This thread's a hoot! From observations on a woman's legs (and teeth... yeesh!), from exposed RF lines to Webcor recorders and "Be Big, be a Builder." John Jarrett gets major points for remembering the text of one of those "Be Big" PSA's about the "Pyramids of Egypt..." that WNIA used to run. Didn't Gordon Brown voice a few of those gems?
For better or worse, I never got past the front door at 2900 Genesee Street for an audition. Miss Mary might not have like my shoulder length hair, attitude or smirky wise-ass smile. Who knows. A friend of mine was Tommy Thomas (#253, I think) and that's how I got a chance to check out the luxurious WNIA studios and equipment. What a lovely dump that I would have enjoyed playing in.
Thankfully, Danny McBride gave me a (first) job working weekends at WBNY 96.1, which had a big 50kW signal (listened to by about 137 people who loved hearing songs by the Hollyridge Strings and Robert Goulet, and audiophile who like to test their Sansui stereos.
Jeff's post reminded me that Tom Talbot also owned WBNY. Jeff nailed the WNIA power: 500 Day, 250 Night and not a bad signal, considering. Mr. Talbot apparently was a Southern Gentleman or his wife was a Southern Belle. She had a particular distaste for all songs by a particular female artist. As a result, that artist was verbotten and all of her jazz-big band-torch songs were purged from the library. However, because this particular female artist was quite the talented singer, guys like Ken Ruof and others with considerably more cache, brought their own copies in a played them. This would set off a burst of memos and a frenzy to check the music library for albums that may have been overlooked.
WBNY had cart machines (two R/P Stereo Spotmasters, with clunky clutches) in the control room, pretty good microphones, a couple of "salami slicin'" Maggies (nice touch, Al) and a Gates Stereo Yard board. None of this made ME sound any better, but at least it was a start, which lead to bigger things, like working for Stan Jasinski's WMMJ, which also had (RCA) cart machines (no clutches), bigger boards, a better production studio and plenty of free parking in the middle of the farmlands of Lancaster. Ironic, those farmlands are now filled with housing developments and lots of families who probably wonder what "those ugly towers are doing in their backyards." Good thing Stan got there first.
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No link to my blog, lest some posters get offended.
For better or worse, I never got past the front door at 2900 Genesee Street for an audition. Miss Mary might not have like my shoulder length hair, attitude or smirky wise-ass smile. Who knows. A friend of mine was Tommy Thomas (#253, I think) and that's how I got a chance to check out the luxurious WNIA studios and equipment. What a lovely dump that I would have enjoyed playing in.
Thankfully, Danny McBride gave me a (first) job working weekends at WBNY 96.1, which had a big 50kW signal (listened to by about 137 people who loved hearing songs by the Hollyridge Strings and Robert Goulet, and audiophile who like to test their Sansui stereos.
Jeff's post reminded me that Tom Talbot also owned WBNY. Jeff nailed the WNIA power: 500 Day, 250 Night and not a bad signal, considering. Mr. Talbot apparently was a Southern Gentleman or his wife was a Southern Belle. She had a particular distaste for all songs by a particular female artist. As a result, that artist was verbotten and all of her jazz-big band-torch songs were purged from the library. However, because this particular female artist was quite the talented singer, guys like Ken Ruof and others with considerably more cache, brought their own copies in a played them. This would set off a burst of memos and a frenzy to check the music library for albums that may have been overlooked.
WBNY had cart machines (two R/P Stereo Spotmasters, with clunky clutches) in the control room, pretty good microphones, a couple of "salami slicin'" Maggies (nice touch, Al) and a Gates Stereo Yard board. None of this made ME sound any better, but at least it was a start, which lead to bigger things, like working for Stan Jasinski's WMMJ, which also had (RCA) cart machines (no clutches), bigger boards, a better production studio and plenty of free parking in the middle of the farmlands of Lancaster. Ironic, those farmlands are now filled with housing developments and lots of families who probably wonder what "those ugly towers are doing in their backyards." Good thing Stan got there first.
_________________________________________________
No link to my blog, lest some posters get offended.