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░█▒█ Artist ■ FM █▒█░
░ █▒█ Album ■ Head Room (Direct to Disc) █▒█ ░
░█░█ Year ■ 1978 █░█░
█░█ Release Date ■ 2010-02-21 █░█
█░█ Genre ■ Progressive Rock █░█
█ █ Label ■ Labyrinth Records █ █
█░█ Source ■ Vinyl (12") █░█
█ █ Type ■ Album █ █
█ █ Encoder ■ LAME v3.97 -V2 --vbr-new █ █
█░█ Quality ■ VBR, 44.1kHz, Joint Stereo █░█
█ █ █ █
█ █ █ █
█ █ Original Release Date: 1977 █ █
█ █ Producer: Paul A Gross for Mushroom Ltd. █ █
█ █ Executive Producers: Gordon R.Pedwell and Douglas R.Hill █ █
█ █ Recording Engineers: "Head Room" Alan Thorne, "Border █ █
█ █ Crossing" Mark Wright █ █
█ █ Assistant Recording Engineers: Jeff Jeff Strobbs and Mick █ █
█ █ Walsh █ █
█ █ Mastering Engineers: Kevin Fuller and Robin Brouwers █ █
█ █ Direct to Disc Recording and Mastering Done at: Phase One █ █
█ █ Recording Studios Ltd. / The Lacquer Channel Ltd. Toronto █ █
█ █ Canada █ █
█ █ █ █
█ █ █ █
█ █ Cameron Hawkins █ █
█ █ --------------------- █ █
█ █ INSTRUMENTS: Mini Moog synthesizer with Polyfusion █ █
█ █ Sequencer 2040, Micro Moog Synthesizer with Polyfusion █ █
█ █ Sequencer, AS-1 Micro Moog Synthesizer with Percussion █ █
█ █ Controller, Elka String Synthesizer with bass pedals, Eko █ █
█ █ Bass Pedals, Rickenbacker bass guitar, Maestro Brassmaster █ █
█ █ fuzz, Mellotron 111 Filter and vocals. █ █
█ █ MICROPHONES: All keyboards miked direct, Vocals miked with █ █
█ █ U87. █ █
█ █ COMMENTS: The process of direct to disc recording is one █ █
█ █ that involves a lot of concentration, and at the same time █ █
█ █ allows for a more spontaneous feeling between the █ █
█ █ musicians, the producers, and the music. █ █
█ █ █ █
█ █ █ █
█ █ Ben Mink █ █
█ █ --------------------- █ █
█ █ INSTRUMENTS: 5 String Electric Violin, 5 String Solid Body █ █
█ █ Electric Mandolin. █ █
█ █ MICROPHONES: Violin: AKG C 414, Mandolin: Direct █ █
█ █ COMMENTS: Having long been a fan of 30's and 40's jazz, I █ █
█ █ would invariably ask studio engineers about the clarity █ █
█ █ achieved on these early 78 rpm recordings. It seemed █ █
█ █ despite the scratchiness, a good mix and vitality █ █
█ █ prevailed. The engineers spoke of mike positioning as a █ █
█ █ lost art but the explanations were usually vague. After █ █
█ █ recording Direct to Disc, it seems to me what everyone █ █
█ █ forgot about was the urgency of the moment, and that the █ █
█ █ "get it in the mix" crutch attittude never existed at the █ █
█ █ time. █ █
█ █ █ █
█ █ █ █
█ █ Martin Deller █ █
█ █ --------------- █ █
█ █ INSTRUMENTS: Fibes Drum Kit, Congas, Bells and █ █
█ █ miscellaneous percussion, Moog percussion controller, Arp █ █
█ █ 2600 & Arp 2500 synthesizers. █ █
█ █ MICROPHONES: Electrovoice RE20, Neumann U87, Neumann KM 84, █ █
█ █ Rayer M 160, AKG C452. █ █
█ █ COMMENTS: With no chance to overdub and all of us going for █ █
█ █ the entire side at once, the concentration and the █ █
█ █ intensity of the performance was exhilarating. █ █
█ █ █ █
█ █ █ █
█ █ Martin Deller: "As far as the Direct to Disc goes there was █ █
█ █ a limited pressing of 20,000 copies and it sold out. █ █
█ █ However a local fan has collected a couple of copies of the █ █
█ █ album and I understand that they have different versions of █ █
█ █ each take (side 1, side 2) on them! I have yet to check █ █
█ █ this out but if so there may be more (than the 20K) █ █
█ █ available. " █ █
█ █ █ █
█ █ Larry Wilson worked for Chum FM in Toronto at the time and █ █
█ █ had this to say in the liner notes about how Direct To Disc █ █
█ █ was recorded. He also clears up some technical details █ █
█ █ about the recording process: "Being a radio broadcaster, █ █
█ █ rock news-oriented, plus a program producer, disc jockey █ █
█ █ and all-round curious fellow has its advantages. It tends █ █
█ █ to lead to ground-floor acquaintances with many emerging █ █
█ █ rock groups. A lot of them come and go before ever making █ █
