2 Channels of John Hardy M1's Installed in Music Control at Flashpoint

Chicago Sessions - VOLUME 12: SHAWN MAXWELL QUARTET • MAXWELL’S HOUSE

Shawn Maxwell - alto saxophone; Matt Nelson - piano; Kevin Martinez - double bass; Brandon Dickert - drums. Recorded 9/20 and 9/27/2009 at Studiomedia Recording Company, Evanston, IL.


To Purchase:
www.chicagosessions.com

127th AES Convention - New York

Flashpoint at AES:

Chicago Sessions - VOLUME 11: PAT MALLINGER- DRAGON FISH

Pat Mallinger - tenor, alto and soprano saxophones, flute; Dan Trudell - piano. Recorded 8/19 and 8/20/2009 at Studiomedia Recording Company, Evanston, IL.

To Purchase:

www.chicagosessions.com

Steely Dan Stage Set Up at Chicago Theater:

Mics:
Cascade Fat Heads on Guitar amps
AEA Ribbons and Shure KSMs on Horns

Chicago Sessions: VOLUME 10- PAUL WERTICO’S MID-EAST/MID-WEST ALLIANCE • IMPRESSIONS OF A CITY

Paul Wertico, John Moulder, Brian Peters, Dani Rabin, Danny Markovitch.

To purchase:
www.chicagosessions.com

Recording Session - Artist: Claire Stahlecker

414XLS in Blum on acoustic guitar:


121 and MA200 on Vocals:


Artist: Claire Stahlecker

www.myspace.com/clairestahlecker

Chicago Sessions: VOLUME 9 - HOWARD LEVY - TONIGHT AND TOMORROW

Howard Levy – piano, harmonica; Larry Gray – double bass; Ernie Adams – drums. Recorded 6/1 and 6/2/2009.

To purchase:
www.chicagosessions.com

Jazz Institute of Chicago Recording Session[s]

My Custom JBL 350A's

Dual 10" Drivers, 5" Mid and a Tweeter
Manufactured by JBL in NorthRidge California - 1981:

Just Added To Collection: Shure SM7B

Gary Meier Visits Flashpoint

"Sugar Pusher" Records at Flashpoint

Matt Kerr and Lauren Ritchie:


Ms. Lauren Ritchie:




The Class, Myself, Lauren Ritchie, Matt Kerr and Anthony Capers:







www.sugarpusher.net

Chicago Sessions: Volume 8 - Darwin Noguera's Evolution Quintet - The Gardener

Darwin Noguera – piano; Victor Garcia – trumpet, flugelhorn; Greg Ward – alto saxophone; Joshua Ramos – double bass; Juan Daniel Pastor – drums, cajón, bongo cajón; Special Guests : Ernie Adams - drums; Howard Levy - harmonica; Rocky Yera - tenor saxophone. Recorded 4/26 and 5/3/2009.

”Noguera delights in combining traditional Latin forms and hard-hitting jazz, to the benefit of both idioms… From the very beginning of this irresistible recording – the spiky piano intro to ‘Señor del Pozo’, a Peruvian festejo – Noguera’s dizzying command of both Latin and jazz idioms comes into focus. (So does his partnership with trumpeter Victor Garcia… Garcia has a unique affinity for Noguera’s writing, and even after repeated hearings, it remains one of this music’s indelible strengths.)… Noguera’s work with the Chicago Afro-Latin Jazz Ensemble explains one more gift he brings to this musical banquet – his ability to condense his voluptuous and detailed big-band writing down to just these few horns, while still suggesting the depth and variety of the larger format.” - Neil Tesser (from the liner notes)

www.chicagosessions.com

Old Town School of Folk Music - Recording Sessions

Michael O'Toole

















Laura Doherty and "The Swing Sets"














Tisa and The Glowworms:

FLASHPOINT ACADEMY FACULTY AND STAFF CONDUCT 3 DAYS OF WORKSHOPS AT HIGHLAND PARK HIGH SCHOOL - FOCUS ON THE ARTS

Current Pic of My 1994 Buick Roadmaster: 5.7 liter LT1

Chicago Sessions Volume 7 - ZVONIMIR TOT - ELOQUENT SILENCE

Zvonimir Tot – guitar; Larry Gray – double bass; Ernie Adams – drums; Orbert Davis – trumpet, flugelhorn; Mark Colby – tenor saxophone; Julie Koidin – alto flute; Stefan Milenkovich - violin.

Zvonimir Tot is a jazz guitarist, composer, and arranger with a style deeply rooted in the jazz tradition but flavored by his European origin. He holds way too many university degrees. Tot is the Assistant Director of Jazz Studies at University of Illinois at Chicago. As a jazz musician, Zvonimir Tot has performed and/or recorded in The Netherlands, Germany, Belgium, Hungary, Serbia, the Czech Republic, Romania, and Croatia. He has performed with many world-renowned artists, including saxophonists Scott Hamilton, Billy Harper and Peter King, organist Joey DeFrancesco, violinists Johnny Frigo and Stefan Milenkovich, drummers Ernie Adams, Paul Wertico and Byron Landham, bassists Niels-Henning Ørsted Pedersen, John Clayton and Hein Van de Geyn, trumpeter Orbert Davis, pianists Larry Novak and Larry Vuckovich, guitarists Philip Catherine, Henry Johnson and Paulinho Garcia, vocalists Jackie Allen, Carmen Lundy and Deborah Carter, and Chicago Jazz Philharmonic.

To subscribe go to:
www.chicagosessions.com

The Blissters - Vocal Overdubs - Part of a Music Focused Study Course at Flashpoint Academy held at Wall 2 Wall Recording

Recorded through a Neve V51 Console to a Studer 2-inch 24 track










http://www.myspace.com/theblissters

Chicago Sessions Volume 6 - AARON KOPPEL QUARTET - FALLING TOGETHER FALLING APART

Aaron Koppel – electric guitar; Matt Nelson – piano; Graham Czach – bass; Robert Tucker – drums; Greg Ward – alto saxophone; Geof Bradfield – tenor saxophone.

