Introduction
This is an experiment. I hope more people who worked in radio will take the time to educate the rest of us on how it all worked. This article is going to be similar to a Blog. It will be in parts and is Allan's reminiscences of his working life which started in radio. You will see how his radio experience then led to other related work. You have the opportunity to send in questions to Allan via the contact page, about the people he worked with, the shows he worked on or the equipment he used. I will then post the questions and the replies. Occasionally, Allan will consult with colleagues or other experts, so please do not expect instant replies.
I have also added a Contact Form after the latest Chapter in Allan's Reminiscences.
I have also added a Contact Form after the latest Chapter in Allan's Reminiscences.
ALLAN BLACK
Sydney producer engineer author Allan Black, started recording radio programs as a trainee in 1956 and sold his company and semi-retired in 2001. Here's his fascinating story.
All or part of any written material, including graphics and photographs, submitted by Allan Black and contained in any of these ‘Parts’ is strictly copyright. © Allan Black 2016 - 2024.
All other material appearing in these 'Parts' (such as externally sourced photographs, artwork, advertisements, reprints etc.) are copyright their respective copyright owners, and are reproduced here on this website, under the "Fair dealing for purposes of criticism or review" provisions of the Copyright Act, 1968. (Australia)
All rights reserved. Nothing may be stored in a retrieval device for later use. Sight impaired visitors, please visit the home page first.
All or part of any written material, including graphics and photographs, submitted by Allan Black and contained in any of these ‘Parts’ is strictly copyright. © Allan Black 2016 - 2024.
All other material appearing in these 'Parts' (such as externally sourced photographs, artwork, advertisements, reprints etc.) are copyright their respective copyright owners, and are reproduced here on this website, under the "Fair dealing for purposes of criticism or review" provisions of the Copyright Act, 1968. (Australia)
All rights reserved. Nothing may be stored in a retrieval device for later use. Sight impaired visitors, please visit the home page first.
Allan Black Part 74 - Kerry Packer’s audio visual spectacular Pt 1
Natec Int. multi-screen a/v productions are progressing well keeping us all busy, and our competition is too. I mentioned before that for 3 of them, I’m producing and encoding their soundtracks. Fortunately for me so far, they don’t conflict with any of Natecs productions or each other, but one day this will happen and I’ll have to deal with it.
In late November 1983, one afternoon I get a phone call from one client, Bruce Hamilton. He says, “Are you busy later this afternoon at 4pm, can you come across to TCN9s studios at Willoughby?” Sure! so after I finish my 3pm job, I catch a taxi to Willoughby, find the production offices that Bruce directed me to, and meet Channel 9 producer Vas Kontis. He’s already outlined his project for Bruce and now he tells me. And it’s this, TCN9 is preparing a special Christmas promotion to be staged in the big Centrepoint ball room in Sydney. Vas explains, “We require an innovative program to introduce our new 1984 TV programs to Sydney’s advertising executives.” Vas has already contracted Bruce so he asks us can we come up with some ideas.
One new tv show, well received in the U.S.A. is ‘Blue Thunder’, a high powered series about a special government helicopter unit whose mission is to seek out the shrewdest of criminals, and using state of the art electronic devices and supreme aerial skills bring ‘em to justice. Vas screens us their video promo for it.
He asks us to get back to him with ideas and costs, we thank him and leave.
A few days later I call Bruce to explain an idea. In the video promo there’s a 30 second dramatic scene where the special Govt. helicopter chases the criminals helicopter zooming low between 2 tall buildings, the promo ends with the Govt. helicopter flying straight at the camera - full screen.
He asks us to get back to him with ideas and costs, we thank him and leave.
A few days later I call Bruce to explain an idea. In the video promo there’s a 30 second dramatic scene where the special Govt. helicopter chases the criminals helicopter zooming low between 2 tall buildings, the promo ends with the Govt. helicopter flying straight at the camera - full screen.
This impressed me to work with, but I can’t use the promo’s soundtrack and because I don’t have any suitable helicopter sound effects, how about I record the sound of the TCN news helicopter in stereo, and in our a/v show, from the previous sequence we’ll fade our 5 screens to black, then I’ll fade my sound of the chopper in from the rear speakers and pan it loudly over the audience to the front speakers, to sync with the video of the Govt. chopper flying straight back at the audience, on video screen 3, together with Blue Thunder 35mm promo slides on the other 4 screens. This will make a suitable finale for our show, they’ll remember this.
Bruce and I plan our 5 screen rear projection, quadraphonic speaker set up and a few days later, after we get Vas Kontas’s approval, I prepare to record their news helicopter. Using his contacts, Kerry Packer obtains the Navy’s approval to close the Schofields air base north west of Sydney for 2 hrs, while we arrive in the TCN news chopper and I setup in the middle of the main runway, and flying low past me, I’ll record the sound.
