Shabby Chic SamplesShabby_Chic_Samples.html
Contact InfoContact_Us.html
Site NewsNEWS.html
Explore TracksTracks.html
Home PageHomepage.html
In the studio, Tony also used a Steinway D grand piano.  The Grand parts were overdubbed and added at Basing Street Studios (aka, Island Studios) during the vocal/overdub/mixing sessions.  Also added at Basing St (this is only theory) were overdubs of Mellotron parts.  Tony’s M400 only had three tape banks. On the lamb, Tony used many more than three sounds.  My theory is that either he had access to many tape banks or he used a MKII at Basing Street that had two tape banks loaded.  Just a quick assessment of TRON tapes you can easily hear on The Lamb are: Flutes, Choir and two different string sections.  The strings sound used on Fly on a Windsheild/Broadway Melody section were the vintage violin bank whereas the strings used on The Lamia were the string section bank.  There are a few other sections on The Lamb where I think Tony also used the HAMMOND C tape bank (as he did on Nursery Chryme - Seven Stones).  Also, rumored to be used on The Lamb was the ELKA string synthesizer. I have it from a very good source that the ELKA in fact was used on The Lamb (but for a very specific part).

So the question becomes, how was Tony’s keyboards recreated for the LLDOM project.  Let’s list the keyboards that were needed for the project and how they were duplicated:

RMI ELECTRA PIANO 368 - Wound up purchasing a vintage RMI ELECTRA PIANO and SAMPLING it.  There are now some other options available but the other sample programs did NOT sample the RMI’s combinations of sounds, rather they sampled each sound and allow overlay of the different sounds. This is not a good solution for the waveforms of the layered sounds are not in phase as is when the combinations are sampled.  

ARP PRO SOLOIST - Wound up purchasing a vintage ARP PRO SOLOIST and SAMPLING it. There are other PRO SOLOIST sample programs and even a FREE VSTi.  The other sample programs DO NOT allow or implement PORTAMENTO (glide between notes) correctly and the VSTi doesn’t always sound like the ARP PRO.  The samples made for the project take care of both issues.  They were made for KONTAKT which does have an accurate PORTAMENTO script and since the actual ARP PRO was sampled (thru HELIOS Pre’s and EQs) the sounds are SPOT ON.  One minor compromise was still made.  The aftertouch effects built into the ARP PRO have to be programmed in MIDI as CC data.  The real time ARP filter effects are also compromised but the sample programs did provide an adequate solution.

MELLOTRON Sounds - After many years of trying many available sample programs, I have settled on M-TRON PRO (with the STREETLY TAPES).  These samples are quite good and complete and the GUI is straight forward.  Bottom line, you have every TRON TAPE and it sounds good.  It would be impractical to try and purchase a real MELLOTRON and all the tape banks needed.  For about $100, you can’t go wrong with this product.  You can check it out at the following link:

HAMMOND T-102 and LESLIE 760 - You can try all the Hammond sample sets and VSTi’s you want.  There is only ONE WAY to get Tony’s HAMMOND sound.  That is to purchase the HAMMOND T samples made for this project.  I real HAMMOND T and LESLIE 760 were sampled both thru the LESLIE and the T Hammond was modded for DI as well.  If you examine the audio chain used, you will see that TONY’s sound was PART LESLIE and PART DI thru Echoplex(s).

STEINWAY D GRAND PIANO - Still searching for the right STEINWAY sound.  I have purchased every STEINWAY sample set available and quite frankly, they all sound too good.  For now, the GRAND PIANO parts are a compromise.