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Sound Scientist – Musician – Hitmaker – Synesthete
Creator of the backing track system for stage, which was used for the first time in Morecambe, Lancashire, UK in June 1960 for a midnight charity matinee. This system later became known as the Karaoke.
First artist to use his own speaker system on stage
First artist to have stereo sound on stage in the UK using his own equipment
First artist to produce his own first recording of a hit single
First artist (with the Checkmates) to sell 1 million copies of a recording in Great Britain alone
Recipient of Great Britain’s first Gold Disc for sales in Great Britain alone.
Born Michael Emile Telford Miller in Castries, St Lucia, the son of Frederick Edward Miller, a parliamentarian of distinction holding the Ministerial Portfolios of Health and Social Services from 1956 to 1961 (Barbados) and Madge Murray, a Concert Soprano. He was educated at St Mary’s College, Castries, St Lucia.
Emile Ford comes from a privileged and musical family background from both his grandparents and parents. His grandfather on his Mother’s side, L.M. Murray was founder of the St. Lucia Philharmonic Band. This was the first orchestral band in St. Lucia for which he took the role of director and conductor between 1902-1904. Emile’s mother, Madge Murray performed all over the West Indies. In 1954 Because of her love of music and the theatre Madge Murray organised the first musical talent show at Clark’s Theatre (Castries, St Lucia) to encourage the youth of St Lucia to participate in the arts.
Because of his mother’s endeavours Emile, who was always interested in sound, realised improvements were needed to make the stage productions sound better but there was no suitable equipment available in St Lucia. It was then that his mother moved the family to England. Emile and his mother hoped to get the necessary recording equipment from the UK and return to St Lucia and set up a studio there.
1969 Emile was finally ready to go back to St Lucia to set up a studio there but unfortunately, he was unable to go ahead with this idea and so ended up setting up the studio in Barbados with the help of his father.
Emile was living in Sweden in the 1970’s was when his most intensive research into sound was carried out. It was there that he developed the open-air playback system for stage – Liveoteque Sound which he used when performing. This was then demonstrated all over the UK at theatres and all the top bingo halls where he fine tuned the sound and where he researched all the acoustics.
Emile Ford has been researching sound for as long as he can remember inspired by his music training for the piano and violin prompted by his mother and while listening to her conducting and arranging the music for the operettas.
THE GUINNESS BOOK OF RECORDS
The Guinness Book of Records 1960
“Biggest Sellers Figures relating to the gramophone productions of the United Kingdom are unpublished, but only six records are known to have reached the million mark:– Oh My Papa (Edward Calvert) Cara Mia (David Whitfield) Charmaine (Mantovani Orchestra) Auf Wiedersehen, Sweetheart (Vera Lynn) Petite Fleur (Chris Barber orchestra) Living Doll (Cliff Richard) and What do you want to make those eyes at me for? (Emile Ford)”.
Gold Disc Presentation
Emile Ford’s entry into the Guinness Book of Records appeared in two editions: The eighth edition published November 1960 and the ninth edition published April 1961 .
Emile Ford was the first British artist to receive a gold disc for sales in the UK alone on behalf of the Checkmates. At that time it was the fastest selling single to reach 1 million. What do you want to make those eyes at me for? entered the British Charts in October 1959 and remained at No.1 in the charts for six weeks.
Patent No. 2148074
Frequency Feedback Injection System
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Web-Fi Sound is a post production service for all music genres. This scientific technique gives producers full control over acoustical problems and applies energetic life to their production. The sound when applied enables perfect playback when online or when downloaded and is compatible with all speaker systems and Internet platforms. It can be converted from download to any media format including mobile phones, car speaker systems, notebooks, CD players etc. The technique is applied onto an already mastered recording and the better the artist and his production the better the sound. Web-Fi Sound correction enhancement is applied after mastering leaving the production untouched.
Acoustics create a very big problem for all recording studios. It causes the final sound or mastered sound to end up in a parameter which is not compatible for reproduction on every speaker system to match the sound heard in the studio where it was made.