On the scheduled Monday morning, technician John Mulligan and I arrive at the Channel 9 news helicopter pad in Willoughby with my Nagra 4s stereo recorder, prepared for the flight out to Schofields. 45 mins. later we arrive there, land in the centre of the main runway and run through our procedure while interested Navy officers watch us from the control tower. Pilot Frank will take off, gain height, turn and zoom back each time at a different speed over me on the runway, recording him.
Hopefully this’ll give me a selection of stereo recordings to select from, based on how effective it’ll be in quadraphonic playback for the show.
I’m using special headphones while I’m watching the Nagra’s audio volume levels but the first passes over me are so loud I can’t tell how good my recordings are, however using a Neumann U-69 stereo mic. I’m confident there’s no distortion. So having radio contact with Frank I ask him can he fly lower? “Yes” he replies, “but stay down, whatever you do do not stand up!” Then he flies off and turns around to start.
Hovering at the start of this last run, Frank studies and judges the exact height and speed for his flight over me. I quickly glance up hoping the downdraft doesn’t knock me over, then I see him starting his run.
Allan Black Part 75 - Kerry Packer’s audio visual spectacular Pt. 2
Nine news helicopter pilot Frank, makes a very low pass over me (without knocking me flat) and I now have 5 recordings of the helicopter and that’s it for our day out at the Navy’s Schofields airfield.
Frank lands close by, John and I climb in, Frank radios for departure clearance thanking the airfield controllers for their co-operation and we take off. He flies us back to Channel 9 Willoughby where I thank him for his co-operation and ask him how fast was he flying when he flew the passes? He says, “Well you asked for slow speeds so it was just on 50 knots, that’s about 58 miles an hour.”
Frank lands close by, John and I climb in, Frank radios for departure clearance thanking the airfield controllers for their co-operation and we take off. He flies us back to Channel 9 Willoughby where I thank him for his co-operation and ask him how fast was he flying when he flew the passes? He says, “Well you asked for slow speeds so it was just on 50 knots, that’s about 58 miles an hour.”
And back at Natec Studios, as soon as I hear the last take 5 I know it’s the one I’m going to use because it’s flown very low at a slow speed which will give me a 30 second pass for the big finale of our show. Co-ordinating with Bruce Hamilton we prepare Kerry Packer’s rear projection, 5 screen quadraphonic extravaganza, ready for 2 shows a day for one week at the Centrepoint ballroom in the city. Today on television, almost every program has an industrial video screen, news, sports, cooking, travel, documentaries and with the growing technology they’ve become larger with better quality, and we’re all familiar with them.
But back in 1983 big industrial video screens are brand new, and Channel 9 here in Sydney has a couple of the first generation and we have one, positioned as screen 3, in the centre of our large 5 screens.
But back in 1983 big industrial video screens are brand new, and Channel 9 here in Sydney has a couple of the first generation and we have one, positioned as screen 3, in the centre of our large 5 screens.
Our story will be narrated from a U-Matic video on screen 3, with supporting 35mm slides on screens 1, 2, 4 and 5. Because our audiences will be advertising people and as this is the conclusion of our show, Bruce Hamilton and my idea is to have some fun on our U-Matic program. Producer Vas Kontis has sent me VHS time coded video samples of some the current Ch.9 programs to work with. One is their daytime soap opera, ‘Days of Our Lives’ and the video sample we have looks to me like the actors are filling in for time, because their speech is slow and deliberate. So while watching them I write additional ‘funny’ lines for our narrator to fit in, based on what the actors are saying. Then a Channel 9 secretary comes in to type up the script for our narrator, from Bruce and my notes.
Each video section is timed so Bruce can make a selection of 35mm promo slides to appear in sync. on screens 1-2-4 and 5. Once the script is ready, a day later a Channel 9 announcer comes in and records the narration. After the narration, I spend time adding the music, then the audio mix, followed by the encoding process for the 4 Electrosonic ES 2001 units, controlling the 8 Kodak projectors on screens 1-2-4 and 5. This is synced to the finished U-Matic time coded program and when completed, it’s tested and made ready for delivery to the Centrepoint ballroom in the city.
When we arrive there we find the Ch.9 crew has set up the 5 screens, the U-Matic player and the 8 Kodak projectors together with Ch.9s 24 track audio recorder. So we load the 35mm slide trays, the 24 Tk. tape and start rehearsals while the hostesses are laying out the cutlery and setting all the tables for the audience.
The only manually controlled section is the increasing sound of the helicopter as it passes, so as soon as it arrives in the rear speakers, the 5 screens will go black and I start my stopwatch to time the 30sec. pass. As the helicopter slowly gets closer, I gradually turn the volume of our powerful Bryston amplifiers up so as it arrives over the front of the audience, the WHOMP WHOMP WHOMP of the rotor blades is extremely LOUD and suddenly the Blue Thunder helicopter will appear on screen 3 flying straight out at the audience, synced together with the other 4 screens. In the ballroom the first run is spectacular, the 9 chopper sound rattles cutlery on the tables which amuses the crew. Then soon after the 2nd run, the Centrepoint Tower ballroom manager comes down from his office on the first floor and says to me, “What are you trying to do, knock the tower down!”