█ █ it into the studio. I encountered FM a few years ago just █ █
█ █ being formed. Watching these two young guys (at the time) █ █
█ █ perform on countless instruments simultaneously in real █ █
█ █ time, was so impressive I went on the radio, talked about █ █
█ █ them, and promised to adopt them as a Project band, keeping █ █
█ █ listeners to CHUM-FM informed. Over that time, changes █ █
█ █ happened inevitably. The current composition of FM amount █ █
█ █ to Cameron Hawkins playing bass, electric keyboards, and █ █
█ █ foot-pedals, and singing; and Martin Deller, percussionist. █ █
█ █ Joining them for this Direct To Disc session was Ben Mink, █ █
█ █ multi - talented fiddle and mandolin man from Murray █ █
█ █ McLaughlin's Silver Tractors band. And what MAGIC they █ █
█ █ created, as you're witnessing. █ █
█ █ Not your average space-rock band this. FM considers it █ █
█ █ musically important to deal in melodies and textures. █ █
█ █ Nevermind setting the sequencer to deliver a non-stop █ █
█ █ rhythm track all through the piece. Leave that to some less █ █
█ █ talented band. What we have, then, is a trio of musicians █ █
█ █ turned-on by the challenges of the Direct To Disc █ █
█ █ process..and their own compositions. █ █
█ █ A few misconceptions abut Direct To Disc should be █ █
█ █ cleared-up right away. We hear about there being No Second █ █
█ █ Chance. You get it right all the way through, there's no █ █
█ █ stopping or overdubbing. True, but nevertheless there are █ █
█ █ tons of blank master discs at the recording and mastering █ █
█ █ studios, and what REALLY happens is the band performs their █ █
█ █ music in real time...over and over again till everyone is █ █
█ █ happy. The master are all considered and the very best ones █ █
█ █ (side 1 and 2) are pressed under careful control for the █ █
█ █ limited-edition disc itself. That's what you're (hopefully) █ █
█ █ enjoying as you as you scan this jacket. Days of █ █
█ █ setting-up, getting the sounds right, and rehearsal, led to █ █
█ █ the magic moments on this record. The band's own sound █ █
█ █ modifiers have been used throughout. No studio tricks, no █ █
█ █ overdubbing. This is FM at is very best, live. And █ █
█ █ leaving-out the tape in the recording process and █ █
█ █ putting-it-down right on the master disc....gives us that █ █
█ █ much more cleanness and clarity. In short, you are █ █
█ █ listening to a masterpiece of real-time recording. █ █
█ █ The brilliance that shows on these tow compositions may not █ █
█ █ come to you for the first listen, for it's the subtleties █ █
█ █ that make FM so outstanding. Check out the sounds Marty is █ █
█ █ getting out of the drum kit. The strokes Ben employs on his █ █
█ █ parts. Cam's intentional-NOT-up-front vocals. And as you █ █
█ █ enjoy this recording, try to picture the actual █ █
█ █ performance; cables strewn over the studio floor...Marty █ █
█ █ smiling at executing a particularly difficult percussive █ █
█ █ phrase...Ben, in an alcove looking mostly at Cam, grooving █ █
█ █ on what's happening. And Cam himself, intensely █ █
█ █ masterminding his collection of instruments, grinning with █ █
█ █ pride at the magic vibes in the air. █ █
█ █ And indeed this album IS magic. More so than most. The █ █
█ █ blend of Deller, Hawkins, and recent addition Mink make it █ █
█ █ so. Their discipline and willingness to experiment are █ █
█ █ constantly at odds. Their music and their hardware molds █ █
█ █ into magic. This is an album of quiet excitement, carefully █ █
█ █ planned and considered, but nevertheless fresh and █ █
█ █ innovative. And after all, Direct to Disc or otherwise, █ █
█ █ isn't that what contemporary music SHOULD be all about?" █ █
█ █ █ █
█░█ █░█
█ █ A1. Headroom 15:07 █ █
█ █ B1. Border Crossing 15:51 █ █
█ █ 30:58 █ █
█░█░ █░█░
█░█░ █░█░
█░█▒ + G R a v e W i s h + █░█▒
░█▒█▒ - est.2000 - ░█▒█▒
