Interview with Joe Tarsia - Sigma Sound founder, engineer, mixer & producer.

The man behind the glass who gave the world the hits from 'T.S.O.P' - The Sound of Philadelphia!

Geo:  As a young man growing up in Philadelphia, what was the attraction that led
you to electronics first, before your work as an engineer, mixer & producer?


Joe Tarsia: While as a teenager I loved music and was a big Jazz fan I had no thoughts
of making a living in the music industry. In 49, TV was new and I was about
to enter high school. I was always tinkering with electricity, two way
radios and such so I decided to go to a vocational high school and then to
Temple Technical Institute to study electronics and after to work in the
field.



Geo:  What were your experiences while working for the Philco Corp. in the
Research Dept.?


Joe Tarsia:  I was fortunate get a job as a Laboratory Technician in Philco's research
department. I think it would be safe to say that Philco and RCA were the two
leaders is consumer electronics at that time. I was the hands of the
Research Physicists and  Electronic Engineers in the lab. Projects I was
associated with in my 10 years were Philco's single gun color TV system,
early bar code readers for a supper market chain, automated print
recognition for the US Postal Department, consumer stereo systems with
reverb enhancement and electrostatic speakers, experimental handmade
silicone transistors, the sidewinder missile guidance system the first
pocket sized portable radio and a battery powered TV, etc. A kid from the
neighborhood I found working with professionals from every part of the
country a very enlightening experience. I found the environment exciting and
challenging and an eye opener to the world outside the hood.



Geo:  What influences led you to become a engineer/mixer?


Joe Tarsia:  I was moonlighting fixing TV's at night and someone asked if I could fix a
tape recorder. The tape recorder was in a small studio and I never left. I
rebuilt the studio and worked for nothing learning what I could. When ever
someone was going to New York to record I would go along to watch and ask
questions.



 Geo:   How did you land your job & position (Chief Engineer) at Cameo Parkway?


Joe Tarsia:  In about 1960 I started servicing other studios in the area and got to know
the players. Cameo was looking for help in their studio and as I was already
in and out fixing their equipment I got a shot as an assistant, Jr.
Engineer. As time went on I took on more and more responsibility. In 1963
Cameo moved it's offices and we built a facility with two state of the art
studios and 3 editing/copy rooms.


Geo:  What was it like to work for a #1 independent record studio/label (Cameo
Parkway) in the early 60's?  Were the records being cut at a fast pace for
quick release?


Joe Tarsia:  It was a magical time meeting and working with the happening artist and
producers. The Dick Clark show originated from Philadelphia and anyone who
wanted to hit the Pop 100 came through the city to appear on American
Bandstand.

Fast? Sometimes we would record on Monday finish on Tuesday get
strike offs on Friday and it's on the air by the weekend and in a couple of
weeks you knew if the record had a chance.



Geo:  During your time at Cameo Parkway as Chief Engineer, the roster at the label
included: Chubby Checker, Dee Dee Sharp, Bobby Rydell, the Tymes & Dick
Clark to name but a few. Can you share any fond memories of a session that
was 'special' for you?


Joe Tarsia:  Dick Clark was not an artist, he was a TV host of one of the most popular TV
shows in the country, American Bandstand. The most vivid memory of my seven
years at Cameo/Parkway was the day I was working on a Chubby Checker single
and in the middle of the session we got word that John F Kennedy had been
shot. Each day at the studio was an experience, the Dovels were always
fighting among them selves to the point where on one session Dave Appell,
the producer came to the session with a football helmet and acted as
referee.


Geo:  Why was 212 N. 12th Street chosen as the location for your studio, Sigma
Sound?  Did you design the rooms?


Joe Tarsia:  That location was the home of a studio with a great sound and great
engineer, the Studio was Rec-O-Art and the engineer Emil Corson. Rec-O-Art
was only a one track studio but the sound of the recordings that came out of
it would hold up with the 96 track productions common today. I knew that
when if I opened a studio it had to be the best, starting at 212 was the
right first step for me. It was a one room studio so from there on future
rooms were to my concept and the design of John Stoyric, Murices Wasserman,
and George Augspurger.