When we arrive there we find the Ch.9 crew has set up the 5 screens, the U-Matic player and the 8 Kodak projectors together with Ch.9s 24 track audio recorder. So we load the 35mm slide trays, the 24 Tk. tape and start rehearsals while the hostesses are laying out the cutlery and setting all the tables for the audience.
The only manually controlled section is the increasing sound of the helicopter as it passes, so as soon as it arrives in the rear speakers, the 5 screens will go black and I start my stopwatch to time the 30sec. pass. As the helicopter slowly gets closer, I gradually turn the volume of our powerful Bryston amplifiers up so as it arrives over the front of the audience, the WHOMP WHOMP WHOMP of the rotor blades is extremely LOUD and suddenly the Blue Thunder helicopter will appear on screen 3 flying straight out at the audience, synced together with the other 4 screens. In the ballroom the first run is spectacular, the 9 chopper sound rattles cutlery on the tables which amuses the crew. Then soon after the 2nd run, the Centrepoint Tower ballroom manager comes down from his office on the first floor and says to me, “What are you trying to do, knock the tower down!”
Then disaster! even though we’ve carefully checked our speaker specifications, during the last run I ‘blow’ the cone of one of the front 2 big Bose speakers. An audio speaker cone is a thin semi rigid membrane that vibrates to produce sound. When a speaker is ‘repeatedly’ played at high volume the cone can become overheated, and start to warp or melt and its sound can become distorted so unusable. But I figured the last 5 seconds of the helicopter sound at about 120 decibels was safe enough and loud enough to impress the audience. Even though we rattle the table cutlery in rehearsal, when the room is full with people this will damp the acoustics of the ballroom down and absorb enough of our helicopter audio.
Damn! Bose speakers are world famous with a great reputation but instantly I know there’s no point in replacing the blown speaker with another Bose. Why did this happen, was that speaker defective and is it likely to happen again? 18 hours before the show, what are we going to do now?
Damn! Bose speakers are world famous with a great reputation but instantly I know there’s no point in replacing the blown speaker with another Bose. Why did this happen, was that speaker defective and is it likely to happen again? 18 hours before the show, what are we going to do now?
Allan Black Part 76 - Kerry Packer’s audio visual spectacular Pt. 3
Because I can’t attend every show, one important job is to tutor a couple of the Ch.9 sound crew to control the sound level as the helicopter arrives low overhead. They’ve been watching the rehearsals, now see the blown Bose speaker and help in lifting it down from its front position beside the screens. We all stare disappointed at the damaged speaker.
Then I’m reminded about a trade adv. for a new Californian Meyer brand speaker that has superior power handling. So with time running out, the Natec office quickly finds there’s an Aust. agent and I get to phone John Scandrett at his ‘System Sound’ company in Melbourne. He provides me with the specifications, availability and costs to hire the 4 Meyer speakers for a week, including urgent overnight freight direct to the Centrepoint Tower ballroom in Sydney.
12 hours to go to the first show. John is very co-operative and early this afternoon the 4 speakers arrive by DHL Express and our crew gets busy installing them. Just before the test run John Scandrett himself arrives, he’s flown up to co-ordinate other business here. So the first run is not only ok, the 4 Meyer speakers sound great, our thunderous helicopter sounds even better and the whole show impresses John, whose company is very skilled in producing celebrated stage productions in Melbourne.
12 hours to go to the first show. John is very co-operative and early this afternoon the 4 speakers arrive by DHL Express and our crew gets busy installing them. Just before the test run John Scandrett himself arrives, he’s flown up to co-ordinate other business here. So the first run is not only ok, the 4 Meyer speakers sound great, our thunderous helicopter sounds even better and the whole show impresses John, whose company is very skilled in producing celebrated stage productions in Melbourne.
4 hours to go. Monday morning, Bruce Hamilton, Vas Kontis and I arrive at the ballroom at 10am to see all the numbered set tables with dozens of cartons of Moet Champagne arriving to be refrigerated for the first shows at 2pm and 7pm. Vas checks with the ballroom manager who says the head Chef has verified that all the 3 course meals will be ready for the audience at each show.
2pm. The ballroom is full and before their lunch but with full glasses of Champagne, TCN managing director Sam Chisholm welcomes our first audience. I press the button, off we go and all the gear works perfectly. The helicopter sequence is a great success closing our 25 minute show with much applause. Then lunch arrives for the audience.
