The successor to G-Force's popular M-Tron instrument brings dual layers and subtractive synthesis to the Mellotron party — but also manages to keep authenticity firmly in mind. Back in the heyday of progressive rock, the mighty Mellotron was the keyboard to own if you dreamed of creating lush orchestral textures and eerie, Gothic atmospheres. It was also very much a luxury reserved for musicians of sufficient financial standing. Fashions changed, however; the 1970s gave birth to string synthesizers, polysynths, punk and disco, as well as a generally dismissive attitude to all things musically 'intellectual'.
The Mellotron — along with its notorious unreliability and all its bombastic associations — fell from favour. When Streetly Electronics went into voluntary liquidation in 1986, it seemed that the Mellotron was to be unceremoniously consigned to the same scrap heap as the wind-up gramophone. However, ardent supporters were still to be found championing the cause, and in the 1990s, prominent artists such as Crowded House, Lenny Kravitz, REM and Radiohead were to spearhead a Mellotron revival. The subsequent resurgence of interest in the instrument, along with the proliferation of affordable samplers, had an inevitable result. One by one, long-neglected Mellotrons were finding themselves being dragged out of their mothballs, dusted down and transformed into sample libraries — either for private use or commercial sale. Because the Mellotron always was, and still is, a fabulous-sounding instrument.
Everyone knew it all along, but it took a leap in technology to make its glorious sounds available to, and affordable by, anyone who wanted them. Then along came VST plug-in instruments, and G-Force were right there in 2000 with the first virtual Mellotron — the M-Tron.
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This delightfully simple, no-nonsense recreation continues to be astoundingly popular, having found its way into countless musicians' sound arsenals. Eight years were to pass until the next major virtual Mellotron offering (IK Multimedia's SampleTron, reviewed in the August 2008 edition of SOS) — a length of time that's somewhat surprising, considering how enthusiastically the world has once more taken Mellotrons to its bosom. In timely fashion, the long-awaited 'Pro' version of M-Tron was finally announced earlier this year at the NAMM show, bringing a new synth engine, lots of extra features, and a significantly expanded core library. If you've seen or used G-Force's Virtual String Machine (VSM), M-Tron Pro's user interface will look very familiar to you. Its synth engine is based around the same one used in VSM, albeit with a number of differences that we'll examine in due course. For a full‑blown description of VSM's synth engine, I recommend reading the VSM review that can be found in the May 2008 issue of Sound On Sound. M-Tron uses the same dual-layer structure as VSM, offering two independent sample players, each with its own subtractive synthesis controls.
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Sounds can be loaded into either Layer A, Layer B, or both. Each Layer features a syncable LFO (for pitch only), a choice of low‑pass, high-pass or band-pass filter with cutoff frequency and resonance, ADSR filter envelope, ADSR amplifier envelope, aftertouch response (to filter) and velocity response to filter and amplifier. The signal chain ends with a pair of global effects that process the sum of both Layers. The two Layers can be edited individually or simultaneously, and the key-range of each Layer can be adjusted to enable 'split' or 'dual' keyboard configurations. Each Layer also has individual level, pan and detune controls, together with a Layer 'solo' function to enable the user to isolate either Layer while editing. M-Tron Pro can be used as a stand-alone instrument or as a VST, RTAS, AU or MAS plug-in. The M-Tron Pro's controls are all clearly set out on the instrument's single-screen interface.
The red highlighting around the knobs, buttons and sliders indicates that the controls are focused on Layer A. In contrast to VSM's global pitch-bend range, M-Tron Pro provides independent bend ranges for Layers A and B, a useful facility lending itself to a variety of psychedelic applications! Whereas VSM's Layers include a Tune knob (+/- 12 semitones), M-Tron forgoes this in favour of a button labelled 'half speed'.
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