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°Û±Û Û±Û°
°Û±Û Artist þ FM Û±Û°
° Û±Û Album þ Head Room (Direct to Disc) Û±Û °
°Û°Û Year þ 1978 Û°Û°
Û°Û Release Date þ 2010-02-21 Û°Û
Û°Û Genre þ Progressive Rock Û°Û
Û Û Label þ Labyrinth Records Û Û
Û°Û Source þ Vinyl (12") Û°Û
Û Û Type þ Album Û Û
Û Û Encoder þ LAME v3.97 -V2 --vbr-new Û Û
Û°Û Quality þ VBR, 44.1kHz, Joint Stereo Û°Û
Û Û Û Û
Û Û Û Û
Û Û Original Release Date: 1977 Û Û
Û Û Producer: Paul A Gross for Mushroom Ltd. Û Û
Û Û Executive Producers: Gordon R.Pedwell and Douglas R.Hill Û Û
Û Û Recording Engineers: "Head Room" Alan Thorne, "Border Û Û
Û Û Crossing" Mark Wright Û Û
Û Û Assistant Recording Engineers: Jeff Jeff Strobbs and Mick Û Û
Û Û Walsh Û Û
Û Û Mastering Engineers: Kevin Fuller and Robin Brouwers Û Û
Û Û Direct to Disc Recording and Mastering Done at: Phase One Û Û
Û Û Recording Studios Ltd. / The Lacquer Channel Ltd. Toronto Û Û
Û Û Canada Û Û
Û Û Û Û
Û Û Û Û
Û Û Cameron Hawkins Û Û
Û Û --------------------- Û Û
Û Û INSTRUMENTS: Mini Moog synthesizer with Polyfusion Û Û
Û Û Sequencer 2040, Micro Moog Synthesizer with Polyfusion Û Û
Û Û Sequencer, AS-1 Micro Moog Synthesizer with Percussion Û Û
Û Û Controller, Elka String Synthesizer with bass pedals, Eko Û Û
Û Û Bass Pedals, Rickenbacker bass guitar, Maestro Brassmaster Û Û
Û Û fuzz, Mellotron 111 Filter and vocals. Û Û
Û Û MICROPHONES: All keyboards miked direct, Vocals miked with Û Û
Û Û U87. Û Û
Û Û COMMENTS: The process of direct to disc recording is one Û Û
Û Û that involves a lot of concentration, and at the same time Û Û
Û Û allows for a more spontaneous feeling between the Û Û
Û Û musicians, the producers, and the music. Û Û
Û Û Û Û
Û Û Û Û
Û Û Ben Mink Û Û
Û Û --------------------- Û Û
Û Û INSTRUMENTS: 5 String Electric Violin, 5 String Solid Body Û Û
Û Û Electric Mandolin. Û Û
Û Û MICROPHONES: Violin: AKG C 414, Mandolin: Direct Û Û
Û Û COMMENTS: Having long been a fan of 30's and 40's jazz, I Û Û
Û Û would invariably ask studio engineers about the clarity Û Û
Û Û achieved on these early 78 rpm recordings. It seemed Û Û
Û Û despite the scratchiness, a good mix and vitality Û Û
Û Û prevailed. The engineers spoke of mike positioning as a Û Û
Û Û lost art but the explanations were usually vague. After Û Û
Û Û recording Direct to Disc, it seems to me what everyone Û Û
Û Û forgot about was the urgency of the moment, and that the Û Û
Û Û "get it in the mix" crutch attittude never existed at the Û Û
Û Û time. Û Û
Û Û Û Û
Û Û Û Û
Û Û Martin Deller Û Û
Û Û --------------- Û Û
Û Û INSTRUMENTS: Fibes Drum Kit, Congas, Bells and Û Û
Û Û miscellaneous percussion, Moog percussion controller, Arp Û Û
Û Û 2600 & Arp 2500 synthesizers. Û Û
Û Û MICROPHONES: Electrovoice RE20, Neumann U87, Neumann KM 84, Û Û
Û Û Rayer M 160, AKG C452. Û Û
Û Û COMMENTS: With no chance to overdub and all of us going for Û Û
Û Û the entire side at once, the concentration and the Û Û
Û Û intensity of the performance was exhilarating. Û Û
Û Û Û Û
Û Û Û Û
Û Û Martin Deller: "As far as the Direct to Disc goes there was Û Û
Û Û a limited pressing of 20,000 copies and it sold out. Û Û
Û Û However a local fan has collected a couple of copies of the Û Û
Û Û album and I understand that they have different versions of Û Û
Û Û each take (side 1, side 2) on them! I have yet to check Û Û
Û Û this out but if so there may be more (than the 20K) Û Û
Û Û available. " Û Û
Û Û Û Û
Û Û Larry Wilson worked for Chum FM in Toronto at the time and Û Û
Û Û had this to say in the liner notes about how Direct To Disc Û Û
Û Û was recorded. He also clears up some technical details Û Û
Û Û about the recording process: "Being a radio broadcaster, Û Û
Û Û rock news-oriented, plus a program producer, disc jockey Û Û
Û Û and all-round curious fellow has its advantages. It tends Û Û
Û Û to lead to ground-floor acquaintances with many emerging Û Û
