View allAll Photos Tagged mixingconsole
Leica M-A
Zeiss Sonnar 50mm f1.5
Portra 160
Mixing my latest album on a vintage console, the very one that was used for Queen's "A night at the Opera". With Daniel, the magician.
Unity Gain, .... the upshot of cooperation.
Taken on a Mix Stage at Sony Pictures Studios a couple years ago. This week marks my 10th consecutive year working for them, but the big change is I'm working from home in another state.
When I took the picture it would have never been an option. It is incredible how fast things can evolve.
The same faders from a different angle:
www.flickr.com/photos/larrygoeb/41097561611/in/dateposted...
Dialogue mixer working on Dub stage 12 at Sony Pictures Studios (Columbia/Tri-Star) putting the final touches on a show called "Future Man" for Hulu.
Test shot from new camera straight out of the box. Hadn't yet changed the settings to raw yet, so shot as a Jpeg at 3200 ISO in very low available light. The electronic shutter is awesome, great for candid shots.
Taken through the rack, with cables hanging down from the patch bay. I did sound design for the play "The Madwoman of Challiot" and Megan was the sound operator.
KROKE - live aus dem Jazzt Musik Club - vom 29.11.2015 - weitere Fotos unter:
www.jazzfoto.at/konzertfotos15/kroke/Index.htm
Besetzung:
Tomasz Kukurba: vla, voc
Jerzy Bawol: acc
Tomasz Lato: db
Jan van Dalen in the old RK1 studio with EMT turntables and 3x M15a Telefunken taperecorders. A LCD-Philips mixer and the smaller Onyx-mixingconsole. And the Chiradain 6 channel mixer. Loudspeakers by Klein uns Hummel. More or less the NOS (standardised) radio equipment in the Netherlands back than.
Photo via Theo van Ewijk. A Ohio Sound dj booth, with 1 Sony recorder TC-378 and a pair of Lenco turntables a mixingconsole under the two amplifiers.
I don't know if I should be sharing this with the world but while I was recording at J's studio I saw a picture in the opening of the mixing console. I pulled it out and here is a picture of a girl lying completely naked on top of the very mixing console I was leaning against. J bought the mixing console from someone who claimed that it was previously owned by Roy Orbison's sound guy. When the man sold the board to J. He told him to keep the photo with the board. The photo belongs to the board. Crazy.
RAY ANDERSON - HAN BENNINK - ERNST GLERUM - PAUL VON KEMENADE - live aus dem Jazzt Musik Club - vom 14.01.2016 - weitere Fotos unter:
www.jazzfoto.at/konzertfotos16/anderson_bennink_glerum_vo...
Besetzung:
Ray Anderson: tb
Han Bennink: dr
Ernst Glerum: db
Paul von Kemenade: sax
Mixing board from Electric Lady Studios at Museum of Pop Culture in Seattle, Washington - © 2018 David Oppenheimer - Performance Impressions photography archives - www.performanceimpressions.com
Finally a word from the person, who the Labour Government empowered to rid the international waters around Britain's coast of the offshore Broadcasters, Edward Short, the Postmaster General, in the days before British Telecom, when the Post Office did it all. In this newspaper clip from the now defunct 'News of the World', ever a rag to promote sensationalistic claptrap, in this and other instances, reported on the state of the Offshore Broadcasters, particularly if there was sex, a financial scandal or murder involved, one could rely on the 'News of the Screws' to tell all. As can be read, much was made of the 'danger to shipping', the use of 'Maritime Broadcasting Wavelengths' and 'Interference', all sounded a bit of a stitch-up, the writing was on the wall and there wasn't going to be any negotiations or reprieve. The supporting, hand-drawn/written documents are my own, there being no computers, printers and such in these days so it all had to be done by hand; though Practical Electronics wasn't all that far off in producing articles for the 1st bread-board logic circuits etc and a decade later the first computing circuitry. In 1966 it was pen and pencil and on the left a pictorial representation of the Medium Wave radio band showing at the bottom, the wavelength end around 195m, Radio Caroline south and then listing a;; the