Fabio Golfetti is a Brazilian musician and record producer, famous for his work with progressive/psychedelic rock band Violeta de Outono. He is the guitarist of Franco-British rock band Gong since 2012. Fabio Golfetti was born in São Paulo in 1960, he grew up listening to Pink Floyd, Led Zeppelin, The Beatles and The Rolling Stones, as a teenager he learned how to play both the classical and the electric guitar, quoting Daevid Allen, Syd Barrett, Terje Rypdal and Manuel Göttsching as some of his major influences. In 1978 he founded his first band. Lux became Ultimato in 1981, an instrumental punk jazz/no wave band with the arrival of drummer Cláudio Souza, came to be named Zero in 1983, with the entrance of vocalist Guilherme Isnard. With Zero, he took part in the recording of the single "Heróis". In 1985, Golfetti and Souza left Zero and formed alongside Angelo Pastorello the influential psychedelic rock band Violeta de Outono; as of 2016 Violeta de Outono has released 2 EPs, 4 videos and 2 live albums.
In 1988 he formed a side project to Violeta de Outono, called The Invisible Opera Company. In 2006 he appeared at the Gong Unconvention 2006 in Amsterdam with The Glissando Guitar Orchestræ; the Seven Drones, a live album recording his performance at the event, was released in 2008. Golfetti is a full-time member of Gong since 2012. A live album of the concert was released in 2009. I See You, Gong's first studio album with him as an official member of the band, was released on November 10, 2014. In 2015 he collaborated with fellow Gong bandmember Dave Sturt on his second solo album and Absurdities. For a more comprehensive list, see Violeta de Outono#Discography1987: Violeta de Outono 1989: Em Toda Parte 1999: Mulher na Montanha 2005: Ilhas 2007: Volume 7 2012: Espectro 2016: Spaces 1991: The Eternal Voice 1993: Glissando Spirit 1996: Cosmic Dance Co. 2010: UFO Planante 1985: "Heróis" 2009: Live in Brazil: 20 November 2007 2014: I See You 2016: Rejoice! I'm Dead! 2015: Dreams and Absurdities 1994: Angel's Breath 2008: The Seven Drones Official website
Charles Hayward (musician)
Charles Hayward is an English drummer and was a founding member of the experimental rock groups This Heat and Camberwell Now. He played with Mal Dean's Amazing Band, Dolphin Logic, gigged and recorded with Phil Manzanera in the group Quiet Sun project as well as a short stint with Gong, he was a session musician on The Raincoats' second album, on one occasion played drums for the anarchist punk band Crass. Since the late 1980s, Hayward has released several solo projects and participated in various collaborations, most notably Massacre with Bill Laswell and Fred Frith. In 1976, Hayward and fellow Charles Bullen began practising with bassist Gareth Williams under the name This Heat, they began to experiment with tape loops, found sounds and keyboards on several sessions. In 1979, This Heat released their self-titled debut album. 1981's Deceit marked the final new album from Williams leaving just after its release. While Bullen began working as a studio engineer, Hayward did sessions for Lora Logic, The Raincoats and Everything but the Girl before forming Camberwell Now with bassist Trefor Goronwy and tape manipulator Stephen Rickard.
The trio released 2 eps Meridian, Greenfingers and 1 album The Ghost Trade through the Swiss Recommended label. When Camberwell Now disbanded in 1987 Hayward embarked on a solo career which has continued to the present day, he debuted with Survive the Gesture, Skew-whiff Switch on War and My Secret Alphabet in 1993. 3 live albums recorded in Japan followed in the late 1990s. In 2003 Abracadabra Information was released and 2011 saw the release of ONE BIG ATOM In 1998, he joined Massacre with Fred Frith and Bill Laswell. Throughout the 1990s up to the present he has initiated a large number of events and performances, including the series Accidents + Emergencies at the Albany Theatre in Deptford, Out of Body Orchestra, music made from the sound of the new LABAN dance centre being built, choreographed for the official opening, music for a circus, the full-on installation/performance Anti-Clockwise for multiple strobes, maze structure of diverse textures, 2 drummers and your nervous system. Recent developments include the CONTINUITY evenings as part of Camberwell Arts.
