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" <[log in to unmask]>
To: <[log in to unmask]>
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 <[log in to unmask]> 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" <[log in to unmask]>
>>> To: <[log in to unmask]>
>>> 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
>>