“You may have heard small-group compositions as strong and flavorful as the ones on this album, but if you can’t remember exactly when, you should again not worry: it’s probably been a while… Koppel serves more as bandleader and composer/arranger, guiding his small yet versatile ensemble and letting his writing speak louder than his guitar… [Pianist Matt] Nelson’s suave command of his material matches up neatly with his fertile imagination and his knowledge of jazz history; Koppel gives him the majority of the solo space on this disc, and Nelson transforms it into his personal debutante’s ball, emerging as an impressive new voice well worth tracking. He kicks it off with a rangy concerto of a solo on the opening track and doesn’t flag, with a series of improvisations that illuminate (and at times deconstruct) the underlying compositions… All in all, Aaron Koppel and company – most of whom you’ve never heard of – have produced a lovely, lively collection marked by intelligent writing, emotional depth, and sterling musicianship.” – Neil Tesser (from the liner notes)

The Aaron Koppel Quartet is a unique bop driven force that can only be described as what it is: another new exit off the highway of jazz. Founded by Aaron Koppel in 2002, the Aaron Koppel Quartet is made up of Chicago natives: guitarist Aaron Koppel, pianist Matt Nelson (Matthew Santos), Robert Tucker (Matthew Santos), and bassist Graham Czach (Chicago Afrobeat Project). Their debut album released in 2007 "The Wild Call of the Multitasker" received a lot of attention in Chicago, being featured on WXRT's Jazz Transfusion, Chicago's 93.1 FM, XM radio's Beyond Jazz, New Mexico's KSFR 101.1 FM Santa Fe Public Radio, WDCB 90.9 FM College of DuPage Public Radio, PBS 106.7 FM Melbourne, Australia, and several internet radio sites. With the addition of Geof Bradfield (tenor), Greg Ward (alto) and Johanna Mahmud (trombone) the Aaron Koppel Quartet received two nominations for the Toronto Exclusive Magazine Awards, Best International Jazz Group and Best International Jazz Song with Koppel's arrangement of Radiohead's "Myxomatosis (Judge, Jury, Executioner)."

www.chicagosessions.com

"The Blissters" Record at Flashpoint as part of an Analog Recording Focus Study

Chicago Sessions Volume 5 - TONY DO RASARIO

VOLUME 5: TONY DO ROSARIO’S NEW CHICAGO JAZZ QUARTET • NEW BEGINNINGS

Tony do Rosario – electric & acoustic guitar; Geof Bradfield – tenor saxophone; Nathan Kawaller – acoustic bass; Greg Wyser-Pratte – drums.

“Brazilian/American guitarist Tony Do Rosario delivers an energetic and engaging performance with his sophomore album New Beginnings… The four musicians come together to produce an album of original modern jazz that is mentally engaging and possesses broad appeal… All of the compositions were written by Do Rosario, and each track brings to light his varied background as a musician. Leading off with the title track, which is very reminiscent of '70s-style ECM, “On This Day” follows as a hard-driving bossa nova that can be directly traced to Do Rosario's ethnic heritage. Do Rosario also enters the funk-jazz realm with “Don't Get Fresh With Me,” and tips his hat to the pop world with the Andy Summers-esque “K.” This diversity of influences only helps to strengthen the appeal of New Beginnings, as each new tune occupies a different corner of the modern jazz world… Far from being simply a vehicle to show off Do Rosario's improvisational technique, the disc comes together because of the total effort from the band as a whole. The ability of the musicians to solo and bring their own voice to each tune only acts to contrast the moments when the group dynamic is so tight that it feels as if they are a single instrument… New Beginnings is a strong sophomore album for Do Rosario and his new quartet. With a seamlessly never-ending supply of creativity at his fingertips, Do Rosario should be a leading voice on the Chicago jazz scene for some time to come.” - Matthew Warnock, All About Jazz, March 2009.

“The sheen draws you in; the depth keeps you from leaving. Do Rosario does this with his guitar, offering a plummy tone and gracious attack as initial enticements; only then does he reveal the sturdy, enveloping improvisations that continue to expand with repeated listenings. He also does this with his compositions, almost all of which sound attractively familiar, and then turn out to be richer and more rewarding than the initial impression… what is beyond dispute is that Bradfield and do Rosario have formed a mutually conducive partnership. You hear it in the way that Bradfield immerses himself in do Rosario’s compositions, but also in the way that their individual styles as improvisers – Bradfield, the busy but cogent deconstructionist; do Rosario, the simpler yet equally analytical melodist – complement each other. You hear it especially in the moments of simultaneous soloing that dot this album… such moments sparkle.” – Neil Tesser (from the liner notes)

Jazz guitar’s elder statesman John Pisano described Tony Do Rosario as “one of the most promising young jazz guitarists on the L.A. jazz scene today." The L.A. Times Jazz Review said of Tony "...he is a hard-core traditionalist, solidly tapped into his roots in the styles of guitarists such as Jim Hall and Joe Pass." Similar impressions were no doubt left with those who’ve heard him at L.A.’s top jazz clubs, including the Baked Potato and Catalina's, as well as New York's world-famous Birdland, Chris’s Jazz Café in Philadelphia, and Fascing in Stockholm, Sweden. Along the way, Tony has shared the stage with the likes of Pisano, Ron Echete, Jimmy Bruno, Paul Bollenback, Mundell Lowe, Jack Wilkins and Howard Alden. It’s no surprise that Brad Walseth of jazzchicago.net ranks Tony “among the very best jazz guitarists of the current generation."

Born to a musical Brazilian family in Atlantic City, NJ, where he took up the guitar at the tender age of twelve, Tony has since left both coasts for Chicago, were he now resides, performs, and teaches. He can be heard at venues such as Pops for Champagne, Katerina’s, Cuatro and other clubs around the Chicago area, but still ventures occasionally to his east-coast roots to play Chris’ Jazz club in Philadelphia and Smalls in New York City.

www.chicagosessions.com

Gallery of Carpet Recording- Additional Isolation Booth added:

Iso Booth # 2:







Iso Booth # 1:







Main Room:




Control Room:

More Double Edge Safety Razor Blades:

1st - Vidyut Super-Max, India - Fast, sharp, no drag or cuts - blade lasts - good shave.
2nd - Gillette 7 O'Clock Permasharp, India - Slight Drag, no cuts - does dull quickly.

* Lord Platinum Class from Egypt still by far yields the best shave.

Nathan Tenebaum From "The Next Big Sound" Tracks for Flashpoint's Music Focused Study on 2 inch Analog Recording Techniques

Neumann U89's in Blumlein on Acoustic Guitar/ 414 EB Silver on Vocals:


Another Pic of the Neumann U89's in Blumlein on Acoustic Guitar
Calrec Condenser (Just for a Safety):


Control Room at Wall 2 Wall Recording:


Music Focus Study Class - Nathan Tenebaum and Myself:


The Neve V51 at Wall 2 Wall Recording:


Joe and the 2 inch:


The Class and Myself in the control room:


www.thenextbigsound.com

Music Focused Study at Wall 2 Wall Recording Continues - Analog Tape Machines

Studer A820 - 24 track:

Double Edge Safety Blades - Results

After the purchase of my new double edge safety razor (Merkur - Open Comb), I decided to sample a variety of blades. I have learned that the perfect shave is a result of finding the correct blade to match your beard. Below is my feedback on the blades pictured above - remember this is based on my beard.

In Order of Preference:
1st - Lord Blades from Egypt - Very Fast, sharp, no drag or cuts -blade lasts - the best shave.
2nd - Dorco Blades from Korea - Very Fast, sharp, no drag or cuts - does dull quickly.
3rd - Merkur Blades from Germany - Fast, slight drag, no cuts - does dull quickly.
4th - Gillette Blades from America - Fast, slight drag, caused one razor cut.
5th - Fan Blades from America/Swedish Steel - Lots of drag, no cuts - very dull -not platinum.
6th - Feather from Japan - Very Fast, no drag, multiple razor cuts - 45 minutes of constant bleeding - the blades are not pictured because I gave them to a fellow wet shaver, maybe he will have some luck with them!