All goes well with 2 shows a day. But late on Thursday afternoon, Nine producer Vas Kontis informs Bruce Hamilton and I that Kerry Packer requires our show to run in Melbourne for a week, and Vas wants us to be there. Oh boy. So on Sunday morning we fly down to Melbourne while Ch.9 trucks all our gear to the Hilton Hotel there. On Monday at 2pm GTV9 host Bert Newton introduces the first of the 2 shows to a packed conference room, jovially remarking to the audience, “I’m sorry to hear this show was made in Sydney.” The following week our show is enjoyed by another 1200 adv. executives. On the Friday thinking it’s our last presentation, we get the request that we should present it at the GTV9 studio Christmas party the next day, so with the help of the 9 truckers we do.
2pm. The ballroom is full and before their lunch but with full glasses of Champagne, TCN managing director Sam Chisholm welcomes our first audience. I press the button, off we go and all the gear works perfectly. The helicopter sequence is a great success closing our 25 minute show with much applause. Then lunch arrives for the audience.
All goes well with 2 shows a day. But late on Thursday afternoon, Nine producer Vas Kontis informs Bruce Hamilton and I that Kerry Packer requires our show to run in Melbourne for a week, and Vas wants us to be there. Oh boy. So on Sunday morning we fly down to Melbourne while Ch.9 trucks all our gear to the Hilton Hotel there. On Monday at 2pm GTV9 host Bert Newton introduces the first of the 2 shows to a packed conference room, jovially remarking to the audience, “I’m sorry to hear this show was made in Sydney.” The following week our show is enjoyed by another 1200 adv. executives. On the Friday thinking it’s our last presentation, we get the request that we should present it at the GTV9 studio Christmas party the next day, so with the help of the 9 truckers we do.
So we’re not really surprised when we’re informed that Kerry Packer wants to see it. Bruce and I fly back to Sydney while all our gear is trucked back on Sunday, and set up for the Monday presentation at 11am in Channel Nines big Willoughby studio. With a 3 seat lounge set in the middle facing our 5 screens, Kerry Packer comes in with his secretary and sales manager to be introduced. After all the clamour during the last 3 weeks it’s unusually quiet so I press the button. Bruce and I stay behind the screens while I control the sound of the helicopter pass to close the show, it really echoes around the big studio walls and our show concludes.
Mmm silence, so Bruce and I go around the front to meet Mr. Packer. He stands up, smiles and says “Congratulations boys good show, all I have to do now is get our people to sell more time.” We shake hands and he leaves the studio. It was the only time I ever met the last of Australia’s big spenders, I remember that day like it was yesterday.
Bruce and I pack up and back at Natec I sit down to work out the invoice thinking about the last month. One unusual aspect is, at the start after requesting an estimate for the first week Vas Kontis never asks for any further costings. Honest Al, because this show literally took over everything I should charge for 24/7 for a month, but I don’t. However by far this is the largest invoice we ever mail out, and without any questions Channel Nine pays it in a week. What a client!
Courtesy of Barbara Hamilton, the industry magazine Broadcasting and Television publishes a lead story soon after.
Mmm silence, so Bruce and I go around the front to meet Mr. Packer. He stands up, smiles and says “Congratulations boys good show, all I have to do now is get our people to sell more time.” We shake hands and he leaves the studio. It was the only time I ever met the last of Australia’s big spenders, I remember that day like it was yesterday.
Bruce and I pack up and back at Natec I sit down to work out the invoice thinking about the last month. One unusual aspect is, at the start after requesting an estimate for the first week Vas Kontis never asks for any further costings. Honest Al, because this show literally took over everything I should charge for 24/7 for a month, but I don’t. However by far this is the largest invoice we ever mail out, and without any questions Channel Nine pays it in a week. What a client!
Courtesy of Barbara Hamilton, the industry magazine Broadcasting and Television publishes a lead story soon after.
The sound of helicopters (actually one helicopter) roared in from the back of the room, thundering low and very loud over the heads of the audience towards the centre stage, as the Nine Network previewed Blue Thunder, one of its new shows for 1984. “It shook a few people in their seats” says Bruce Hamilton whose Sydney company put together the spectacular showcase for Nine’s new 1984 shows and movies.
In 2 screenings a day for a week in Sydney then in Melbourne during early December, a total audience of 2,400 made up of advertising and marketing executives saw the 25 minute presentation. Quadraphonic sound to add to the movie and drama sequences was just one aspect of the presentation. With a combination of 15 a/v slide projectors and a new industrial video screen, Hamilton used a 24 track audio system to control the whole presentation. It played on a nine metre wide 5 screens mounted on a 13 metre wide stage. The dominant message - the new programs - was delivered via video on the centre screen. Even the station’s top personalities appeared on video rather than live because, as Hamilton explains, “That’s the medium through which people see them.”
35mm slide support provided the supplementary images, such as time slots and mini-series lengths. Hamilton also created a total ‘Nine’ environment for the screenings. Lining the walls of each venue were giant 3 metre high fabric murals of 12 of Nine’s personalities. After the last client presentation, a special screening was put on for the networks staff including one for Kerry Packer. TCNs vice president programming Vicki Jones reports, “Reaction on the nights and subsequent reports has been very favourable. Producing a promotional presentation for a TV station is a difficult task, because you’re working in a medium we know very well. To come up with a presentation as professional and stylish as Bruce Hamilton did - we applaud them.”