others then extant in 1966 along up to the longer wavelength end at 550m with the 'Home Service' as it still was at that time and below that the 'Third' and below that the last of the pirate ship frequencies used, 390m, the 'sweet music station, Radio 390. Following on to the right, 2 tables now, fancy!, showing the details of all the ships, the 1st, detailing frequency/wavelength, transmitter PEP power, the station operating times and location with service area. The second table lists all other information available in the 1966/67 era, again station name followed by position of the ship, light vessel or fort, the latter in the Thames Estuary and were all military, gun-emplacement, structures built for the 2nd World War. Following on from their locations, the owners of the vessels, the Thames forts having simply just been occupied as they were left empty, the dates of commencement and demise of the radio services from each vessel/fort and also the advertising rate; Radio Caroline with 50 and 20kW transmitters on its two ships and hence with the greatest coverage, commanded the highest rate of UKP90 for 30 seconds advertising. Radio London with 75kW and Britain Radio/Radio England, broadcasting from the ship, the MV Olga Patricia also apparently renamed later to the MV Laissez Faire with 55kW each station, were the next most expensive at UKP56. To the right, above the two tables is a hand drawn map of just segments of the UK coastline, showing at top right, the west coast of Scotland and the location of Radio Scotland, an old light vessel. To its right, the north-east Yorkshire coast near Bridlington and the location of Radio 270, both stations could be received in the late afternoon, when changes in the Ionosphere during sunset assisted in signal reflection, something which was also the cause of the famous 'Luxembourg effect' of station reception fading in and out. Radio Caroline North was anchored off the Isle of Man and didn't get included in this drawing, but its south of the position of Radio Scotland, about 85 miles away. The lower part of the diagram shows the larger Thames estuary and the positions of the forts, Radios Essex, 390 & City near Southend-on-sea and to the north of these, off the coast of Walton-on-the-Naze/Frinton-on-Sea/Clacton-on-Sea and Colchester, Radios England, Britain, London and Caroline South.
It is currently 14:20 and this work has been on-going since the middle of last week, with all this text narrative typed in whilst listening to the on-line version of Radio Caroline North, so its now 45 minutes to when I know exactly where I was, 50 years ago, listening over the airwaves, scanning the dial from station to station, but mostly listening to Radio London as they were the ones which decided to close in the afternoon so staff could get back to London for the parting, if it can be termed in that way. Paul Kaye was the last voice to be heard on the station, at just a minute or so before 3pm, with the words already quoted, 'Big L time is three o'clock and Radio London is now closing down', then the airwaves went silent but I could still here the slight hiss of the transmitter's 75kW carrier signal and waited a few 10s of minutes until that too was switched off... then that was that. Time to re-tune to Radio Caroline and wait out the rest of the day until just before midnight Radios 270, and Radio Scotland also went; all the other had variously given up and the dates are in the lower right table shown here. After midnight, there was only one voice transmitted on 2 frequencies, 257 and 259m on the medium waveband, Caroline North and South, with Johnnie Walker and Robbie Dale in fine form, hosting the midnight-hour program on Caroline South. Be that as it may, the stations now had little more than 7 months life left, before they too finally succumbed; but the Phoenix it seems, not quite extinguished, has once again risen from 50 year old lukewarm ashes! 'We shall overcome', as was the persistent message of the final hours on MV Mi Amigo and Frederica/Caroline....
Paul Kaye, the first and last DJ on Radio London, died on the 4th November 1980, aged only 46...