*Lord Blades from Egypt run $4.95 plus $2.00 shipping for 5 blades. I picked up the Dorco's from Korea for $9.89, free shipping for 100 blades!

Keep shaving!

Pic of my Merkur Open Comb Double Edge Safety Razor (Made in Germany):

Chicago Sessions Volume 4 - Paulinho Garcia

Chicago Sessions Volume 4 - Paulinho Garcia - My Very Life

Paulinho Garcia - guitar, vocals; Heitor Garcia - percussion; Geraldo de Oliveira - percussion; Brett Benteler - double bass; Grazyna Auguscik - vocals; Steve Eisen - saxophone, flute; Julie Koidin - flute; Michael Allemana - electric guitar; Ernie Denov - electric guitar; Don Stiernberg - mandolin.

“Singer-guitarist Garcia always caresses the ear, but this disc offers an impressive collection of original compositions steeped in Brazilian musical culture. Each is a revelation.” – Howard Reich, Chicago Tribune, March 2009.

“Alone with his guitar, his voice conjures a romantic figure balancing serenity and saudade (the Brazilian word for “that happy sadness” which has no easy equivalency in English) – a soundtrack for the famous Picasso portrait “The Old Guitarist.” And working with a broad range of Chicago musicians – reflecting relationships forged over 30 years in America – Paulinho’s voice becomes the sunlit jewel at the center of the various small ensembles heard here… The real surprise of this album lies in the fact that so fine a modern exponent of bossa nova as Paulinho Garcia emerges as so effective an interpreter, and so accomplished a composer, of the bossa’s many cousins.” – Neil Tesser (from the liner notes)

Born in Belo Horizonte, Paulinho composed, arranged, produced, and performed in Brazil until his arrival in the U.S. in 1979, where he joined and made two recordings with the band Made in Brazil. In 1991, he founded his own band, Jazzmineiro, whose eponymous 1996 CD received excellent reviews in the Chicago Tribune, Jazziz Magazine, the Brazilian Music Review and many others. Paulinho was the recipient of the 2001 Best Jazz Entertainer Award at the Chicago Music Awards. He tours the world extensively and has a musical partnership with some of Chicago's best musicians including saxophonist Greg Fishman (Two for Brazil), flutist Julie Koidin (Dois no Choro) and singer Grazyna Auguscik.

Paulinho has performed at some of the most renowned jazz festivals in the world such as The North Sea Jazz Festival of Nederland, Singapore Jazz Festival, the Elite and Concord Fazz Festivals of Japan, and the Jazz nadOdra Festival of Poland. His appearance on July 24, 2008 at Millennium Park in Chicago drew 11,000 people, the largest audience for a jazz concert at that venue. With 15 CDs of his own recorded, and extensive participation in other musicians’ projects, Paulinho has established himself as a master of Brazilian jazz.

www.chicagosessions.com

Pure Badger Shaving Brush

Hand Made in England - Pure Badger Hair - "Old Original" Pictured with Stand:




Keep Shaving!

Music Focused Study at Wall 2 Wall Recording

Current Tracking Sessions - Recording I - Flashpoint Academy

Session 2:



414's on Piano - 195 on Vox:


EV 868 on Tuba:




Session 1 :

Beyer M160's on Hat and Ride:


DI - Shadow Hills Pre - 1176 Compression on Bass:


Royer 121 and 57 on Electric Guitar:




414 XLS with Pacifica Pre on Flute:

Merkur Saftey Razor

My New Merkur "Open Comb" Double-Edge Safety Razor. Shaving is no longer a chore, but a fulfilling ritual. Made in Germany.

Keep Shaving!

Pacifica and Shadow Hills Pre's Installed - For Studio Recording I Course

Pacifica Pre's



Shadow Hills 500 Series Pre's

Chicago Session Volume 1 - Reviewed in Downbeat

Click image to inlarge!


www.chicagosessions.com

Remix Artist - Ralphi Rosario At Flashpoint Academy

John Murray, George Luif, Ralphi Rosario and Bernie Mack

Recently Added To My Collection: A Vintage AKG D1000E

Nasty "Tone" - Possibly the worst sounding mic ever! - but hey, its "Vintage"

Flashpoint Faculty and Staff Pic

All of us:

Chicago Sessions Announces December Release!

Disc 3 of Series 1 Scheduled to Ship in December 2008:


VOLUME 3: STEVEN HASHIMOTO'S MOTHRA - TRADEWIND

Steven Hashimoto-electric bass; Neal Alger-electric guitar; Kathy Kelly-vibraphone; Dan Hesler-tenor, alto & soprano saxophone, Michael Levin-tenor & soprano saxophone, clarinet, bass clarinet, flute; Heath Chappell-drums.

Steven Hashimoto has been an integral part of Chicago's many music scenes since 1969. He has performed with countless bands and artists at almost every venue in the Chicago area, playing jazz, rock, funk, folk, country, Latin, avant-garde, cabaret, bluegrass, blues, r&b, reggae, cajun, Brasilian, African and theatre music. He has appeared on many recordings, as both leader and sideman, and has appeared at The Chicago Jazz Festival, The South Shore Jazz Festival, Taste of Chicago, ChicagoFest and Chicago's Asian American Jazz Festival. As a jazz musician he has played bebop, hard bop, swing, big band, avant-garde, Latin jazz and Dixieland, and has anchored the late-night jam session at The Green Mill for an amazing 22 years. He formed the band Mothra in 1976; this is the band's fifth recording ("Farewell To Manzanar"; "In Dreams Begin Responsibilities"; "Sansei: Third Generation"; and "Giri").


Support Chicago Jazz at www.chicagosessions.com

Hear Samples at www.chicagosessions.com

An Afterlife Crisis Review

Tracked Bernie Mack at The Gallery of Carpet Recording
Mixed by Bernie Mack at The 3rd Bedroom
Mastered by Nick Eipers
Music by Steve Mayfield
Author Steve Mayfield

Editorial reviews:
Norm Goldman:
Afterlife Crisis (Novel with Soundtrack)

By Norman Goldman "Editor of Bookpleasures.com"

In his debut novel, Afterlife Crisis (Novel With Soundtrack), Steve Mayfield spins a tender and humble narrative while exploring what makes someone a good, caring, and compassionate human being.

Mayfield's story uses the framework of a fifty-four year old Frank Moon who has just suffered a fatal heart attack. Two minutes after his demise, his soul is sucked into the "Passage," and winds up somewhere called the Resting Place where "there is only love and support now and forever." It is here where Frank meets a visionary, Luna, who explains to him the meaning and importance of "warmth", which incidentally is not the temperature but rather the human state.