In 2 screenings a day for a week in Sydney then in Melbourne during early December, a total audience of 2,400 made up of advertising and marketing executives saw the 25 minute presentation. Quadraphonic sound to add to the movie and drama sequences was just one aspect of the presentation. With a combination of 15 a/v slide projectors and a new industrial video screen, Hamilton used a 24 track audio system to control the whole presentation. It played on a nine metre wide 5 screens mounted on a 13 metre wide stage. The dominant message - the new programs - was delivered via video on the centre screen. Even the station’s top personalities appeared on video rather than live because, as Hamilton explains, “That’s the medium through which people see them.”
35mm slide support provided the supplementary images, such as time slots and mini-series lengths. Hamilton also created a total ‘Nine’ environment for the screenings. Lining the walls of each venue were giant 3 metre high fabric murals of 12 of Nine’s personalities. After the last client presentation, a special screening was put on for the networks staff including one for Kerry Packer. TCNs vice president programming Vicki Jones reports, “Reaction on the nights and subsequent reports has been very favourable. Producing a promotional presentation for a TV station is a difficult task, because you’re working in a medium we know very well. To come up with a presentation as professional and stylish as Bruce Hamilton did - we applaud them.”
Question & Answer
John Fellows asks Allan a question:
In 1983 I was young, so I never had the opportunity to see Kerry Packers extravaganza or ever meet him if it comes to that, but reading your story I now feel I saw it and know something about him, and from behind the scenes. So thank you.
You’re saying you employed an expensive speaker set up for the quadraphonic sound, and yet you only used it once for 30 seconds, at the finish of your 25 minute show. Isn’t that a waste of expensive resources.
Allan answers:
If you look at it like that, yes. One problem we had was, both ballrooms are not accoustically designed halls like all movie theatres are, so I couldn’t place speakers around the walls. Also, when I was young I was fortunate to be taught by the acclaimed scriptwriter Fred Parsons (Part 1) in that you need to build suspense in your show. And that’s what Bruce and I did, over the 25 minutes we gradually built the pace and anticipation up for our final helicopter, the only time I used the 2 rear Meyer speakers, revealing the quadraphonic sound effect to our astonished audiences. Today in March 2024, it’s 10 years since I started writing these reminiscences every 5 or 6 weeks, and I’d like to think Fred Parsons is still looking down and smiling. Thanks again Fred.
In 1983 I was young, so I never had the opportunity to see Kerry Packers extravaganza or ever meet him if it comes to that, but reading your story I now feel I saw it and know something about him, and from behind the scenes. So thank you.
You’re saying you employed an expensive speaker set up for the quadraphonic sound, and yet you only used it once for 30 seconds, at the finish of your 25 minute show. Isn’t that a waste of expensive resources.
Allan answers:
If you look at it like that, yes. One problem we had was, both ballrooms are not accoustically designed halls like all movie theatres are, so I couldn’t place speakers around the walls. Also, when I was young I was fortunate to be taught by the acclaimed scriptwriter Fred Parsons (Part 1) in that you need to build suspense in your show. And that’s what Bruce and I did, over the 25 minutes we gradually built the pace and anticipation up for our final helicopter, the only time I used the 2 rear Meyer speakers, revealing the quadraphonic sound effect to our astonished audiences. Today in March 2024, it’s 10 years since I started writing these reminiscences every 5 or 6 weeks, and I’d like to think Fred Parsons is still looking down and smiling. Thanks again Fred.
Allan Black Part 77
The 5 screen TCN9 extravaganza had reached the summit, the top, it was the last of the big multi-screen 35mm Kodak audio visual trade shows. I was going to say it was because there were no more Kerry Packers, but it was because industrial video screens were growing larger with improved video quality every year and eventually, they end the rule of the Kodak slide projector.
However with the success of the TCN9 show, in the world of audio visual production Bruce Hamilton and I are seen as the second coming. Bruce tells me his front door is jammed up with eager potential clients trying to get in, but when they learn 35mm slides are involved, most reluctantly back off saying Sony and others are keen to demonstrate their new industrial video screens.
However with the success of the TCN9 show, in the world of audio visual production Bruce Hamilton and I are seen as the second coming. Bruce tells me his front door is jammed up with eager potential clients trying to get in, but when they learn 35mm slides are involved, most reluctantly back off saying Sony and others are keen to demonstrate their new industrial video screens.
However one interesting client who’s very welcome is colourful Air India and Bruce calls me to discuss the project. It’s a 3 screen 9 projector 20 minute program to be presented to travel industry executives in capital cities around the country. I propose contemporary Indian stereo music for the program, but with an idea.
