Mike Tarsia Recording

new addition Sigma DI with UTC A11 xformer..Radial line splitter..lays flush then can pull up and lock like a table top.. ability to run into 3 discrete pre amp/limiter/eq chains

new bk 11 and kb2a RCA's

.003 micron air filtration system added to studio..99.97% of bacteria and VIRUS' removed

new addition Sigma DI with UTC A11 xformer..Radial line splitter..lays flush then can pull up and lock like a table top.. ability to run into 3 discrete pre amp/limiter/eq chains

New patch bay in and gear installed in racks!! Keeping up to date with new and vintage gear

on Friday , I’ll be the only studio to offer DW Fearn and U67 for vocals PLUS the exact vocal chain... electrodyne fully restored from the original console channel strips ...La4 and U87 that was used on the biggest hits out of sigma.. it took a minute to do but now you can’t cut vocals anywhere better

WE DID IT !!!!!! Sigma moves onto the next step in it's preservation..was on zoom with the historical society

Km 84 and a km 86 on pearl congas with doc gibbs playing ( Grover washington, musical director for Emeril)

Just picked up a u67 so we have that , u87, km84, km86 with the neumann badge to utilize

So Media Sound was Polident, the Village Recorders were Hormel Ham..rich people who wanted to be in music,.

32 mixes in the queue ...4 different artists

just imported 10 songs for a mix/master project smooth jazz gtr stuff

Hello, I’m Michael Tarsia, son of Joseph the founder of Sigma Sound Studios. I’d like to address the people involved in the determination of the fate of the edifice on 212-214 N 12th street as well as the true meaning of it and the music community it served. ... Joe Tarsia started his career at AMS, a small studio in south Philadelphia, and later moved to the historic Cameo Parkway label and studios [which went under the wrecking ball recently]. Many seminal hits were recorded at Cameo The Twist, Meet Me on South Street [the hippest street in town] Mashed Potato Time, The Butterfly etc etc. Well before my father staring a recording business at the 212-214 location, a visionary recording engineer, Emil Corsin owned a studio called Rec-O-Art studios on the top floor of the building. The music history of this location goes back a decade before Sigma was founded in 1968. Joe Tarsia, whose background was in electronics, envisioned a studio that combined cutting edge technology with client services on an unprecedented level. From the day it opened in 1968, the studio created a buzz locally and nationally. When a new generation of tape recorder came out, Sigma purchased it, when the technology wasn’t available, Sigma personnel designed it. Earliest [if not first] automation in a recording console?...Multiple tape machines locking in a quick intuitive format?...Sigma Sound employees created it or installed it . The hit records and artists who walked thru those doors are well know to all. But more importantly, during a time of racial strife throughout big cities in our country, Sigma Sound and the clients and musicians who worked there broke racial and cultural bias to create a rainbow family of music. Musicians hailed from every neighborhood in Philadelphia. Blacks, Whites, Latinos, American Indians and Asians worked together. Gay, straight and even early transsexuals found a welcoming place behind its doors. Sigma was not just a legendary recording studio, but a place of inclusion during troubling times. The Delaware Valley has been woeful in preserving its great musical history. Many iconic places no longer exist. Myself and my family believe a great home for the legacy of all music and music recording in our area as well as the history of music in the 20th century would be well served by saving Sigma Sound and making an interactive museum at the 212-214 location. Other cities have saved their historical musical legacy, let’s see Philadelphia follow the tradition. Thank you for your consideration, Michael Tarsia and the Tarsia family

https://ethanwiner.com/mixerman.htm outting people who don't follow basic science in audio

went off on an audio site lol i got an electrodyne 711 channel strip [pre..eq..altec wire fader ] to a la4 to another 711 channel strip line in where i can ride the input to the limiter and output from it to the A/D ..for when people want the sound of philly ..we didn't crush sound ..its the CLA anti christ..no diss .. it's cool to nail a limiter and get a "sit in the mix rock vox" ..CLA wise ..but for other music , as my gf says "it's a shanda"..personally a hammer isn't art to me unless you are making mt rushmore..i analize on the subtle..and expect the band to give me the palate to work on when i am the "engineer" ..when i produce?, i demand it ..or tell them.. hire someone else..lol ya got me up 2 days in sessions.... i sweat this stuff like the first day i sat in the chair and hope i never don't sweat it

so i've been busy mastering and mixing ..herb smith patti labelle's old gtr player mastering stems then pete rudd her old drummer ..mastering his gospel stuff..then a metal band in LA ... and mixing a rapper dude in west philly and mastering 2 projects for donald robinson... good month this month..all i got to do is finish up with the rapper then start mixing james knight ..alrighty!!!

think a lot of people must be making music during this crisis....just this week i got booked to do 20 songs mastering ,10 mixing with a hold on 15 mixes mid may 2 separate projects from former patti labelle's old band members and mastering for renowned percussionist Pablo Batista