Luna informs Frank that as everyone goes through an individual, unique life experience, the person's deeds and activities gradually build a character and a distinctive soul. Moreover, one of the most vital ingredients of that soul is "warmth." Frank is a trifle baffled as to what all this means and Luna then goes on to clarify that warmth consists of four features: compassion, tolerance, risk and knowledge.

Luna also informs Frank that it is fairly easy to measure warmth as we all have degrees of compassion, tolerance, risk and knowledge. In fact, it can even be learned and improved. Frank is now quite interested in knowing how he scored whereupon Luna tells him that before she gives him his results, she would like to revisit with him some of his warmth-forming experiences during his lifetime on earth. And Frank is also reminded that life is not what we think or pray about but rather what we do or in other words, actions speak louder than words.

As we read about these experiences, we get a good picture of Frank's character and some of the fine deeds he had performed during his lifetime. These include the preventing of a gang rape of a young teen-age girl and the rejection of racism that was prevalent among a good majority of his classmates. We also get a peek into some of Frank's crabby moments such as the time he lost patience with an Internet support service technician who was trying to help him with his Internet problem. Each experience is linked to one of the elements comprising "warmth" and when they are all added up, Frank does succeed in coming up with more than a passing grade. As a result, Frank is called up to return to earth and perform one more very important task.

Afterlife Crisis is narrated with a style and execution that is surprisingly uncomplicated for such a complex subject matter. In addition, what stands out about this novel is Mayfield's creativity as he interweaves excerpts from the seven song lyrics extracted from a CD that accompanies the book. These inspirational epigraphs initiate most of the chapters, and as Mayfield informed me when I interviewed him, it was the music that inspired the book. This is something that we often don't encounter, as it is usually the other way around where songs have been inspired by literature.

In addition, what I found most rewarding was that the epigraphs effectively whisper to us the principal themes that are to follow in each of the chapters. This is quite a delicate task, however, Mayfield has pulled it off with flying colors with a wonderful book with wise and heartening advice that makes us stop and ponder the kind of legacy we would like to leave our family and friends.

--Norm Goldman, Publisher & Editor Bookpleasures


Steve Mayfield

Chicago Sessions Announces November Release!

Disc 2 of Series 1 scheduled to Ship November 2008:



VOLUME 2: MARSHALL VENTE TRIO MARSHALL ARTS
Marshall Vente piano, electric piano, cuica, Tibetan cymbals, gong; Trio: Scott Mason acoustic bass; Isidro Isi Perez drums; Tropicale Trio: Jim Batson acoustic & electric bass; Luiz Ewerling drums; Special Guests: Glenn Reitsma acoustic & electric guitars; Joe Sonnefeldt steel pan, congas, udu, shaker; Chip Gdalman alto flute.

Support Chicago Jazz at www.chicagosessions.com

Hear Samples at www.chicagosessions.com

AES 125th Convention San Francisco

AES Welcome


Flashpoint at AES


AES Floor


Educational Fair


Education Forum


Mastering Forum

Chicago Sessions -October Release!

Disc 1 of Series 1 scheduled to ship October 2008:


Larry Gray – double bass
John Moulder – acoustic and electric guitars
Charles Heath IV - drums


Hear samples at:

www.chicagosessions.com

or click on chicagosessions by "otherlinks" to subcribe

Alice Peacock Recording Session at Flashpoint

Shaun Hildner, Bernie Mack, Alice Peacock, Audrey Welling and George Luif




John Murray, Alice Peacock and Bernie Mack

www.alicepeacock.com

CHICAGO SESSIONS:

CHICAGO SESSIONS is now accepting subscriptions to Series 1! Please visit www.chicagosessions.com for more information.

CHICAGO SESSIONS is a jazz record label featuring the best Chicago jazz artists, from the established to the undiscovered. We produce 12 exclusive, high quality Compact Discs per year, which collectively form a Series, available only by subscription. Each CD in the Series features a different artist, and focuses on their original compositions. Subscribers will receive all 12 CDs in the Series to which they subscribe, with one CD being released each month. A subscription to Series 1 is $135.00 within the domestic United States, including tax and shipping.


SERIES 1 : OCTOBER 2008 - SEPTEMBER 2009

Volume 1 - Larry Gray • One - Two - Three! with John Moulder and Charles Heath - Ships October 2008.

Volume 2 - Marshall Vente Trio • Marshall Arts (with Scott Mason, Isi Perez, Jim Batson, Luiz Ewerling, Glenn Reitsma and Joe Sonnefeldt) - Ships November 2008.

Volume 3 - Steven Hashimoto's Mothra (Steven Hashimoto, Neal Alger, Kathy Kelly, Michael Levin, Dan Hesler and Heath Chappell) (scheduled) - Ships December 2008.

Volumes 4 - 12 - To Be Announced!


CHICAGO SESSIONS will endeavor to
• Encourage original music by the best Chicago jazz artists
• Introduce the best Chicago jazz to a larger audience, both locally and worldwide
• Provide the jazz enthusiast with unique, high quality recordings which would otherwise not be available, and to foster their connection with the Chicago jazz scene
• Promote the idea that music has value, and that artists should be able to make a living providing the world with the beauty of their art
• Take a positive stance against music piracy of all kinds, including illegal downloading (“file sharing”), and copying of CDs
• Offer artists a good recording opportunity, and a fair and straightforward contract in which they share in the success of the label
• Use, whenever possible, environmentally friendly materials in the CDs we create
• Make a lasting contribution to the collective of great music and quality recording, for the benefit of the listeners, the artists and for posterity.


www.chicagosessions.com


Sign up and support local Chicago Jazz!

WFMT "Introductions" - Broadcast from Flashpoint Academy

Info:

www.wfmtintroductions.com


Engineers:





Talent and Team:

Mike Murphy 1975 - 2008

Words cannot express the greatness of Mike Murphy - I have had the pleasure of recording Mike over the past 11 years with "Far Out Of Me" and "Leave" - he was not just a client - but also a friend. He will be missed. Sometimes life does not make sense.....it is too short...



Mike Murphy 1975 - 2008 an amazing human being.

Mike Murphy Photos To Remember:

Mike Murphy:




Leave:













Pop Overthrow:

Guest Speaker Series at Flashpoint Continued:

Danny Leake
Mastering Engineer, owner of Urban Gurilla Engineers. Clients included: Kanye West, Janet Jackson, Sting, Hank Williams Jr., Candlebox, Willie Nelson, Stevie Wonder, etc.




Doug McBride
Music Recording Engineer, owner of Gravity Studios. Clients include: Veruca Salt, Smashing Pumpkins, Fall Out Boy, Dashboard Confessional, Juliana Theory, Bob Mould, RATM, Red Red Meat, Sinead O’Connor, etc.