Over the past ten years Hayward has developed these attitudes and insights into a wide range of soundwork, both collaboratively and as a solo artist/performer. These include: 30 MINUTE SNARE DRUM ROLL, Zigzag+Swirl, a solo song set at the drums using a system of controlled chance electronics, beginanywhere a set of songs centred around the piano, collaborations with Laura Cannell, Thurston Moore, Keiji Haino amongst many others. Recent work with the Islington Mill crew in the project Anonymous Bash has led to new work with many younger players, including Harmergeddon, DATA QUACK and projects for an array of new record labels including Samarbeta, Care in the Community and Unknown Gods, he releases material on his own label CONTINUITY..... His long term relationship with the Albany continues with a twice yearly series of performances and installation, sound is sound is sound which he curates on behalf of Lewisham Arthouse; as well as his solo performance, Hayward's recent projects include: Albert Newton with Harry Beckett, John Edwards and Pat Thomas has been playing since its first performance at Accidents and Emergencies in the mid-1990s.
In 1998, he joined Massacre with Bill Laswell. Clear Frame with Lol Coxhill, Hugh Hopper and Orphy Robinson Mathilde 253 with Han-earl Park and Ian Smith Monkey Puzzle Trio with Viv Corringham and Nick Doyne-Ditmas. An album White World was scheduled for release in September 2010 on the Slowfoot label. About Group with John Coxon, Pat Thomas and Alexis Taylor V4V with DJ BPM, Nick Doyne-Ditmas and Vern Edwards Hayward lives with his wife and three children, Lewis and Riley. Survive the Gesture Sub Rosa Skew Whiff – A Tribute to Mark Rothko Sub Rosa Switch on War Sub Rosa Escape From Europe – Live in Japan vol 1 Locus Solus Double Agent – Live in Japan vol 2 Locus Solus Near + Far – Live in Japan vol 3 Locus Solus Abracadabra Information Locus Solus Live At Tone Deaf 10-27-11 Otoacoustic, 12xFile, MP3, Album, 320 One Big Atom Continuity... Records Trademark Ground Otoacoustic, limited edition single sided LP, 300 copies Anonymous Bash Samarbeta Residency, LP + DVD Charles Hayward: Wash Rinse Spin c/w Michael Prime: Osculation These Records Smell Of Metal ΚΕΜΑΛ 2 x 12" Charles Hayward: Out Of Order c/w Beside Dot Dot Dot Music limited edition Charles Hayward, Peter Bromley: Charles Hayward Recorded 1968 Film Group DVD-V PAL see Quiet Sun, This Heat, Camberwell Now, etc...
Regular Music: Regular Music Rough Trade Charles Hayward, Gigi Masin: Les Nouvelles Musiques De Chambre Volume 2 Sub Rosa Keep the Dog: That House We Lived In Fred Records Charles Hayward, Nick Doyne-Ditmas: My Secret Alphabet Sub Rosa La 1919: Jouer. Spielen. To Play Materiali Sonori Percy Howard, Charles Hayward, Fred Frith, Bill Laswell: Meridiem Materiali Sonori Massacre: Funny Valentine Tzadik Records Massacre: Meltdown Tzadik Lol Coxhill, Charles Hayward, Hugh Hopper, Orphy Robinson, guest cornet Robert Wyatt: Clear Frame Continuity... Records Massacre: Lonely Heart Tzadik Hugh Hopper, Simon Picard, Steve Frankli
The marimba is a percussion instrument consisting of a set of wooden bars struck with yarn or rubber mallets to produce musical tones. Resonators or pipes suspended underneath the bars amplify their sound; the bars of a chromatic marimba are arranged like the keys of a piano, with the groups of two and three accidentals raised vertically, overlapping the natural bars to aid the performer both visually and physically. This instrument is a type of idiophone, but with a more resonant and lower-pitched tessitura than the xylophone. A person who plays the marimba is called a marimba player. Modern uses of the marimba include solo performances and brass ensembles, marimba concertos, jazz ensembles, marching band and bugle corps, indoor percussion ensembles, orchestral compositions. Contemporary composers have used the unique sound of the marimba more in recent years. Xylophones are used in music of west and central Africa. In Latin America, enslaved Africans recreated them in the 17th centuries; the name marimba stems from Bantu marimba or malimba,'xylophone'.