As usual with 3 screen shows, the stereo sound track with the projector control track will be played on a 4 track Sony TC-854 1/4” tape recorder. Tracks 1 and 2 are the stereo tracks with narration and music. Tk.4 is the Electrosonic projector control track, with Tk.3 not used. I propose that as part of my stereo Indian music that on this spare TK.3, I record an Indian mono percussion track to be played in 2 speakers at the rear of each room. Bingo! our first tri~track music program.
But the question is, have I got enough budget to bring in a musician to record this magic percussion track. Based on the success of the TCN9 show Bruce agrees and after reading his narration script, I select Indian library music then book professional percussionist John Sangster, asking his agent to phone me first.
As usual with 3 screen shows, the stereo sound track with the projector control track will be played on a 4 track Sony TC-854 1/4” tape recorder. Tracks 1 and 2 are the stereo tracks with narration and music. Tk.4 is the Electrosonic projector control track, with Tk.3 not used. I propose that as part of my stereo Indian music that on this spare TK.3, I record an Indian mono percussion track to be played in 2 speakers at the rear of each room. Bingo! our first tri~track music program.
But the question is, have I got enough budget to bring in a musician to record this magic percussion track. Based on the success of the TCN9 show Bruce agrees and after reading his narration script, I select Indian library music then book professional percussionist John Sangster, asking his agent to phone me first.
He does and after describing the project and playing some music examples over the phone, John arrives at Natec Sound Studios and we help him in with all his instruments. He’s well prepared and we have a lot of fun recording a great percussion track, syncing with the shows music tracks on our 8 track Scully recorder. You might think it’s just beating Indian Bayan, Table, Dahina and Dholak drums, but it takes a specialist professional to achieve just the right result, and John does a great job.
Next day actor Robert Hughes records the narration, I mix the 3 track music and the finished sound track. Bruce loads the 35mm Kodak slides, I encode the 9 projectors and we present our completed show to our Air India clients with our trI~track music.
Next day actor Robert Hughes records the narration, I mix the 3 track music and the finished sound track. Bruce loads the 35mm Kodak slides, I encode the 9 projectors and we present our completed show to our Air India clients with our trI~track music.
They happily approve and the four daily shows are presented just across Bligh St. in Sydney’s Wentworth Hotel Convention Room, the Hotel coincidentally built and owned by Qantas since 1966. Audiences of travel industry executives enjoy our program with it’s Indian tri~track music.
Duplicates of all the 35mm slides are made, along with copies of the program tape and Convoy International gets to transport and present our a/v show around the capital cities. This takes about 6 weeks and the Air India head office in Sydney reports satisfactory results.
At Natec Sound Studios and Natec International, I’m working very long hours. I’m now being paid for these hours, but the tax rate is well out of my control, the return is disappointing.
Duplicates of all the 35mm slides are made, along with copies of the program tape and Convoy International gets to transport and present our a/v show around the capital cities. This takes about 6 weeks and the Air India head office in Sydney reports satisfactory results.
At Natec Sound Studios and Natec International, I’m working very long hours. I’m now being paid for these hours, but the tax rate is well out of my control, the return is disappointing.
Bob S. the new company accountant and I get along well, he understands my situation suggesting that I resign from Natec, form a new company and contract my services back to them. So after obtaining the directors approval, Bob outlines the next step, he proposes that I buy a shelf company and he has one ready, W.J.L. Welding Pty. Ltd. Its owners have retired but their company structure and books still exist. I would have liked to have named my company Black Inc. but the current rules say you keep your shelf company name for 12 months, then you can change it to a new name.
So not knowing much about welding, I’m a welder for 12 months much to the amusement of friends and clients who get to know about it. Anyone know any good welding jokes.
So not knowing much about welding, I’m a welder for 12 months much to the amusement of friends and clients who get to know about it. Anyone know any good welding jokes.
Allan Black Part 78
There’s always something happening, some good, some not so. For the past few days I have trouble accessing the elevator up to Natec Studios on the 3rd floor at 29 Bligh St. Sydney. Together with other tenants, each morning I wait while the buildings only elevator is in use. When it finally comes down to the ground floor we all move aside while office furniture, desks and chairs are carried out to vans parked in Bligh St. Today there’s no question, even blind Freddie can tell Adyar House tenants are moving out of the building.
Because there was only one small elevator installed when Adyar House was built in 1925, today the current tenants could well have got together to arrange times for their office moves, to avoid hold ups with the only elevator. If so, the one very important detail they missed is, there seems to be no allowance made for peak times morning and afternoon, when this only elevator is wanted by many people without waiting around.
Today after deciding not to use the stairs, I’ve got time, so I discuss this with some people waiting and it seems tempers are becoming frayed especially by the older tenants from the upper floors who’ve been in residence for many years and have never trod the multiple floors of stairs. Then the elevator arrives, its old wire gate creaks open and the waiting line of people moves forward. I’m one of them so I go up to Natec Sound on the 3rd floor in this slow old elevator, now appreciating the fact it’s still running.