New "Houndz, Afterlife Crisis" Released - Compact Disc/Book:

Tracked and Mixed by Bernie Mack
Mastered by Nick Eipers
Music / Book by Steve Mayfield

"Deuce"

Great Clients:




http://www.myspace.com/deuceiswild

Jeff Kliment - Part of The Guest Lecture Series at Flashpoint Academy for the Recording Arts Program

Jeff spoke with the students about "Audio Development for Interactive Video Games"
along with some Q and A for students:



some of Jeff's credits:

1. Star Wars: Super Bombad Racing (2001) (VG) (sound department manager)
2. Star Wars: Starfighter (2001) (VG) (sound mixer)
   ... aka Star Wars: Starfighter Special Edition (International: English title)
3. Star Wars: Demolition (2000) (VG) (sound department manager)
4. Escape from Monkey Island (2000) (VG) (sound department manager) (sound effects editor)
5. Star Wars: Episode I - Jedi Power Battles (2000) (VG) (sound designer)
6. Star Wars: Force Commander (2000) (VG) (additional sound designer)
   
   
7. Star Wars: Episode I - Racer (1999) (VG) (lead sound designer) (supervising sound editor)
8. Grim Fandango (1998) (VG) (supervising sound editor)
9. Star Wars: Masters of Teräs Käsi (1998) (VG) (additional sound)
10. Star Wars: Yoda Stories (1997) (VG) (sound effects editor)
    ... aka Yoda Stories (USA: short title)
11. Outlaws (1997) (VG) (sound effects editor) (sound)
12. The Birdcage (1996) (sound) (uncredited)
    ... aka Birds of a Feather
13. Jumanji (1995) (sound)
14. Nine Months (1995) (sound)
15. Mrs. Doubtfire (1993) (sound) (uncredited)
16. Rising Sun (1993) (sound)
17. Henry & June (1990) (sound)
    
    
18. The Thin Blue Line (1988) (sound effects editor)
19. Two Idiots in Hollywood (1988) (sound effects editor)
20. Walker (1987) (sound)
21. Tough Guys Don't Dance (1987) (post-production sound engineer) (as Jeffrey Kliment)
22. Mishima: A Life in Four Chapters (1985) (sound editor)
    ... aka Mishima (USA: short title)
23. Never Cry Wolf (1983) (sound) (uncredited)
    

And:

1. Indiana Jones and the Emperor's Tomb (2003) (VG) (music editor)
2. Star Wars: Force Commander (2000) (VG) (music engineer)
   
   
3. Tucker: The Man and His Dream (1988) (music editor) (uncredited)
4. True Stories (1986) (music editor)
5. Howard the Duck (1986) (music editor)
   ... aka Howard: A New Breed of Hero (UK)
6. Psycho Girls (1985) (first assistant music mixer)
7. The Cotton Club (1984) (music editor)

John Murray, Jeff Kliment and Bernie Mack:

The Houndz "Afterlife Crisis" Completed

Houndz record pressed - Release date - September 16th 2008



Songs Written by Steve Wyrostek and The Houndz
Recorded and Mixed by Bernie Mack @ Gallery of Carpet Recording and The 2nd Bed Room
Mastered By Nick Eipers @ Shantyville Recording Studio

Psychodots Recording Session at Flashpoint

As Part of Flashpoint's "Production In Action"

Psychodots are:

Rob on Guitar and Vocals:






Chris on Drums:





Bob on Bass:




Chris, Bob and Myself (Looking like we are somewhat in control of the project..)




All of us:

14 Miles to Empty with Gail Katz - Recording Session:

Group Photo:





Gail Katz:





Mike:




Ken:




Ed:





Tom:

Jimmy Tomasello from "The Old Town School"

Jimmy - M930 vocals / M200 Acoustic:









Drums - Ev 868/ 421's / 57 / U195's






Electric Guitar - Royer 121:





Violin - KM 184:





Keys - DI:





Bass - DI:





Lead Vocals - M930:





Backing Vocals - M930:

Bumpus Recording Session

Drums:





Keys into Fender Twin with a 421:





Guitar and Scratch Vocals:





U87 and 121 on Lead Vocals:





Vocals:

Foley Artist - Vincent Guisetti Records at Flashpoint

Old Town School of Folk Music Returns to Flashpoint

A few exotic instruments -

Jug:






Acoustic and Percussion:








Fiddle:






Bass:

Dynamite Blu Recording Session at Flashpoint

Rhythm Guitar:




Drums:




Mic Pre's and Eq's:




Lead Vocals:




Bass:

Two Groups From Old Town School of Folk Music Record at Flashpoint as Part Of The Recording Arts Program:

AT 4050 on Vocals and Royer 121 on Banjo:




Bock 195 on Vocals and Gefell M930's on Acoustic:




Neumann KM 184 on Fiddle:




Gefell M930's on Acoustic:




421 and 451 on Sax:




Drums and Keys:




M200 on Acoustic Bass:




Drums:


As part of recording arts:



Old Town School of Folk Music Web Site: www.oldtownschool.org

Nick Bognar Returns to Flashpoint for an Acoustic Recording

Nick Bognar:

Amanda Sena Records at Flashpoint

As part of the Recording II Course

Amanda on Acoustic Guitar and Vocals:



AT 4050 and Gefell M930 for Vocals
Neumann Km 184 on Acoustic Guitar




Brian on Percussion:



SM 57 on top and an EV 868 for the bottom


Amanda's Website: www.amandasena.com

Flashpoint Mini Suites

Protools HD with Sync
Mixed Logic M24 Control Surface
Adam Nearfield Monitors
True Systems P-Solo Mic Pre
Monitor Max - Monitor system

International Recording Artist: David Broza Performs at Flashpoint

Amazing Performance:

Recently Added To My Collection: A Vintage Sennheiser MD 412

Photo of Flashpoint Academy's Music Control Room

Mic Pre's:
Chandler
Great River
Helios
API
Wunder

EQ's:
Chandler
Avedis
Great River
Helios
Wunder

Compressors:
Chandler
Empirical Labs
Crane Song
Purple Audio

Monitors:
Bearfoot

Rob Fetters Tracking Session at Flashpoint

Acoustic Guitar:
Royer 121 and AKG 451 with Great River Pre's and STC 8 Compression:




U87 for Vocals - API 512 Pre and Crane Song Compression:



Back up vocals - U87 in omni:




Rob completing "Color" Guitar tracks in the control room:




Dan on drums:
D112 and 421 for kick with API 512 Pre's and Eq's
57 on snare with API Pre's and Avedis Eq
421's on Toms with Chandler LTD 1 Pre's and Eq's
Km 184's on hat and ride with Helios Pre's and Eq's
Bock 195's on overheads with Wunder Pre's and Eq's



Drum Mics:


Rob and myself:



Rob Fetters, John Murray, Bernie Mack and George Luif:

Artist - Rob Fetters - Scheduled to Record at Flashpoint

Rob Fetters is an award-winning composer who has recorded and produced music for over 100 ABC TV commercials, and dozens of pieces for shows on the Disney Channel, Nickelodeon, and PBS. He’s created original music for national advertising campaigns: among them Sea World, Totes, Airheads Candy, Starkist, Intel, Crest, Hasbro, US Bank, and Roto Rooter. He has also composed and produced numerous postproduction scores for corporate films and theatrical presentations, most notably for Proctor & Gamble and Sea World.