Geo:  What was the first Gold record for you & Sigma Sound?


Joe Tarsia:  I don't remember, pick one Didn't I Blow Your Mind, The Delfonics, Only The Strong Survive, TheO'jays?



Geo: How did you become the Engineer & Mixer for Gamble & Huff?  Did you meet
them while working at Cameo Parkway?


Joe Tarsia:  Yes, Gamble was working with Jerry Ross and Huff was a staff writer at
Madara/White Productions. Both M/W and Ross would show up at Cameo trying to
sell a production or get a song reviewed. It was at Cameo that I met both.


Geo: Sigma presented the 'first" live radio broadcast w/ Todd Rundgren  in 1973.
For this broadcast, did you have them mix it live w/ your new board for the
show?  How well did this broadcast do for you & Sigma?


Joe Tarsia:  If I remember correctly it was 1971. It was a great boost for Sigma in the
white community, to that point Sigma was only known as an R&B studio. WMMR
was an opening to the Pop side of the business. The broadcasts were all
mixed live with no rehearsals and with a live audience.



Geo: Talking of Todd, you worked on the song: La La Means I Love You by the
Delfonics (Todd later covered the song). How did it feel for you when this
song went on to be a hit for the Delfonics?


Joe Tarsia:  Every song that made the charts was a great experience but things started to
move so fast we never looked back and we had no idea how far we had come. I
don't remember Todd covering La La however, he did cover For The Love Of
Money by the O'Jays.



Geo: Did you play a part in picking the players for the 'house' band at Sigma
(Larry Washington, Earl Young, Ronnie Baker, Bobby Eli & Norman Harris)
later to become the rhythm section for MFSB?


Joe Tarsia:  No


Geo: With MFSB you had the pleasure to work with arranger Bobby Martin. What was
it like to work in the studio with Bobby?


Joe Tarsia:  Bobby was the best horn arranger I ever had the pleasure to work with. He is
a special person that I feel privilege to have met.



Geo: Vibe player Vince Montana had a role in some of the hits at Sigma Sound as a
writer/player. How did the two of you meet?


Joe Tarsia:  I knew Vince from the C/P days and he helped me at the very beginning
physically building the studio.


Geo: Reading liner notes on albums cut at Sigma, I would see a mix of players
such as Philly jazz cats Eddie Green & Tyrone Brown of Catalyst & a mix
of players from the Philadelphia Orchestra. Was this a combined selection by
you & the team of Gamble & Huff?



Joe Tarsia:  Gamble was the architect of the orchestra, of course I gave my opinion but
it was Kenny who made the choices. I remember going to a NATRA convention, a
black broadcasters convention in DC in about 1970, 71 with the G&H roster of
artists and what was to become the MFSB Orchestra. At the convention a guy
came up to Gamble and asked why there were so many white musicians in the
orchestra, Gamble replied my color is not white or black, it's green.



Geo: Did you cut your rhythm tracks live & add the strings later?   Also did you
ever cut a small string section with a band live at Sigma (Phila.) on
certain occasions?


Joe Tarsia:  Yes and Yes



Geo: How did you create that snare & kick drum 'sound' (T.S.O.P.) in the early
70's?  Did you dampen the heads & use a different mic technique?   Did you
favor certain mics for your drum setup?



Joe Tarsia:  I was always trying to improve the drum sound. I had certain mics that I
liked and always used. A wallet placed on the top of the snare always
helped. I was particular about mic placement, drum tuning, damping on the
bass drum, and the bass drum beater but I was never completely happy.



Geo: Are you still active in presenting the 'Grammy' in the High School program &
conducting lectures with the Philadelphia Music Alliance?


Joe Tarsia:  Yes, as a founding member and Chairman Emeritus of SPARS, the Society of
Professional Recording Services, founding member and past Chairman of The
Philadelphia Music Alliance, founding member of the local chapter and five
year national trustee of NEARS I continue to stay active.


 

For more info with Joe & Sigma visit: http://www.sigmasound.com/

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