And many times I walked on stage and saw miles and miles of tape strewn everywhere, and a very angry looking sort of a keyboard tech guy.
GEAR PLAYER 4 VS EXPRESS SCRIBE FULL
Ahh, the dear old Mellotron! They were fantastic, but they were full with problems. It was just great fun.īK: I don’t imagine you use an actual Mellotron anymore, do you? Every instrument basically produced one sound, so you had load of instruments just to produce that one sound. And myself and my engineer, we’ll spend probably about three weeks putting a rig together which will do the job that I want it to do. When I get back from Trevor ’s in the middle of August, I will know exactly what I want to put together for the rig for the tour. I mean I love them to bits.Īnd my rig is a real mixture of stuff going back to the Minimoogs of the early ’70s, and I’ve still got some keyboards that I used from the ’80s, and of course some very new ones as well. And there’s just something fantastic about them.
You can’t do that on any other way but on that instrument. So when you do, you press it, it can be anywhere within a certain cycle of what you set. Because these are constantly playing even when you’re not. Because of the nature of how the instrument is put together, there isn’t a way of accurately sampling them. I’ve still got a couple that I use, because they are unique. Because obviously you do not want to sit there twisting knobs and stuff while the rest of the band is standing there going, “You ready yet? Are you ready yet?” Because that’s when we really learned.īK: I remember in all the films that I’ve seen of back in the ‘70s, you used to have at least two Minimoog Model Ds. We’d all like to be younger, but the truth of the matter is, I’d like to be younger but have had all the experience of things of what I did in the ’70s. And that really….we look back…we sort of say, “Hold on a minute. You had to make the sounds to make them that. We were allowed to be individualistic because you had no choice! Because the instruments of the time weren’t individualistic. Because we were able to work with a lot of the keyboard companies and pioneer a lot of the things that happened. But I think, I think – I always had this discussion with the late Jon Lord as well we were very close friends – that the great thing was none of us would have traded that period of time that we grew up in. And we had to try and find ways of doing it, which sometimes took hours – if not days – to come close to do.Īnd then technology slowly caught up with us, and then raced ahead of us at a rate of knots. We dreamed, like so many, of creating good sounds. He wanted to do things that technically couldn’t be done. And there was sort of a frustration – although we didn’t realize it – in that it was a wonderful period, if you think about it, up until about the late ‘70s, almost, when the musician – especially the keyboard musician – was ahead of technology. And then once you made a noise you nurtured that noise and that became your … that’s what you did. But back in the early days, it really was that you got a hold of a keyboard … I mean, I’ve discussed it with my great friend, the late Keith Emerson: we’d get a hold of a new Moog or something, whatever it was, and you would just sit for hours in the hotel room trying to make it make a noise. You now have keyboards that have got thousands and thousands and thousands of potential sounds there’s nothing you can’t do, really, now. Rick Wakeman: I consider myself to have been … I was extremely lucky. As you discovered new keyboards or got your hands on new keyboards, did you find that each of them inspired you in some new direction just by virtue of the potential within each one? And you, of course, very quickly developed a reputation for intelligent use of the new technologies, whether it was Mellotrons, Moogs or whatever. No more were keyboardists limited to piano and organ. – BKīill Kopp: Right as you came to prominence, keyboard technology was really exploding.
Today I present that portion of our chat. As a keyboard player myself, I was thrilled at the opportunity to discuss gear with one of the great keyboard players.
During my conversation with Rick Wakeman, the subject inevitably turned to equipment.
0 kommentar(er)