In his long career as a singer/songwriter and guitar player, he has recorded and produced albums for other artists and performed internationally in the legendary guitar-pop band The Bears along with avant-garde guitarist Adrian Belew, toured with the Cincinnati Pops under the baton of Erich Kunzel, and done session work with artists ranging from The Ohio Players and Nigerian Afro-Popster Baoku Moses to Spanish language children’s choirs and wild experiments combining legendary bluesman Big Joe Duskin with an operatic soprano.

True Systems P-Solo Mic Pre's installed at Flashpoint

New addition to the mini suites:

Michelle Shocked Tracking Session at Flashpoint Academy

Michelle speaks as part of a "Master Class" on the creative process -

Photos below are from the tracking session:

The Houndz "After Life Crisis" Record Completed

Tracked and Mixed by Bernie Mack at Gallery of Carpet Recording in Villa Park, IL

Mastered by Nick Eipers

The Record is scheduled to be released in January 2008 along with a book written by Steve Wyrostek.

Artist - Michelle Shocked - Scheduled to Record at Flashpoint

The Recording Arts Program will track and mix artist "Michelle Shocked" on November 30th- 2007.

Just Added To Collection: Eicor (Shure 710) Vintage Microphone

Paul Taneja Recording Session at Flashpoint

Paul Taneja:





























Mic placement on acoustic guitar and vocals:



Gefell M930 on vocal and Neumann KM 184 on acoustic guitar
both with Great River mic pres and Crane Song compression:



Royer 121's in Blum for the room:


Paul Taneja:



Another shot of Paul:

Nick Bognar Tracking at Flashpoint Academy

Myself (Bernie) going over signal flow (and the fact that I need a new haircut) with students for the Nick Bognar Tracking Session at Flashpoont Academy:

In Studio Recording I section B, students tracked "Duece" in the main music control room and studios. Students were responsible for instrument placement, mic placement, signal flow, sound check, monitor and cue. This experience confirms that hands on learning through collaboration is the most effective form of instruction for digital media arts. The session went down perfectly - the students are top notch! Mic src="http://3.bp.blogspot.com/_v-93c_LPwxg/RzfZ11HKpZI/AAAAAAAAATs/K28tVclYY1w/s400/Nick.jpg" alt="" id="BLOGGER_PHOTO_ID_5131809819225400722" border="0" />Placement on drums: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_v-93c_LPwxg/RzUbF1HKpNI/AAAAAAAAASM/vPwRfBhKVDY/s1600-h/DSC03464.JPG"><img style="cursor: pointer;" src="http://1.bp.blogspot.com/_v-93c_LPwxg/RzUbF1HKpNI/AAAAAAAAASM/vPwRfBhKVDY/s400/DSC03464.JPG" alt="" id="BLOGGER_PHOTO_ID_5131037137428980946" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUa5FHKpMI/AAAAAAAAASE/LZfNuuWaHMY/s1600-h/DSC03465.JPG"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUa5FHKpMI/AAAAAAAAASE/LZfNuuWaHMY/s400/DSC03465.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036918385648834" border="0" /></a> Electric bass - steward DI and 421: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUanFHKpLI/AAAAAAAAAR8/2Z4VpK_8yCg/s1600-h/DSC03471.JPG"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUanFHKpLI/AAAAAAAAAR8/2Z4VpK_8yCg/s400/DSC03471.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036609148003506" border="0" /></a> Electric guitar 57 and 121: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaZVHKpKI/AAAAAAAAAR0/uKi516h6JkI/s1600-h/DSC03472.JPG"><img style="cursor: pointer;" src="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaZVHKpKI/AAAAAAAAAR0/uKi516h6JkI/s400/DSC03472.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036372924802210" border="0" /></a> 195's for overheads, 421's on toms, 451's on hat and ride: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaHVHKpJI/AAAAAAAAARs/F0yYa0Q1wDg/s1600-h/DSC03474.JPG"><img style="cursor: pointer;" src="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaHVHKpJI/AAAAAAAAARs/F0yYa0Q1wDg/s400/DSC03474.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036063687156882" border="0" /></a> KM 184 on acoustic: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUZ3VHKpII/AAAAAAAAARk/2WbgGNFGm10/s1600-h/DSC03477.JPG"><img style="cursor: pointer;" src="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUZ3VHKpII/AAAAAAAAARk/2WbgGNFGm10/s400/DSC03477.JPG" alt="" id="BLOGGER_PHOTO_ID_5131035788809249922" border="0" /></a> 451's on congas: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_v-93c_LPwxg/RzUZnlHKpHI/AAAAAAAAARc/sJ1gtfK_YJI/s1600-h/DSC03481.JPG"><img style="cursor: pointer;" src="http://4.bp.blogspot.com/_v-93c_LPwxg/RzUZnlHKpHI/AAAAAAAAARc/sJ1gtfK_YJI/s400/DSC03481.JPG" alt="" id="BLOGGER_PHOTO_ID_5131035518226310258" border="0" /></a>In Studio Recording I section A, students tracked "Nick Bognar" in the main music control room and studios. Students were responsible for instrument placement, mic placement, signal flow, sound check, monitor and cue. This experience confirms that hands on learning through collaboration is the most effective form of instruction for digital media arts. The session went down perfectly - the students are top notch!

In Studio Recording I section B, students tracked "Duece" in the main music control room and studios. Students were responsible for instrument placement, mic placement, signal flow, sound check, monitor and cue. This experience confirms that hands on learning through collaboration is the most effective form of instruction for digital media arts. The session went down perfectly - the students are top notch! Mic Placement on drums: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_v-93c_LPwxg/RzUbF1HKpNI/AAAAAAAAASM/vPwRfBhKVDY/s1600-h/DSC03464.JPG"><img style="cursor: pointer;" src="http://1.bp.blogspot.com/_v-93c_LPwxg/RzUbF1HKpNI/AAAAAAAAASM/vPwRfBhKVDY/s400/DSC03464.JPG" alt="" id="BLOGGER_PHOTO_ID_5131037137428980946" border="0" /></a> <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUa5FHKpMI/AAAAAAAAASE/LZfNuuWaHMY/s1600-h/DSC03465.JPG"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUa5FHKpMI/AAAAAAAAASE/LZfNuuWaHMY/s400/DSC03465.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036918385648834" border="0" /></a> Electric bass - steward DI and 421: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUanFHKpLI/AAAAAAAAAR8/2Z4VpK_8yCg/s1600-h/DSC03471.JPG"><img style="cursor: pointer;" src="http://2.bp.blogspot.com/_v-93c_LPwxg/RzUanFHKpLI/AAAAAAAAAR8/2Z4VpK_8yCg/s400/DSC03471.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036609148003506" border="0" /></a> Electric guitar 57 and 121: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaZVHKpKI/AAAAAAAAAR0/uKi516h6JkI/s1600-h/DSC03472.JPG"><img style="cursor: pointer;" src="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaZVHKpKI/AAAAAAAAAR0/uKi516h6JkI/s400/DSC03472.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036372924802210" border="0" /></a> 195's for overheads, 421's on toms, 451's on hat and ride: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaHVHKpJI/AAAAAAAAARs/F0yYa0Q1wDg/s1600-h/DSC03474.JPG"><img style="cursor: pointer;" src="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUaHVHKpJI/AAAAAAAAARs/F0yYa0Q1wDg/s400/DSC03474.JPG" alt="" id="BLOGGER_PHOTO_ID_5131036063687156882" border="0" /></a> KM 184 on acoustic: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUZ3VHKpII/AAAAAAAAARk/2WbgGNFGm10/s1600-h/DSC03477.JPG"><img style="cursor: pointer;" src="http://3.bp.blogspot.com/_v-93c_LPwxg/RzUZ3VHKpII/AAAAAAAAARk/2WbgGNFGm10/s400/DSC03477.JPG" alt="" id="BLOGGER_PHOTO_ID_5131035788809249922" border="0" /></a> 451's on congas: <a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://4.bp.blogspot.com/_v-93c_LPwxg/RzUZnlHKpHI/AAAAAAAAARc/sJ1gtfK_YJI/s1600-h/DSC03481.JPG"><img style="cursor: pointer;" src="http://4.bp.blogspot.com/_v-93c_LPwxg/RzUZnlHKpHI/AAAAAAAAARc/sJ1gtfK_YJI/s400/DSC03481.JPG" alt="" id="BLOGGER_PHOTO_ID_5131035518226310258" border="0" /></a>
Mic placement on drums:



Mic placement on drums completed:



Bock 195 on vocals:



Fender Twin - Mic placement:



Bass rig:



Flashpoint's patchbay:



Nick tuning:

Chicago Band "Deuce" Tracking at Flashpoint for Studio Recording I

In Studio Recording I section B, students tracked "Deuce" in the main music control room and studios. Students were responsible for instrument placement, mic placement, signal flow, sound check, monitor and cue. This experience confirms that hands on learning through collaboration is the most effective form of instruction for digital media arts. The session went down perfectly - the students are top notch!



Mic Placement on drums:






Electric bass - steward DI and 421:



Electric guitar 57 and 121:



195's for overheads, 421's on toms, 451's on hat and ride:



KM 184 on acoustic:



451's on congas:


Micing the congas:

Added to My Collection: DuKane 7A160

Houndz Mixing Completed

The mixing process for the next Houndz record was completed this weekend. The lastest record represents a ten year client relationship between the Houndz and I. The CD will be available for purchase by 02-08 at local retailers. I look forward to working with them again. Once the mixing was completed I received the following email from Steve:

Thanks, Bernie-

You really did nice work on the mixes- I couldn't be happier with the
results-

I really appreciate your professionalism-

Have a good weekend-

Steve Wyrostek
President- Gentle Ears, Inc.
Des Plaines, IL 60016

Mixing of the "Houndz" Record Begins

All tracking has been completed, this week I started mixing...


Mixing the "Houndz" record is intense, due to the amount of instruments / tracks - Protools screen shots below:

Edit Window:



Mix Window:

Drum Micing at Flashpoint - Studio 1

Drums were recorded for Digital Audio Workstation I at Flashpoint:






Kick - 421 with a Chandler LTD 1 Mic Pre/Eq
Snare - 57 with a Chandler LTD 1 Mic Pre/Eq
Toms - 421's with Api 512 Pre's/Avedis Eq's
Over Heads - Sound Deluxe 195's with Wunder Mic Pre's/Eq's

Recently Added To My Collection: A Vintage Telefunken TD 25 Microphone

Vintage Telefunken TD 25 Microphone:

Houndz Tracking Completed- The Final Overdubs: The Lakeside Choir from Evanston Illinois

Tracking 12 members of the Lakeside Choir, again at Gallery of Carpet Recording in Villa Park:

AT4051's in stereo - API 512 Mic Pre's




All Recorded Elements for the Houndz Tracking Session have been completed:

Drums 5 piece
Electric Bass
Rhythm Electric Guitar - 1
Rhythm Electric Guitar -2
Lead Electric Guitar
Synthesizer - Piano
Synthesizer - Strings
Trumpet
Trombone
Baritone Saxophone
Tenor Saxophone
Trumpet - 2
Lead Tenor Saxophone
Lead Vocal
Backing Vocals - 4 part
Choir - 12 members

Flashpoint Music Control Room Is Online!

Control Surface: Digidesign
Mic Pre's: Chandler, Wunder, Great River, API and Helios
EQ's: Chandler, Wunder, Great River and Avadis
Compression: Chandler, Crane Song, Emperical Labs and Purple Audio
Monitors: Barefoot
Effects: Waves Bundle, TC M2000 and M3000's
Recorders: Protools HD and Alesis Masterlink

Flashpoint Post Control Room Is Online!

Control Surface: Digidesign
Mic Pre's: Chandler
EQ's: Chandler and Waves TDM Plugins
Compression: Chandler and Waves TDM Plugins
Effects: Waves Plugins
Monitors: Set up for 5.1 surround - Barefoot Near fields with an Adam sub
Recorders: Protools HD, Alesis Masterlink

Flashpoint Recording Arts Strategies

Friday September 28th, Michael Santucci spoke to the Recording Arts Program at Flashpoint about hearing conservation and preservation.

Michael inspected my ears - turns out my left ear is perfect, my right ear had wax buildup over the ear drum! I immediately took care of this issue.

Michael Santucci (M.S., F-AAA) is the founder and president of Sensaphonics Hearing Conservation Inc., based in Chicago, Illinois. As a fully credentialed audiologist and ardent music lover, Michael has made it his life's work to help preserve the sense of hearing for those whose professions involve exposure to high sound pressure levels.

As president of Sensaphonics, Michael provides audiological consultation and customized earphones to many of today's top music performers. His articles on hearing health have been published in over 40 periodicals and he has been featured in Crain's Chicago Business, the Chicago Tribune, Chicago Sun Times, and a wide variety of music industry publications. As an advocate for hearing conservation, Michael has been featured on a variety of electronic media as well, both in Chicago and nationally.

Also George Luif was introduced to the Recording Arts student body. George is Flashpoint's Audio Technician and Acoustic Designer. He will be teaching the "Science of Acoustics" and "Trouble Shooting and Studio Maintenance" courses for the Recording Arts program.

John Murray (Chair of Recording Arts) introducing George Luif:

Artist -Nick Bognar - Scheduled to record at Flashpoint

His music is infectious, his lyrics are honest, and you'll find yourself singing along after the first listen! - Radiokonline.com

Nick Bognar - International Pop Overthrow

Flashpoint Music Control Room

Digidesign D-Control has been installed:

The Houndz Tracking Continues - Lead and Backing Vocals

Steve on lead vocals:





Ike and Jeff on backing vocals:





Steve and Ken on backing vocals:

Flashpoint Opening Day!