According to some Western sources, the word'marimba' is formed from ma'many' and rimba'single-bar xylophone,' however the use of the term marimba and/or derivative terms is not present in any West African language. The instrument itself is present, but is called balafon or heri in Mali and/or Guinea, while it is known as gyil among the Akan peoples in and around Ghana; the word marimba and derivative words is used in East and Southern Africa. A survey of the literature on the African marimba and related instruments, like the Xylorimba and ilimba indicate a relationship between the word marimba and the various lamellaphones found all over Central and East Africa. Other sources credit the creation of the marimba and the kalimba to Queen Marimba of the Wakambi people, who live south of Lake Victoria. In the Shona language "imba" means song. Kuimba is to sing. Marimba, is said to be the "mother of song" and the creator of all the instruments, including the marimba. Mama means mother in Kiswahili, so it makes perfect sense that the word mother would be combined with the word "imba", the unconjugated verb for'sing'.
The karimba is said to have been created by Queen Marimba. In much of East & Central Africa the karimba is seen as a hand-held version of the marimba. Diatonic xylophones were introduced to Central America in the 17th century; the first historical record of Mayan musicians using gourd resonator marimbas in Guatemala was made in 1680, by the historian Domingo Juarros. It became more widespread during the 18th and 19th centuries, as Mayan and Ladino ensembles started using it on festivals. In 1821, the marimba was proclaimed the national instrument of Guatemala in its independence proclamation. In 1850, Mexican marimbist Manuel Bolán Cruz, modified the old bow marimba, by the wooden straight one, lengthening the legs so that the musicians could play in a standing mode, expanded the keyboard and replaced the gourd resonators by wooden boxes. In 1892, Mexican musician Corazón de Jesús Borras Moreno expanded marimba to include the chromatic scale by adding another row of sound bars, akin to black keys on the piano.
The name marimba was applied to the orchestra instrument inspired by the Latin American model. In the United States, companies like Deagan and Leedy company adapted the Latin American instruments for use in western music. Metal tubes were used as resonators, fine-tuned by rotating metal discs at the bottom; the marimbas were first used for light dance, such as Vaudeville theater and comedy shows. Clair Omar Musser was a chief proponent of marimba in the United States at the time. French composer Darius Milhaud made the ground-breaking introduction of marimbas into Western classical music in his 1947 Concerto for Marimba and Vibraphone. Four-mallet grip was employed enhancing interest for the instrument. In the late 20th century and contemporary composers found new ways to use marimba: notable examples include Leoš Janáček, Carl Orff, Karl Amadeus Hartmann, Hans Werner Henze, Pierre Boulez and Steve Reich. Marimba bars are made of either wood or synthetic material. Rosewood is the most desirable.
Bars made from synthetic materials fall short in sound quality in comparison to wooden bars, but are less expensive and yield added durability and weather resistance, making them suitable for outdoor use. Bubinga and mahogany have been cited as comparable to rosewood in quality for use as marimba bars; the specific rosewood, Dalbergia stevensonii, only grows in Southern Guatemala and Belize the British Honduras. This wood has a Janka rating of 2200, about three times harder than Silver Maple; the bars are wider and longer at the lowest pitched notes, get narrower and shorter as the notes get higher. During the tuning, wood is taken from the middle underside of the bar to lower the pitch; because of this, the bars are thinner in the lowest pitch register and thicker in the highest pitch register. In Africa, most marimbas are made by local artisans from locally available materials. Marimba bars produce their fullest sound when struck just off center, while striking the bar in the center produces a more articulate tone.
On chromatic marimbas, the accidentals can be played on the extreme front edge of the bar, away from the node if neces
EMS VCS 3
The VCS 3 is a portable analog synthesiser with a flexible semi-modular voice architecture, introduced by Electronic Music Studios Limited in 1969. This product was called various names by EMS. For example, the printed logo written to the front left of products are: "V. C. S. 3" or "The Putney" on the earlier version "The Synthi II" on the version. It was created in 1969 by Peter Zinovieff's EMS company; the electronics were designed by David Cockerell and the machine's distinctive visual appearance was the work of electronic composer Tristram Cary. The VCS3 was one of the first portable commercially available synthesizers, portable in the sense that the VCS 3 was housed in a small, wooden case, unlike previous machines from American manufacturers such as Moog Music, ARP and Buchla which were housed in large cabinets and could take up entire rooms, it cost just under £330 in 1969. Some people found it unsatisfactory as a melodic instrument due to its inherent tuning instability; this arose from the instrument's reliance on the then-current method of exponential conversion of voltage to oscillator frequency, an approach implemented, with fewer tuning issues, on analog synthesizers by other companies.