Because there was only one small elevator installed when Adyar House was built in 1925, today the current tenants could well have got together to arrange times for their office moves, to avoid hold ups with the only elevator. If so, the one very important detail they missed is, there seems to be no allowance made for peak times morning and afternoon, when this only elevator is wanted by many people without waiting around.
Today after deciding not to use the stairs, I’ve got time, so I discuss this with some people waiting and it seems tempers are becoming frayed especially by the older tenants from the upper floors who’ve been in residence for many years and have never trod the multiple floors of stairs. Then the elevator arrives, its old wire gate creaks open and the waiting line of people moves forward. I’m one of them so I go up to Natec Sound on the 3rd floor in this slow old elevator, now appreciating the fact it’s still running.
(This notice is for illustrative purposes.)
When I call a meeting with owner directors John and Ken Crane, John’s elderly retired accountant father Ken shows me the notice from the owners of Adyar House, clearly stating Natecs 3rd floor lease will not be renewed. Then I find out that this ‘sudden’ quit notice was received some time ago and now, we have about 3 months to find other premises because the Adyar House building has been sold for redevelopment.
I sit there stunned, speechless, my first thoughts are, twelve weeks! How will we find new premises and move everything in just twelve weeks? And worse, in the same city area we’re already in? How will we do it? It’s impossible! We’re the only recording studio in this area of Sydney’s CBD and with advertising clients within walking distance, if we move out of this area we’ll likely lose all of their business. But there’s nothing I can do right now, I just get up and walk out of the meeting, there’s a lot of studio work to be done.
Next day I’m waiting for the elevator on the 3rd floor landing, when Sid Emerton walks down the stairs from the 2UE studios on the 4th floor above. Even though Sid ruffled some feathers when he first started at 2UE as their first operations manager, I have respect for Sid after he offered me the position as 2UEs first ever permanent breakfast panel operator. Sid sees me, walks over and just says soberly, “Don’t go up there.” We look at each other and I realise that Sid is telling me, the awful scene of a radio stations studios dying as they are pulled apart will be upsetting. 2UE is moving out to North Sydney.
I sit there stunned, speechless, my first thoughts are, twelve weeks! How will we find new premises and move everything in just twelve weeks? And worse, in the same city area we’re already in? How will we do it? It’s impossible! We’re the only recording studio in this area of Sydney’s CBD and with advertising clients within walking distance, if we move out of this area we’ll likely lose all of their business. But there’s nothing I can do right now, I just get up and walk out of the meeting, there’s a lot of studio work to be done.
Next day I’m waiting for the elevator on the 3rd floor landing, when Sid Emerton walks down the stairs from the 2UE studios on the 4th floor above. Even though Sid ruffled some feathers when he first started at 2UE as their first operations manager, I have respect for Sid after he offered me the position as 2UEs first ever permanent breakfast panel operator. Sid sees me, walks over and just says soberly, “Don’t go up there.” We look at each other and I realise that Sid is telling me, the awful scene of a radio stations studios dying as they are pulled apart will be upsetting. 2UE is moving out to North Sydney.
I haven’t got time to be concerned with all this, but I can easily see that moving our equipment will be similar to 2UE moving out from the 4th floor, probably worse because we got our ‘End of Lease’ notice too late and I haven’t had time to really think about it. Next afternoon I’m walking along Natec’s studio corridor when the wall telephone rings. This is well before the age of digital mobile phones and as a courtesy for clients, actors and musicians we have this free wall phone for their use. I answer it, “Natec Sound Studios, Allan Black.” And Col Joye says, “G’day Blackie ya making a quid?”
To this day I remember that moment because right then, the cloud starts to lift.
To this day I remember that moment because right then, the cloud starts to lift.
Allan Black Part 79
April 1973, when I answer the Natec studio corridor telephone, Col Joye replies. After a few exchanges he explains he and brother Kevin Jacobsen have heard about the approaching closure of Adyar House at 29 Bligh St. Sydney. This news hasn’t taken long to circulate and after confirming with Col that we don’t yet have a new location for our studios, he suggests I come to their ATA studios at Glebe, to consider the situation with he and Kevin.
We pencil in a time and two days later I drive to Pyrmont taking the Glebe exit to easily locate No. 96 Glebe Pt. Road, the headquarters of Australian Talent Associates studios, ATA. This is a recent photo, today as you read this 51 years later, their studios are long gone and Col, Kevin and company have moved on. Glebe has grown exponentially with shops and ethnic restaurants of all kinds, but the ATA building is still there with new owners. Looking at that photo today, I smile when I see that Broadway Cellars is carrying on the same tradition with ample quantities of liquor available, just like the old days.
But now in 1973, I’ve never been here before so around the back in the lane, I find ATA’s off street parking area then walk around to the front entrance. Just inside I meet the receptionist and she directs me upstairs to the top floor to meet his secretary Billie Brown, then Kevin in his office where we sit and discuss his proposal over a cup of coffee. There’s this second studio behind their main studio and it’s not in use, so would I like to consider renting it and moving in some of Natecs gear? “Ok, can we go and take a look at it?”