A scattering of the newspaper reports about what happened during and just after the closes of the offshore broadcasters. At upper and lower left, a piece from the New Musical Express Annual in 1968 with an article about the new order by Derek Johnson. The cartoon by 'Racine' at upper left, says it all really about how the new order was taking over from the old, if that's what was happening though it wasn't all that obvious at the time as the Pirate Stations which had been enjoyed by millions, see last mosaic piece for the details, was replace by a single station who's output wasn't all that credible. Johnson goes on to describe how the new set has been grafted into the Beeb using as much as possible in terms of copying the Pirate Radio style, their vessels amusingly depicted in the Racine cartoon. IN the lower left continuation clipping from that above, shows a picture of the original team, recruited by 'Auntie BBC' to work on the new station, Radio One, Britain's new 'pop music' channel, though it was very far from that when it got going, the 'team' consisted of a mixture of establishment figures such as 'Fluff', Alan Freeman over on the far right in the picture, Pete Murray, over on the far left, front row, Tony Blackburn, the first voice to be heard on the new station, is at left on the back row behind Murray. Many of the others were recruited from the Pirate Radio stations, particularly Radio London of which John Peel is easiest to pick out on the front row at right, Kenny Everett back row, third from left and Pete Drummond and Mike A'hern are also in the front Row; progressive Radio One Controller, Robin Scott, is 4th from the left in the back row. Radio one suffered from the vagaries of 'needle-time' imposed on it, though unable to on the Offshore Broadcasters, which meant in the 1st months or more, Radio One was limited to 6 hours per day to actually play records. Anything else had to be live sessions, bands and other stuff, live cover versions of current hits, awful stuff, the live material in some cases wasn't an issue, such as John Peel's replacement, 'Top Gear', for his Radio London show 'The Perfumed Garden', where many new and breaking bands appeared and this format stayed throughout its history; John Peel sadly left this 'Mortal Coil' in November 2004. The BBC revamped their three thirty or more years old radio services, The Light Programme, the Home Service and the Third Network, with the 'Light Programme' splitting into Radio One and RAdio Two to satisfy the need to provide a more teen and twenties accent on the emerging music culture which the Pirate Radio stations had provided and to satisfy the 'older generation', 'Radio Two' was separated out to provide the old Light Programme content. I listened to the new Radio One open, on 247m at that time, right on the last day of September 1967, just 6 weeks after the demise of the Pirates though Radio Caroline, of course, was still operating at that stage. Tony Blackburn was given the Breakfast Show at 7am and the first piece of music, as many will know, was 'Flowers in the Rain' by The Move and the rest, as they say is history.
To show it wasn't all plain sailing, 'as it were', after the Marine(Broadcasting) Offences Bill became law and all the pirate stations quit the airwaves, except Ronan O'Rahilly's Caroline's north and south, what seems to have happened in some cases is that the station actually broadcast old advertisements from businesses who were no longer able to use the station, as this had now been made illegal. The main thrust of the bill being to stop businesses advertising on the offshore stations and so it looks likely that this was a ruse by the Caroline organisation to make it appear the bill was having less of an impact, but obviously was an embarrassment to the businesses concerned. The newspaper clipping at centre, from the Sunday Mirror, on the 10th September 1967, 20 days before the opening of Radio One, is testament to this behaviour, with some of the businesses, Pepsi Cola, Bulova and Macleans being amongst those listed in the article. Radio Caroline was also using the religious based output in programmes of the Billy Graham variety, particularly on Sunday as I recall and any businesses which could use the station from their bases on the continent. One big problem of course was supplying the two ships from bases which now couldn't operate from the UK. It was for this reason and ultimately the down-turn in advertising revenue, the obvious difficulties for the DJs, of note of course are Robbie Dale and Johnnie Walker who had remained with the station after midnight on Monday August 14th and so would run the risk of being arrested if they came back onto UK soil. The Caroline ships continued for another 7 months until March 1968 when the ships finally vanished off the airwaves, Caroline South aboard the 470ton Mi Amigo was the first to go but Caroline North survived a little longs as the Manx Government refused to adopt the MBO bill until an Order-in-Council was issued by the UK LAbour Government to cover the Island; something which didn't go down very well and probably explains why this weekend's transmission of the 50th anniversary 'celebrations' are being hosted by Manx Radio on 1368kHz. There were several instances of attempts to get the ship back on the air and in one form or another this happened but eventually the MV Mi Amigo sank during a bad storm on the south-east coast and with no loss of life on March 20th 1980, a full review of the ship's history is on Wikipedia-
en.wikipedia.org/wiki/Radio_Caroline
Subsequent to all this in more recent times Caroline South was ultimately housed on the MV Ross Revenge and has just recently been granted a Community AM licence by Ofcom and the ship is now anchored on the River Blackwater in Essex; the transmitter power is however only 1kW, which means the coverage is very limited, the broadcast frequency is 648kHz. On Monday 3 December 2007, Roan O'Rahilly was inducted as a Fellow of the Radio Academy and was inducted into the Hall Of Fame at the PPI Radio Awards, held at the Lyrath Hotel, Kilkenny, Ireland on 12 October 2012. In September 2013, O'Rahilly, the central figure in mucj of this history, was reported to be suffering from vascular dementia and to have returned to live in County Louth, Ireland, in sight of the port of Greenore where Radio Caroline was 'born' 50 years ago.