However, the VCS 3 was renowned as an powerful generator of electronic effects and processor of external sounds for its cost. The VCS 3 began to find popularity among artists looking to create exotic synthesised sounds; as a result, modern-day examples sell for far more than the original asking price. The first album to be recorded using only the VCS 3 was The Unusual Classical Synthesizer on Westminster Gold; the VCS3 was popular among progressive rock bands and was used on recordings by The Alan Parsons Project, Jean-Michel Jarre, Todd Rundgren, Brian Eno, King Crimson, The Who and Pink Floyd, among many others. The VCS3-generated bass sound at the beginning of the latter's "Welcome to the Machine" forms the foundation of the song, with the other parts being recorded in response; the Who famously used a VCS3 on "Won't Get Fooled Again" from. In this instance the synthesizer was used as an external sound processor, with Pete Townshend running the signal of a Lowrey organ through the VCS3's filter and low frequency oscillators.
Yet another notable use of the device can be heard on the song "Four Sticks" from the untitled fourth album by Led Zeppelin. The VCS3 has three oscillators, a noise generator, two input amplifiers, a ring modulator, 24 dB/octave voltage controlled low pass filter, a trapezoid envelope generator, joy-stick controller, voltage controlled spring reverb unit and 2 stereo output amplifiers. Unlike most modular synthesiser systems which use cables to link components together, the VCS 3 uses a distinctive patch board matrix into which pins are inserted in order to connect its components. Although the VCS 3 is used for generating sound effects due to lack of built-in keyboard, there were external keyboard controllers for melodic play; the DK1 in 1969 was an early velocity sensitive monophonic keyboard for VCS 3 with an extra VCO and VCA. It was extended for duophonic play, as DK2, in 1972. In 1972, Synthi AKS was released, its digital sequencer with a touch-sensitive flat keyboard, KS sequencer, its mechanical keyboard version, DKS, were released.
The VCS 3's basic design was reused by EMS in many other of their own products, most notably in the EMS Synthi 100, the Synthi A and AKS. The AKS has a sequencer built into the keyboard in the lid. A former agent of EMS in the United States, Ionic Industries in Morristown, New Jersey, released a portable-keyboard VCS 3 clone; the Ionic Performer, released in 1973, had circuitry based on that of the VCS 3's. It replaced the patch board matrix with over a hundred push-buttons, added built-in keyboard and effects units; the EMS Synthi A is a synthesizer which uses the same electronics as the VCS 3, but rehoused in a Spartanite briefcase. Instead of routing signals using patch cables, as a Moog did, it uses a patch matrix with resistive pins; the 2700 ohm resistors soldered inside the pin vary in tolerance - 5% variance and 1%. The pins have different colours: the'red' pins have 1% tolerance and the'white' have 5%, while the'green' pins are attenuating pins having a resistance of 68,000 ohms; the Synthi AKS incorporated an early digital 256 event KS sequencer in the lid, input provided by a capacitance sensitive Buchla like keyboard.
Its most prominent use is in Pink Floyd's "On the Run" from their 1973 album The Dark Side of the Moon, as well as the introduction to The Alan Parsons Project's "I Robot." Along with Klaus Schulze and Tangerine Dream, other frequent users of the instrument include Tim Blake & Miquette Giraudy of Gong, Richard Pinhas of Heldon, Thomas Lehn, Cor Fuhler and Alva Noto. The original VCS No.1 was a hand-built rackmount unit with two oscillators, one filter and one envelope designed by Cockerell before the formation of EMS. When a benefactor, Don Banks, asked Zinovieff for a synthesiser and Cockerell decided to work together on building an instrument, small, but powerful and flexible. A modified EMS VCS3 is presented as the "Harrington 1200" automatic song-writing machine in the "Music" episode of the comedy Look Around You. Tim Orr one of EMS’s lead electronic designers see SDIY wiki article. BibliographyHinton, Gra
Christopher David Allen, known as Daevid Allen, sometimes credited as Divided Alien, was an Australian poet, singer and performance artist. He was co-founder of the psychedelic rock groups Soft Gong. In 1960, inspired by the Beat Generation writers he had discovered while working in a Melbourne bookshop, Allen travelled to Paris, where he stayed at the Beat Hotel, moving into a room vacated by Allen Ginsberg and Peter Orlovsky. While selling the International Herald Tribune around Le Chat Qui Pêche and the Latin Quarter, he met Terry Riley and gained free access to the jazz clubs in the area. In 1961 Allen travelled to England and rented a room at Lydden, near Dover, where he soon began to look for work as a musician, he first replied to a newspaper advertisement for a guitar player to join Dover-based group the Rolling Stones who had lost singer/guitarist Neil Landon, but did not join them. After meeting up with William S. Burroughs, inspired by philosophies of Sun Ra, he formed free jazz outfit the Daevid Allen Trio, which included his landlord's son, 16-year-old Robert Wyatt.
