Thanks for posting. That's a strong cup of tea... the transition section is like a new song really...very nice; my sound is a little muddled, but the drums and voice seem especially strong... interesting versions.
Love the rock solid intro-groove by Chester. This is great stuff and I understand the modernization, but man, Tony never managed to replace the Mellotron. The polysynth here sounds more like an accordion. Would have needed a ton more of chorus-ensemble and some EQ to get some weight and depth. Tony is brilliant, but I never understood why he gradually made his keyboard sounds worse and worse and worse. He peaked from around 1973 (ARP ProSolist was added) through about 1980 (Mellotron gone, organ still there one last time) IMHO.
I guess the reason is he ditched heavy and unreliable instruments such as the Hammond and the Mellotron for things such as the Prophet 10 and the Roland String Ensemble. It seems that he didn't really bother in the sounds getting less "Genetic".
@@joaquinvelazquez913 I agree with 1978. The RMI was the weak point before that. Must have been very hard using the ARP 2600 instead of the ProSoloist. No patch memory. TBH I never was a fan using twin oscillators on all patches. It was modern by 1978, but I miss the tone of the ProSoloist. Of course Tony got rid of the instruments that are heavy and unreliable, but the replacement IMHO was often questionable. The Roland vocoder to replace the Mellotron 8 choir, later the NED Synclavier for solo synths with harsh artifacts and without Tony's trademark portamento.
@@truefilm6991 Although i surprisingly like the quirky almost shitty sound quality of the RMI, yeah i have to admit that the whole thing elevated when he replaced that with the Yamaha piano. The 2600 must have been very annoying to use live but it sure sounded good! But i think that the ultimate replacement was the Quadra. I wonder why he stopped using it for leads and instead got the Synclavier. Maybe the creamier analog synth sounds were getting outdated and he decided to compromise with the industry asking for more harsher, digital sounds of newer keyboards that were popping up. And regarding the Mellotron, i don't think there's actually a proper replacement for that. Nothing will top it's essence, maybe the CMI Fairlight, but it still doesnt even come close.
I saw this show at the CNE. It was epic!
Nice!!
Thanks for posting. That's a strong cup of tea... the transition section is like a new song really...very nice; my sound is a little muddled, but the drums and voice seem especially strong... interesting versions.
CLASSIC 'GENESIS, NICE ONE 👌 👍 POLLY AVIS DRUMMER 🇬🇧🥁😊
Love the rock solid intro-groove by Chester. This is great stuff and I understand the modernization, but man, Tony never managed to replace the Mellotron. The polysynth here sounds more like an accordion. Would have needed a ton more of chorus-ensemble and some EQ to get some weight and depth. Tony is brilliant, but I never understood why he gradually made his keyboard sounds worse and worse and worse. He peaked from around 1973 (ARP ProSolist was added) through about 1980 (Mellotron gone, organ still there one last time) IMHO.
I do agree with you on that one. 👍🏻😉
I guess the reason is he ditched heavy and unreliable instruments such as the Hammond and the Mellotron for things such as the Prophet 10 and the Roland String Ensemble. It seems that he didn't really bother in the sounds getting less "Genetic".
IMO his peak setup was 1978 (CP70 piano, Polymoog, ARP 2600, Hammond T102, Mellotron) or maybe 1980 (CP70 piano, Prophet 5, ARP Quadra, Hammond T102, Roland Vocoder)
@@joaquinvelazquez913 I agree with 1978. The RMI was the weak point before that. Must have been very hard using the ARP 2600 instead of the ProSoloist. No patch memory. TBH I never was a fan using twin oscillators on all patches. It was modern by 1978, but I miss the tone of the ProSoloist. Of course Tony got rid of the instruments that are heavy and unreliable, but the replacement IMHO was often questionable. The Roland vocoder to replace the Mellotron 8 choir, later the NED Synclavier for solo synths with harsh artifacts and without Tony's trademark portamento.
@@truefilm6991 Although i surprisingly like the quirky almost shitty sound quality of the RMI, yeah i have to admit that the whole thing elevated when he replaced that with the Yamaha piano. The 2600 must have been very annoying to use live but it sure sounded good! But i think that the ultimate replacement was the Quadra. I wonder why he stopped using it for leads and instead got the Synclavier. Maybe the creamier analog synth sounds were getting outdated and he decided to compromise with the industry asking for more harsher, digital sounds of newer keyboards that were popping up. And regarding the Mellotron, i don't think there's actually a proper replacement for that. Nothing will top it's essence, maybe the CMI Fairlight, but it still doesnt even come close.