'A' Range - SUNSET
With some half dozen mixers or so having been sold, we were introduced to an American composer/conductor Tutti Camarata, who had a Studio on Sunset Strip in L.A. He came to the our studio several times to see Chelsea's desk. He agreed to buy a large mixer. I would go and install it, and Malcolm Addy would engineer the first session. John and I thought that this sale might enable us to get some press. So we had our first press reception. A massive affair in the studio. I got very drunk. We received the press coverage we wanted. On my first trip to L.A., Tutti introduced me to Larry Blakey, his chief engineer. It was a strange sensation going into an American studio - this time to sell them British equipment.
On my next trip, I went with the mixer. Customs formalities were minimal. Within a day, it was in place, ready to be wired in. I told Larry I’d need an oscilloscope, and was amazed when he said they didn’t have one. Out there, they just go and rent one for a day whenever they need to. He took me to this warehouse which contained rows and rows of oscilloscopes. One of Tutti’s engineers asked me how I was going to wire the mixer in avoiding ground loops. The expression on my face showed I had no idea what he was on about. He was very patient. His concept was perfect. No cable was to be longer than 100 feet without the screen being broken and taken back to “ground central” by a separate wire.
Ground central was then taken by copper rod to a large copper cylinder buried some twelve feet in the back yard. When the mixer was tested, there was no hum. No clicks. While the installation was in progress, Tutti’s engineers used to pop in and ask me if I would play my tape again. I had brought a tape of a small string orchestra, recorded at Chelsea, and engineered by Malcolm. Each, having heard the two titles many times, they would come back with their friends, for them to have a listen.
On my next trip, I went with the mixer. Customs formalities were minimal. Within a day, it was in place, ready to be wired in. I told Larry I’d need an oscilloscope, and was amazed when he said they didn’t have one. Out there, they just go and rent one for a day whenever they need to. He took me to this warehouse which contained rows and rows of oscilloscopes. One of Tutti’s engineers asked me how I was going to wire the mixer in avoiding ground loops. The expression on my face showed I had no idea what he was on about. He was very patient. His concept was perfect. No cable was to be longer than 100 feet without the screen being broken and taken back to “ground central” by a separate wire.
Ground central was then taken by copper rod to a large copper cylinder buried some twelve feet in the back yard. When the mixer was tested, there was no hum. No clicks. While the installation was in progress, Tutti’s engineers used to pop in and ask me if I would play my tape again. I had brought a tape of a small string orchestra, recorded at Chelsea, and engineered by Malcolm. Each, having heard the two titles many times, they would come back with their friends, for them to have a listen.
Yours truly pictured for the press release