They performed at Burroughs' theatre pieces based on the novel The Ticket That Exploded. In 1966, together with Kevin Ayers and Mike Ratledge, they formed the band Soft Machine, the name having come from the Burroughs novel The Soft Machine. Ayers and Wyatt had played in Wilde Flowers. Following a tour of Europe in August 1967, Allen was refused re-entry to the UK because he had overstayed his visa on a prior visit, he returned to Paris. They formed the Bananamoon Band. Both projects were cut short as the two took part in the 1968 Paris protests which swept the city, handing out teddy bears to the police and reciting poetry in pidgin French. Allen admitted. Fleeing the police, they made their way to Deià, where they had lived for a time in 1966 and had met the poet Robert Graves, a friend of Robert Wyatt's family. Returning to Paris in August 1969, they were offered the chance to make an album by the BYG Actuel label and so formed a new Gong band and recorded Magick Brother, released in March 1970.
In 1971 Allen released his first solo album, Banana Moon for BYG Actuel. It did not feature his original 1968 Bananamoon Band rhythm section, but did feature Robert Wyatt, Gilli Smyth, Gary Wright, Pip Pyle, Maggie Bell and many others; that year, Gong released their second studio album, Camembert Electrique. In October, Allen and the rest of Gong moved into an abandoned 12-room hunting lodge called Pavilion du Hay, near Voisines and Sens, 120 km south-east Paris, they would be based there until early 1974. In late 1972 they were joined by electronic musician Tim Blake. Steve Hillage and Pierre Moerlen joined to record the Radio Gnome Invisible" trilogy which consisted of Flying Teapot, Angel's Egg and You; the band signed with Virgin Records in 1973 after BYG Records went bankrupt during recording of Flying Teapot at Richard Branson's Manor Studio. Gong was Branson's second Virgin release after Mike Oldfield's Tubular Bells. According to Allen, in his book Gong Dreaming 2, the idea of the flying teapot was influenced by Russell's teapot.
Allen left Gong in April 1975 and went on to record three more solo albums, Good Morning, Now Is the Happiest Time of Your Life and N'existe pas!. During these years, he lived in a hippie collective in Deià and contributed to the production of The Book of Am, an album by the band Can am des puig, loaning them a four-track TEAC reel-to-reel tape recorder. In late May 1977, Allen performed and recorded as Planet Gong reformed the "Radio Gnome Trilogy" version of the group for a one-off show at the Hippodrome, France; the show, the first Gong Reunion, featured Sting, Stewart Copeland and Andy Summers in their first live appearance as part of Mike Howlett's band Strontium 90, before Summers joined both Copeland and Sting in The Police. An edited version of the Gong concert was released in 1977 as the double live album Gong est Mort, Vive Gong. In 1978 Allen moved to New York at the invitation of his old producer Giorgio Gomelsky, was teamed up with the nascent Material to form the punk-influenced New York Gong.
