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You can check with Martin (tronbros@...) for the cost and
availability of a restored Mark II beastie from those guys in the
UK. You're into the 5 figures, though, for that type of unit---not
to mention the additional shipping/duties charges and the cost of
three guys and a lorry to help you get it home. Don't say I didn't
warn you. :-)
Yes, I'd agree with the above. The cost is high because there weren't many made ( 300 or so ), and if you get one which has been restored by Streetly (recommended), there are a lot of Mr. Bradley's hours included in that price (but this is a good thing). If you are lucky like Jerry Korb or Jimmy Moore you can find one on your own (for possibly less than five figures), but then you need to put it into decent playing condition, and that's the tough part - ask Jerry. Of course, it helps if you have the patience and talent of Mr. Korb. Can't wait to see "Julia" restored!
Of course, the cost is greatly affected if anyone famous was a former owner, or it is a special MKII (like the rare black ones). I think that the black Pink Floyd MKII was sold for 10,000 Pounds ($16-17K) a few years ago. Mine was a lot less, but still over the five figure mark. When I told Martin Smith (of Streetly) that I was interested in getting a MKII, he tried to sell me one formerly used by the band Spring. Upon further discussions with him, I opted for one in better condition. He later admitted that the Spring machine had indeed once been *used* as a chicken coop in a barn (thanks for the heads up on that Smellotron, Jerry!).
Is it worth it? Well, put it this way: I think the hair on the back
of my neck is *still* standing since Ken and I fired up his Mark II
the first time and played 3-violins through the Mark II's amps and
ancient Wharfedales. Holy crap!
It was worth it to me. People spend all kinds of money for collectible things (any Mellotron falls into that category, especially the double keyboards), but my interest in the MKII is mainly musical. My goal is to make music and record with it. Of course, samples are easier, but not quite the same.
It's worth much more than my car, so maybe that puts things in perspective.
But, of course, Merbler insists on going through line outs and direct
boxes to record his machine---pleh. I'm anxious to get over there
with some mics and do it the right way. ;-)
Pleh?
I'm still experimenting with it, trying to get *that* classic MKII sound. I'm using the direct outs w/ direct boxes and balanced cables at the moment (makes things nice and quiet - a major step forward), but Ken L and I will try to mic it up soon. We're hoping that Fritz (fellow moneypitter) will come up one of these days and show us how the pros do it.
At least I got rid of the wobblies I was experiencing the other day. Funny, most of them went away before I popped (or should I say slid) the top on the MKII. It was almost like #247 saw me with the screwdriver in hand and started behaving. I think, more likely, that the more you play them the better they behave. Makes sense when you think about it - flat spots on pinch rollers work themselves out, etc.
Hope this answered your questions, Bernie.
.
Ken M.
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