Blue Note Records Bobby “Electronic” Eli Bob Thiele Brian Eno Bureau B Can Chemikal Underground Cluster Conny Plank Crammed Discs Deluxe Dieter Moebius Don Renaldo Dr John ECM Records Flying Dutchman Productions Gamble and Huff Grönland Records Guerssen Records Hans-Joachim Roedelius Harmonia Hats High Hi Records Holger Czukay Hubro Music Jethro Tull John Martyn John Paul Jones Kent Soul Kraftwerk Led Zeppelin Light In The Attic Records Loleatta Holloway M.F.S.B. We know all about Carl Dranoff’s plan to convert the former site of Philadelphia International Records into the sky-piercing SLS International Hotel & Residences.Tags Ace Records Alfred Lion Atlantic Records A Walk Across the Rooftops Baker Harris Young BGP BGP Records Black Jazz Records. Now comes word that the former site of Sigma Sound Studios at 210-14 North 12th Street, the other building where “The Sounds of Philadelphia” was quite literally engineered, has been sold for redevelopment.Īccording to Natalie Kostelni of the Philadelphia Business Journal, entities under the names 210 North 12th Street Investments L.L.C. and 212 North 12th Street Investments L.L.C purchased the historic building for $1.55 million and plan to convert it into a yet-to-be-determined number of apartments. The public meeting will be held virtually at 9:30AM on Wednesday, August 19th and is. The legendary recording studio was founded by Joseph Tarsia in 1968 and went on to produce hits from Billy Joel, Patti Labelle, Harold Melvin and the Blue Notes, The Village People, The Roots and many more hit-makers in its state-of-the-art environment. Two cultural heavy-hittersSigma Sound Studios, the birthplace of Philadelphia soul, and the Brutalist icon International Houseare on the agenda for this month’s meeting of the Philadelphia Historical Commission’s Committee on Historic Designation. Back in October, a rare reel of David Bowie’s Young Americans sessions recorded at Sigma in August 1974 was found by Drexel professor Toby Seay.
Drexel University inhertied the library of 6,200 master tapes in 2005.In his book What’s That Sound? An Introduction to Rock and Its History, John Covach makes the case that “…different recordings have what might be thought of as ‘sonic signatures’ – features that mark them in terms of where and when they were recorded, as well as by whom” (Covach 2009). This statement implies that music recordings can have uniquely identifiable sounds involving characteristics other than the music performance alone. Such characteristics can correspond to the perceived acoustic environment, specific recording technology, manipulation of technology and recording workflow procedures. Susan Schmidt Horning described the recording studio’s working environment by saying “…the studio became an instrument in its own right, which musicians and producer-engineering teams exploited to create new sounds, rather than simply trying to capture them” (Horning 2004). This statement describes an explicit desire to manipulate the studio environment for the creation of unique sonic characteristics. Wrote It Down and Burned It (Live at Sigma Sound Studios, Philadelphia. This sonic manipulation, and the skills necessary to control this manipulation, is further described by Horning. You Must Go (Live at Sigma Sound Studios, Philadelphia, Pa 1996)John Hiatt. “Studio engineers, whether through miking, reverb, or mixing, are engaged in reconfiguring the sonic space of the studio. To do this effectively engineers build up not only tacit skills, but also a vocabulary to describe sound” (Horning 2004).
This building of tacit skills hints at the insular nature of knowledge and training within the recording studio environment. 12th Street in Philadelphia, it was the second studio in the country to offer 24-track recording and the first in the country to use console automation. Junior engineers traditionally learned skills from senior engineers and continued the chain of knowledge to others as they rose through the hierarchy of the studio. Sigma Sound Studios is an American music recording studio in Philadelphia, Pennsylvania founded by recording engineer Joseph Tarsia in 1968.
Therefore, in smaller markets where the majority of music production was created in a selected few facilities, such as Philadelphia, Detroit or Muscle Shoals, there is a higher probability that these tacit skills could create uniquely identifiable sounds associated with each recording community. The production of these identifiable sounds creates a new entity separate from the original musical performance. Or, as Pauline Stakelon writes, audio recordings “involve a translation of the sound into a new object, allowing for culturally contingent expectations about these sounds to be introduced into the mode of production” (Stakelon 2009).
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