They toured the U. S. in the Spring of 1979, playing the classic Radio Gnome Invisible trilogy, recorded the studio album About Time. In 1981 Allen returned to Australia, taking up residence in Byron Bay where he worked on performance pieces and poetry, he performed with performance artist David Tolley as Ex. In 1989 he formed a new Gong band, which toured and recorded a self-titled album. Reverting to the name Gong, they released Shapeshifter in 1992, which continued the classic Gong mythology of Zero the Hero. A second Gong Reunion event took place in London in 1994 and the "classic" lineup toured between 1996 and 2001, releasing a new studio album, Zero to Infinity in 2000. In 1998 Allen co-founded the San Francisco-based psychedelic rock band University of Errors and the U. K. based jazz rock band Brainville 3, going on to live albums with each. He recorded with Spirits Burning, a space rock supergroup whose members include Alan Davey, Bridget Wishart, Karl E. H. Seigfried, Simon House; some of Daevid Allen's most experimental work was with the long running Los Angeles noise band Big City Orchestra, including live performances and more than a half doze
Michael John Gilmour Howlett is a Fijian musician, Grammy Award winning producer and teacher based in the United Kingdom and Australia. In the late 1960s, Howlett was the bassist in Sydney pop band The Affair, which included vocalist Kerrie Biddell; the group travelled to England after winning a prize in the Hoadley's Battle of the Sounds band competition. Howlett settled in London and in 1973 joined renowned British progressive rock group Gong, founded by an Australian expatriate, Daevid Allen, he remained with Gong until 1977, recording several albums with them and co-writing much of their material in this period with drummer Pierre Moerlen. After leaving Gong, Howlett formed the short-lived band Strontium 90, which consisted of himself, Stewart Copeland and Andy Summers. In addition to being the band's lead bassist and chief songwriter, Howlett performed most of the lead vocals at live performances; the band recorded several demos and played at a Paris Gong reunion concert in May 1977, but disbanded when Summers left to join Copeland and Sting's other project, The Police.
An archival collection of Strontium 90 material was released two decades as Strontium 90: Police Academy. A few months after the breakup of Strontium 90, Howlett served as bassist for the one-off studio band The Radio Actors, which included Gong bandmate Steve Hillage on lead guitar and Strontium 90 bandmate Sting on lead vocals; the band's single, "Nuclear Waste" b/w "Digital Love", was reissued on CD in 1995 with liner notes and three bonus tracks, though none of the bonus tracks involved Howlett. In the 1980s, Howlett became an in-demand producer, with a string of notable credits, he produced many hit singles and albums for leading new wave music acts including A Flock of Seagulls, The Alarm, China Crisis, Martha & the Muffins, Orchestral Manoeuvres in the Dark, Stephen Duffy, Gang of Four and Comsat Angels. He produced the album Secret Secrets for Joan Armatrading in 1985. Gong performs occasional reunion gigs around the world, Howlett joins them. In 1993, he launched a record label, which released albums by singer-songwriters Rafa Russo, Debbie Cassell and Jay Fisher.
From 2005 to 2009, Howlett was chairman of the Music Producers Guild. Howlett was awarded a PhD on the subject of record production in 2009 and has lectured in music technology at several universities, including the University of Glamorgan and Thames Valley University. In 2009, he became Head of Music at Queensland University of Technology in Australia, and is an Adjunct Professor for QUT. Howlett has three children and a grandchild, he lives in West London. Mike Howlett Discography: https://www.discogs.com/fr/artist/69817-Mike-Howlett Official website 1997 interview on Calyx: the Canterbury website Biography on Calyx: the Canterbury website Mike Howlett discography at Discogs
The Manor Studio
The Manor Studio was a recording studio in the manor house at the village of Shipton-on-Cherwell in Oxfordshire, north of the city of Oxford. The Manor and its outbuildings are listed Grade II on the National Heritage List for England; the Manor was the third residential recording studio in the United Kingdom. The first being Ascot Sound Studios built between 1970-1971 by John Lennon in an addition to his Tittenhurst Park mansion, where he recorded his Imagine album; the second being Rockfield Studios in Monmouthshire. The concept was pioneered in 1969 by French musician Michel Magne in the Château d'Hérouville; the manor house was owned by Richard Branson and used as a recording studio for Virgin Records, although artists signed to other labels used the studios. The first released LP to be recorded there, while the studio was still being given its finishing touches in late 1971, was Let's Make Up And Be Friendly, a farewell reunion album by members of The Bonzo Dog Band; the most famous album to be recorded there was Tubular Bells by Mike Oldfield, during 1972–73 when Oldfield was given a week to record an LP at the studio.
Vivian Stanshall of The Bonzo Dog Band, was recording his own first solo album there afterwards, which led to his guest role as Master Of Ceremonies on Tubular Bells. Sandy Denny began her second solo album Sandy there in March 1972. In April 1995, after the takeover of Virgin Records by EMI, The Manor Studio was closed as a recording studio by EMI, it is now the country home of the Marquess of Headfort. In 2010, NME reported; the facilities were advertised as follows, as of 1973: Maps.google.co.uk