Working in a radio studio, this is a detail of an instrument we daily use.
We use this machine to mix the different sounds that have to go to air, like the voice of an announcer and the intro of a song.
Ever since I was a little boy I have been interested in anything radio, and a console like this one still fascinates me to this day.
Took a few quick shots of my super-talented husband, Graham Spice, at the mixing board when he was all dressed up.
Sony A7IV with Sony 50mm 1.2 lens
You can find a large number of full-resolution photos under a Creative Commons license on my official website: nenadstojkovicart.com/albums
Fifty years ago today, to the day and to the time, Monday August 14th, 1967, from 3pm in the afternoon, almost all the Pirate Radio Stations, bar one, closed down, one or two had already gone on that day and all the others had gone by midnight. Radio London, 266m, closed at 3pm on that afternoon and I was sat listening in the 'studio' at 'Radio Caroline West', more on this later, as Paul Kay one of the 'Big L' disc jockeys proclaimed 'Big L time is three o'clock and Radio London is now closing down'. The weather forecast just before this was also delivered by Paul Kaye, '... there will be fresh southerly winds and there is an unsettled outlook for tomorrow'; very prosaic.
'Wonderful' Radio London on Wikipedia-
en.wikipedia.org/wiki/Wonderful_Radio_London
Radio London Final Hour-
www.radiolondon.co.uk/rl/scrap60/finalhour/final.html
and other material about the station-
www.youtube.com/watch?v=ab7t7ZZrfFQ
Radio Caroline flouted d the new law which came into force at midnight on this day in 1967 and chose to isolate themselves from the UK which meant the DJ's couldn't come back here and advertising revenue and supplies had to be sought from abroad. American, 'Billy Graham' type religious programmes were a vital mainstay to keep the finances coming in to operate the MV Mi Amigo, Caroline's southern ship anchored off Walton-on-the-Naze/Clacton in the Thames Estuary and Radio Caroline North, the MV Frederica anchored in Ramsey Bay off the Isle of Man. Today, Monday 14th 2017, Manx Radio on 1368kHz medium wave are hosting a 5-day extravaganza along with Radio Caroline which is now aboard the ship MV Ross Revenge and anchored on the River Blackwater in Essex and is back on the air again, see-
www.radiocaroline.co.uk/#home.html
they are playing music from the era and have to say that not all of it is good! According to the schedule, there is a commemorative program starting at 14:00hrs BST - 'Live from the Ross Revenge' and there are other features as well during the 5-day remembrance programming. A a small tribute to 'Caroline', Ronan O'Rahilly's pirate radio ship and after Radio Atlanta, was the 1st fully successful off-shore, i.e. in International waters beyond the 3 mile limit of the UK authorities, had to get some rail-related content in and here nine shots of the Network Rail Staff coach, 'Caroline, out and about drawn along by various class 37 locomotives on the local network around south Yorkshire-
Thornhill
www.flickr.com/photos/daohaiku/8026056878/
New York
www.flickr.com/photos/daohaiku/8006417676/
Rotherham Central
www.flickr.com/photos/daohaiku/5757857228/
Woodhouse Mill
www.flickr.com/photos/daohaiku/8005621664/
Treeton Jn
www.flickr.com/photos/daohaiku/7588885680/
Catcliffe
www.flickr.com/photos/daohaiku/7543121952/
Masbrough
www.flickr.com/photos/daohaiku/7396325900/
Ickles
www.flickr.com/photos/daohaiku/7204581228/
Robin Hood Bridge
www.flickr.com/photos/daohaiku/7204581228/
