Sorry, I’m not buying that argument.

Although I don’t have a real Mellotron at my disposal, there are quite a few demos out there of the real thing, not to mention a vast collection of 70’s albums that made heavy use of it. Also, I do own a few emulations to reference against (yes, I know it’s not the real thing, but it’s something). You don’t find that fast and pronounced vibrato on the standard string/orchestra patches or voices. As I said, it is a part of the sound that is recorded into the flute patch. But why is it applied to all the sounds, except that perhaps it was engineered as an independent element of the emulation and is set as an all-or-nothing portion of the circuit?

And obviously, from a quick search of this and other online forums, I’m not the only person who dislikes it.

But, prove me wrong: Post a side-by-side of a real Mellotron compared to the Mel9. I’ll be happy to listen to your reference materials and compare the two. I could be mistaken, but at the present I don’t think so.

Otherwise, your reply above sounds like you’re just trying to gaslight me, then you’re telling me to go away.

–m.