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Re: [ARSCLIST] Quarter-inch splicing tabs



Hi Aaron:

That's really sad news. I too, am a huge fan of Joe T. I look at it this way -- at least Joe got a good pile of dough for years of great work. There are many classic studio owners not so lucky.

-- Tom Fine

----- Original Message ----- From: "Aaron Levinson" <aaron.levinson@xxxxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Thursday, March 23, 2006 11:28 AM
Subject: Re: [ARSCLIST] Quarter-inch splicing tabs



Unfortunately Joe T. (who I love) sold the studio to a total moron who ripped out the "A" room that all the old Philly soul classics and Young Americans were recorded in!

He turned the studio that was home to the second highest number of Gold records ever into just another over-designed Pro-Tools dungeon and destroyed a critical piece of recording history and Philadelphia lore in one swell foop. I still lose sleep thinking of this travesty.

Still licking my psychic wounds,

Aaron
On Mar 22, 2006, at 7:54 AM, Marcos Sueiro wrote:

Thanks for the correction --amazing that Sigma Sound was still working until two years ago. Truth be told, I was never a big fan of that sound, although it really is a feat of engineering...

marcos

--On Tuesday, March 21, 2006 6:18 PM -0500 Tom Fine <tflists@xxxxxxxxxxxxxxxxxxx> wrote:

Hi Marcos:

It was Joe TarsiA, founder and owner of Sigma Sound Studios. Joe sold
Sigma only a couple of years ago. That place was definitely home of the
Philly Sound, second home of Gamble and Huff (sp?). Their NYC studio was
the birthplace of the Village People, for better or worse (definitely
better for Sigma, as all those gold records led to a disco-fueled hot
hand).

-- Tom Fine
----- Original Message ----- From: "Marcos Sueiro" <mls2137@xxxxxxxxxxxx>
To: <ARSCLIST@xxxxxxxxxxxxxxxx>
Sent: Tuesday, March 21, 2006 9:42 AM
Subject: Re: [ARSCLIST] Quarter-inch splicing tabs


I have
had a couple of opportunities to be a "recording artist" (popular
music, not classical) and I have found that as soon as musicians
find out the opportunity for "changes via edit" exists, they
immediately discover a near-infinite number of "flaws" in their
solos which need to be corrected!

So true. So goes also with artists who want to change the volume of one track in the mix by half of one dB, or move one note in a solo by miliseconds.

Perhaps my favourite quote from an ARSC Conference came in Philadelphia
from Joe Tarsio, pivotal  engineer for the "philly sound" of the 1970s:
"Remember, automation was supposed to *save* us  time!"

Marcos



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