles Thaxton · Super Moody

hi Jim- Mike can correct me here if I make any errors...

1.I believe Mike was using a M300 and MK2 on Children's album...the M300 strings were new recordings and much more realistic sounding.

2. I don't think Mike acquired or used a Chamberlin til Seventh Sojourn..it's all over the album (strings brass cellos flutes..) plus his standard customized Pindertron.

3. I'd say "Have You Heard/The Voyage" suite is a definitive Mellotron showcase (with the middle Mellotron orchestrations simulating Strauss' "Also Sprach Zarathustra"...as is "Beyond" which is almost totally Mellotron.

Mike was constantly upgrading and customizing his MK2 with new circuitry and re-recording his own tapes so his sound was very different in many cases from stock MK2s other bands used.
The MK2 on LIVE+5 sounds different on some tracks probably due to vibration or distortion of the tape heads when the band was playing louder. I always had to set up my keyboards & tron on opposite side of the stage from a bass player due to bass amp vibrating the tron during loud songs and making the tape flutter/distort on the heads as it flowed.

Charles Thaxton · Super Moody

http://egrefin.free.fr/eng/mellotron/m300photosE.php

Ryan · Super Moody

An overview of some of the various keyboards Mike played:

Moog modular synth used for various sound effects beginning with In Search of the Lost Chord. Minimoog on A Question of Balance and Every Good Boy Deserves Favour for songs such as "How is it We are Here", "Melancholy Man", and the beginning of "Procession".
Besides piano on many songs there is some type of pipe organ on "Watching and Waiting". Harpsichord on "Cities", "House of Four Doors" and "Procession". Also, sounds like Hammond organ on "Procession". A good example of the Chamberlin is on "For My Lady" and likely "Isn't Life Strange". Mellotron 300 on "Never Comes the Day". New Mark II tapes first used on Every Good Boy Deserves Favour.

All this info gathered from various interviews and years of listening. Please correct me if I'm wrong, Mike.

Charles Thaxton · Super Moody

Thinking Aloud · Super Moody

The "Out and In" voice is, I believe, the MkII Three Violins, with various parts overlaid. I had a go at emulating the Tron arrangement using samples of this voice a couple of years ago, and it sounded very similar. If Mike doesn't mind, I'd post it here and you can compare.

The M300 strings can be heard in "Watching and Waiting" ... and I wonder whether these were also used in "Question" ?

And yes, Chamberlin all over Seventh Sojourn!! Just the other week I had a go at emulating the "Isn't Life Strange" intro and first verse using Chamberlin samples and a real flute.

Edit: oh and the harpsichord also appears in "Procession" and "Island".

Edit 2: I think this is the first time I've posted from California...

Jimlad · Member

Many kind thanks to all of you ('Charles Thaxton' / 'Ryan' / 'Thinking Aloud') for your valuable responses – much appreciated.

With regard to synth usage, A 'Miller Freeman Books' publication titled: 'Vintage Synthesizers' by: Mark Vail, mentions the British manufactured ‘EMS VCS3’ and ‘The Moody Blues' use of it - along with other groups (circa: early 1970's).
From my limited knowledge, a couple of examples of that synth’s sound can be heard prominently on the track: 'Cirkus' from the: 'Lizard' album by: 'King Crimson' and on: 'Backstreet Love' by: 'Curved Air'.
To me, the synth sound on those two tracks sound pretty similar to that heard on the mid instrumental section of: 'Dawning Is The Day' from the: 'A Question Of Balance' album.

I might be ‘off track’ here, so any comments?

Jimlad

Ryan · Super Moody

Many British bands including Pink Floyd and Led Zeppelin used EMS synths. I saw Curved Air in 1972 and they had two VCS3's on stage.

Another keyboard which Mike owned and might have recorded with is the RMI Keyboard Computer, probably the KC II model. This was the first commercially available digital synthesizer which first appeared around 1974. The synth on "Steppin' in a Slide Zone" from the Octave album was a Yamaha, quite likely a CS80 model.

DanCowan · Member