The three sets of mosaic pictures shown here are from my archives from 1966-1968, when I was an avid pirate radio fan and listened to them all, a full list of these is, along with other details, is given in the last, 3rd, set of pictures along with a news clipping regarding why the then postmaster general, Ted Short, under the labour governments telecommunications minister, Anthony Wedgwood Benn, had decided to close the station down. This 1st set of 5 pictures shows the covers from the 3 books which were purchased in August 1967, 'Radio Caroline', by John Venmore Roland, Paul Harris's book, 'When Pirates Ruled the Waves' published in 1968 and Adrian Johns 'Death of a Pirate', published in 2011. All very well written and all give varying accounts of the different facets of the era; the last 'Death of a Pirate', probably the most useful history of it all, well after its 'heyday'. At lower right, own up time. Being a bit of a whizz with electronics, something which has stood me in good stead over the years, particularly in my last job at the Australian National University, a couple of pictures, the only two, of my radio studio at my parent house in Rotherham, in 1966. Those were the days of the 'Practicals' - Wireless and Electronics, and TV followed as well. So, building a low power transmitter and obtained a crystal to operate on medium wave, yikes!, the crude and dated setup was used to broadcast music in about a 1 mile radius of the transmitter; a pole sat atop a flat-roofed bungalow, now, since 2013, sadly demolished and also 50 years since its construction by 'Fred Moncaster, my grandfather the builder and featured here a short time ago, see-
www.flickr.com/photos/daohaiku/31862800414/
and
www.flickr.com/photos/daohaiku/31862799994/
the name was chosen, craftily, so the existing Carline North or South radio 'jingles' could be used which were recorded onto magnetic tape using the Grunding TK20 tape recorder. The 'studio' was equipped with a 'transcription unit' as they were called by professionals, this one was lifted out of a 'Dansette record player' which at this time had become a less useful piece of domestic family equipment! To the left of the Grunding tape machine a home-made 4-channel mixing console with master fader, bass and tone controls. Announcements were made on a cheap Sennheiser microphone supported by an extendable rod clamped to a lab retort stand with 2 large, weighty, circular TV magnets on the stands base to stop it toppling over! Behind the microphone, a valve amplifier for the microphone. Out of shot to the left, beyond the LP cover and a picture of my future wife!, the homemade transmitter built bread-board style with the crystal tuned to around 227m if memory serves correctly. The LP covers on display, of course no CDs or MP3s, were Bernstein's version of '2001 A Space Odyssey' at the back above the tape machine and poking from under it, 'Disraeli Gears' by Cream, behind the microphone, the Incredible String Band's 'The Hangman's Beautiful Daughter' and over on the left, 'On the Threshold of a Dream', by the Moody Blues... not a bad set from 1967! The state of the 'studio furnishings' is clear to see! at lower right, the DJ himself in residence, there were two of us, the other, an old school chum, Mike Taylor who had the 'Saturday morning slot'. Head phones and speaking live from Caroline West, 'Grant Walker', think this IS too much information, the name chosen to again reflect the name of one of Caroline South's DJs, Johnnie Walker, and still going, though now on BBC Radio Two. Here the DJ can be seen cueing up a piece on the tape deck, probably recorded from the BBC afternoon pop programme presented by 'Fluff', Alan Freeman, 'Pick Of The Pops', and the stuff recorded in lively fashion to avoid any over-voicing or 'Fluff' coming in before the end what was usually no more than 2-2.5 minutes of music; John Peel's 'Top Gear' programme, from 3-5pm, the two hour slot just before 'Pick of the Pops', was a completely different matter in terms of the length of the music he played. In front of the woollen jumpered DJ, no central heating or double-glazing in those days, the Grunding microphone is in action as well as the 'studio mike' and in between the two LP covers seen earlier is a copy of Bob Dylan's 'Greatest Hits'... What more can I say... Guilty!
RHYTHMIC TRAMP ORCHESTRA - Aufnahmesession im Tonstudio Sonic Flow - für die erste CD mit Eigenkompositionen. CD erscheint im Herbst 2015.
Besetzung:
Marjorie Etukudu: voc
"Dr. Funk" Erich Litzlhammer: voc
Peter Brugger: b
Helmut Kaplan: p
Tom Meusburger: g
Andreas Lachberger: sax
Martin Hutzinger: tp
Thomas Horstmann: tp
Stefan Hutzinger: tb
Peter "Beda" Bachmayer: dr
Dietmar Juriga: sax