Û Û rock groups. A lot of them come and go before ever making Û Û
Û Û it into the studio. I encountered FM a few years ago just Û Û
Û Û being formed. Watching these two young guys (at the time) Û Û
Û Û perform on countless instruments simultaneously in real Û Û
Û Û time, was so impressive I went on the radio, talked about Û Û
Û Û them, and promised to adopt them as a Project band, keeping Û Û
Û Û listeners to CHUM-FM informed. Over that time, changes Û Û
Û Û happened inevitably. The current composition of FM amount Û Û
Û Û to Cameron Hawkins playing bass, electric keyboards, and Û Û
Û Û foot-pedals, and singing; and Martin Deller, percussionist. Û Û
Û Û Joining them for this Direct To Disc session was Ben Mink, Û Û
Û Û multi - talented fiddle and mandolin man from Murray Û Û
Û Û McLaughlin's Silver Tractors band. And what MAGIC they Û Û
Û Û created, as you're witnessing. Û Û
Û Û Not your average space-rock band this. FM considers it Û Û
Û Û musically important to deal in melodies and textures. Û Û
Û Û Nevermind setting the sequencer to deliver a non-stop Û Û
Û Û rhythm track all through the piece. Leave that to some less Û Û
Û Û talented band. What we have, then, is a trio of musicians Û Û
Û Û turned-on by the challenges of the Direct To Disc Û Û
Û Û process..and their own compositions. Û Û
Û Û A few misconceptions abut Direct To Disc should be Û Û
Û Û cleared-up right away. We hear about there being No Second Û Û
Û Û Chance. You get it right all the way through, there's no Û Û
Û Û stopping or overdubbing. True, but nevertheless there are Û Û
Û Û tons of blank master discs at the recording and mastering Û Û
Û Û studios, and what REALLY happens is the band performs their Û Û
Û Û music in real time...over and over again till everyone is Û Û
Û Û happy. The master are all considered and the very best ones Û Û
Û Û (side 1 and 2) are pressed under careful control for the Û Û
Û Û limited-edition disc itself. That's what you're (hopefully) Û Û
Û Û enjoying as you as you scan this jacket. Days of Û Û
Û Û setting-up, getting the sounds right, and rehearsal, led to Û Û
Û Û the magic moments on this record. The band's own sound Û Û
Û Û modifiers have been used throughout. No studio tricks, no Û Û
Û Û overdubbing. This is FM at is very best, live. And Û Û
Û Û leaving-out the tape in the recording process and Û Û
Û Û putting-it-down right on the master disc....gives us that Û Û
Û Û much more cleanness and clarity. In short, you are Û Û
Û Û listening to a masterpiece of real-time recording. Û Û
Û Û The brilliance that shows on these tow compositions may not Û Û
Û Û come to you for the first listen, for it's the subtleties Û Û
Û Û that make FM so outstanding. Check out the sounds Marty is Û Û
Û Û getting out of the drum kit. The strokes Ben employs on his Û Û
Û Û parts. Cam's intentional-NOT-up-front vocals. And as you Û Û
Û Û enjoy this recording, try to picture the actual Û Û
Û Û performance; cables strewn over the studio floor...Marty Û Û
Û Û smiling at executing a particularly difficult percussive Û Û
Û Û phrase...Ben, in an alcove looking mostly at Cam, grooving Û Û
Û Û on what's happening. And Cam himself, intensely Û Û
Û Û masterminding his collection of instruments, grinning with Û Û
Û Û pride at the magic vibes in the air. Û Û
Û Û And indeed this album IS magic. More so than most. The Û Û
Û Û blend of Deller, Hawkins, and recent addition Mink make it Û Û
Û Û so. Their discipline and willingness to experiment are Û Û
Û Û constantly at odds. Their music and their hardware molds Û Û
Û Û into magic. This is an album of quiet excitement, carefully Û Û
Û Û planned and considered, but nevertheless fresh and Û Û
Û Û innovative. And after all, Direct to Disc or otherwise, Û Û
Û Û isn't that what contemporary music SHOULD be all about?" Û Û
ÛÿÛ ÛÿÛ
Û°Û Û°Û
Û Û A1. Headroom 15:07 Û Û
Û Û B1. Border Crossing 15:51 Û Û
Û Û 30:58 Û Û
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