But now in 1973, I’ve never been here before so around the back in the lane, I find ATA’s off street parking area then walk around to the front entrance. Just inside I meet the receptionist and she directs me upstairs to the top floor to meet his secretary Billie Brown, then Kevin in his office where we sit and discuss his proposal over a cup of coffee. There’s this second studio behind their main studio and it’s not in use, so would I like to consider renting it and moving in some of Natecs gear? “Ok, can we go and take a look at it?”
This is a recent photo of that rear studio area, today totally converted and here out lined together with the front offices. But back then Kevin and I walk through the front big ground floor studio to this rear studio. I see that while it’s only big enough for a small group of musicians, the control room is large enough with a small office area and outside phone ext. There’s a 10 input console and most importantly the place has air conditioning. Kevin turns it on and …. it’s quiet enough.
With no other option, it doesn’t take me long to decide and Kevin and I shake hands on a weekly rental of $250 and I explain that as my company is still under contract to Natec, this rent will be paid by them on a fortnightly basis. Back at Natec, I call a meeting to announce the new studio situation and its cost. When the question of the monthly rent of $1000 is raised, I reply saying it’s reasonable because it covers 24hr. access, the console, electricity, building insurance, water rates, phone calls and the studio income should cover all that, there’s no other staff fees now and there’s no other option. So I make a list of gear to take, and times for the move across to Glebe, well out of peak traffic times.
While this all might seem easy here, it’s not and the difficult part is, I’ve made a list of our clients hoping they’ll all come with me to our new Glebe studio. In a group letter I indicate Natec’s studio rates will remain the same as before, I’ll be doing all the engineering and most important, there’s good off street parking at the ATA studio. So far so good.
With no other option, it doesn’t take me long to decide and Kevin and I shake hands on a weekly rental of $250 and I explain that as my company is still under contract to Natec, this rent will be paid by them on a fortnightly basis. Back at Natec, I call a meeting to announce the new studio situation and its cost. When the question of the monthly rent of $1000 is raised, I reply saying it’s reasonable because it covers 24hr. access, the console, electricity, building insurance, water rates, phone calls and the studio income should cover all that, there’s no other staff fees now and there’s no other option. So I make a list of gear to take, and times for the move across to Glebe, well out of peak traffic times.
While this all might seem easy here, it’s not and the difficult part is, I’ve made a list of our clients hoping they’ll all come with me to our new Glebe studio. In a group letter I indicate Natec’s studio rates will remain the same as before, I’ll be doing all the engineering and most important, there’s good off street parking at the ATA studio. So far so good.
So in April 1973 with the help from Grace Taxi Trucks, we transport 3 Natec tape recorders and sundry gear across to 96 Glebe Pt. Rd. Glebe. Owner Ken Crane retires and John Crane, Bob S. the accountant and their secretary move Natec offices across the harbour bridge to a building in Walker St. Nth. Sydney. This closes Natec Recording Studios tenure in Bligh St. in the city, and ends the historic era of Adyar House’s 48 year involvement in Australian radio entertainment. Co-incidentally because the office rents in the Sydney CBD are rising dramatically, the Advertising Industry is also moving offices en masse, across for more sensible rates in nearby Nth. Sydney, followed later by a couple of enterprising recording studios, David and Ross and Audiobrien.
The current disappointing aspect of all this is, we’ve lost Natec’s big music recording Studio B, together with the regular income from our 2 day a week ‘Bandstand’ orchestral recording job for Channel 9. At Glebe I phone our most important Natec Studio A clients to reinforce my decision to move studios here, reminding them about the free all day parking which we didn’t have in Bligh St. I’m pleased to hear they have no real concerns. For my audio visual clients the most important detail is business as usual, hoping to hell they don’t have any urgent work in the next week, while I set up.
The current disappointing aspect of all this is, we’ve lost Natec’s big music recording Studio B, together with the regular income from our 2 day a week ‘Bandstand’ orchestral recording job for Channel 9. At Glebe I phone our most important Natec Studio A clients to reinforce my decision to move studios here, reminding them about the free all day parking which we didn’t have in Bligh St. I’m pleased to hear they have no real concerns. For my audio visual clients the most important detail is business as usual, hoping to hell they don’t have any urgent work in the next week, while I set up.
To top it off, ATA buys Natec's beautiful English Marshall and Rose grand piano and with Col Joye’s connections with ‘Bandstand’ host Brian Henderson, he secures the weekly music recording job for the ATA studio. The musical director Bob ‘Beetles’ Young is retiring and 9s musical director Geoff Harvey will take over Bob’s regular job. At ATA I also meet their popular artists again, clever engineer Bruce Brown, the Joye Boys roadie Jimmy the spider and the always helpful Fred in the grocery shop next door. Off we go, this starts another of the fun times in my career.