An experience that will always be remembered:


Flashpoint Student Body:





Dean Paula Froehle introducing the faculty:

Houndz Tracking Continues - Guitar Solos

Ike completed all guitar solos:

Royer 122 Ribbon about a foot away, into an API 512 Mic Pre and compressed with an Empirical Labs Distressor:




Royer 122 about 1 foot away facing the center cone:

One of Flashpoint's Post Control Rooms

Digidesign HD with Control Surface, Chandler Mic Pre's/Compression and Barefoot Monitors:

Houndz Tracking Continued - Keys and Horns

Tracking Continues on the Latest Houndz Record:

Nick on keys - Recorded DI (stereo) with API 512 Pre's / EMI TGR 1 Compressors:





Don on Trumpet with a 414 (silver) - API 512 Pre / 1178 Compressor:





Pete on Trumpet with a Telefunken RFT M16 - API 512 Pre / 1178 Compressor:




Another Shot of Pete:




Bob on Baritone Sax with a Neumann U87 - UA610 Pre / 1178 Compressor:



Bob also did additional overdubs on Alto Sax with a Neumann U87 - UA610 PRE / 1178 COMPRESSOR

Flashpoint Post Control Room

This will house a Digidesign Control Surface for a
Protools HD system.

Flashpoint Music Control Room

More Gear Has Arrived!


Wunder Mic Pre With Eq (Qty 4):




Purple Audio MC77 (Qty 2):




Great River Mic Pre and EQ (Qty 2):




Helios 69 - 2 Channel Mic Pre and EQ (Qty 2):

API 512 Mic Pre (Qty 4):

Chandler LTD 2 Compressor (Qty 4):

Tequila Salmon with Salad

New Creation: Grilled Tequila Salmon with Salad

Flank Steak Salsa Verda

A New Dish: Flank Steak with Salsa Verda

"Everyone must eat, so why not eat well?"

Flank Steak Salsa Verda with Rice

Attempted Theft On The Roadmaster

This occurred overnight - right in my driveway. The car was not stolen due to the GM "Pass Key" system. There is no excuse for this - this situation angers me.

This car is a 1994 Buick Roadmaster Limited in mint condition - stock with a 5.7 liter LT1 350 Corvette engine. Its my pride and joy! It is currently at Buick getting repaired.

See damage below:

Recently Added to My Collection: A Vintage EV 502B Matching Transformer

Part #531496 Electro Voice - Buchanan, Michigan
Lo-Z to Hi-Z Transformer

Flashpoint Faculty Meetings

Left to Right: Peter, John, Myself, Paula, Perry, Brad, Charles and Simeon

Flashpoint - Music Control Room

Gear is starting to arrive! Below is a Crane Song STC-8
Discrete Class A - Stereo Compressor / Limiter (Qty 2):

"The Repellents" on VML - still being sold!

"The Repellents" on the VML label (#053) is still for sale on "Interpunk.com."
I had tracked this album over a decade ago. One of the band members recently contacted me saying "Can you believe it, the record is still for sale?"


"The Repellents" #053
V.M.L. Records
Recorded by Bernie Mack at SoundHouse Studio
Mixed by Joey Vindictive at Uber Studio
All Rights Reserved BMI/ASCAP

Here is the link - please buy!

http://www.interpunk.com/item.cfm?Item=3317&

"The Houndz" Tracking Session - The Rhythms

"The Houndz" and I have been working together since 1997. Below are pictures from our current project at Gallery Of Carpet Recording in Villa Park. On Sunday I tracked the rhythm section - see below. The horns, keys and vocals are scheduled to be recorded during September and October.

Microphone placement on drums

D112 and EV 664 in the kick

414 (silver) and 57 on guitar

Left: Tom Holler - Guitar
Right: Steve Wyrostek - Guitar

Jeff Plettau - Bass

Ken White - Drums

Trident Console

Outboard pre's and compression

Right: Steve Wyrostek

Center: Ken White

Left: Bob Reed

The Houndz previous releases:

"2nd Adulthood"

Tracked, mixed and mastered by Bernie Mack
Produced by The Houndz

Published by Sterita Publishing (ASCAP)

"These Guys"

Tracked, mixed and mastered by Bernie Mack and Jeff Luif
Produced by The Houndz

Horn Arrangements by Bob Reed

Published by Sterita Publishing (ASCAP)

"Work Songs"

Tracked, mixed and mastered by Bernie Mack

Produced by The Houndz

Horn Arrangements by Bob Reed

The Houndz Next Gig:

8-11-07 Lake Michigan Yacht Club Party- New Buffalo, MI


Old Photos of the Houndz tracking with me at Star Trax Recording in Crestwood, Il

Pictures by Classic Photo - www.classicphoto.com

Recently Added To My Collection: A Pair of AT 3700's

Nothing Special - But Still Interesting...

Flashpoint Colleagues and Myself At A Recent Open House

Left: Simeon Peebler
Center: Myself
Right : Perry Harovas

Stairs Installed at Flashpoint Academy

Stairs installed between the 5th and 6th floors at 28 N. Clark

Chicagoland Based Recording Artist - "The Tossers" - Performances for August

"The heart of their distinct sound is derived through the melding of traditional Irish and Punk Rock roots." The Tossers are currently on Victory Records.

August Shows:
09/16 - The Knitting Factory - New York, New York
09/17 - The Station - Portland, Maine
09/18 - Higher Ground - So. Burlington, Vermont
09/19 - Living Room - Providence, Rhode Island
09/20 - Harper's Ferry - Allston, Massachusetts
09/22 - The Khyber - Philadelphia, Pennsylvania
09/23 - Black Cat Backstage - Washington, DC
09/25 - The Basement - Columbus, Ohio
09/27 - High Dive - Champaign, Illinois
09/28 - The Abbey Pub - Chicago, IL

"Long Dim Road"
Tracked and Mixed by Bernie Mack
Produced by The Tossers

Gallery Of Carpet Recording - Villa Park, Illinois

Gallery of Carpet Recording will be rented for my next tracking session of "The Houndz"
The room was chosen based on its supurb selection of outboard gear

Choice Gear: API, Universal Audio, Chandler, Manley, Emperical Labs, SPL, Altec and Trident

Console stereo buss is labeled "ReMix" - British!

Tracking session info and technique will soon be posted

Chicagoland Based "Deuce" Performances for August

Friday, August 10, 2007
Flatlanders-Lincolnshire, IL-10:00 PM

Saturday, August 11, 2007
Sunset Beach Bar and Grill-Sandwich, IL-9:00 PM

Sunday, August 12, 2007
Blarney Stone Pub-K-Section-Oak Forest, IL-2:30 PM

Saturday, August 18, 2007
Rhino Bar-Chicago, IL-10:00 PM

Duece's latest release, see below:

"I Came To Party"

Tracked, Mixed and Mastered by Bernie Mack
Produced by Bernie Mack and Deuce

*See photos taken during the album's tracking session on earlier blog below:

Recently Added To My Collection: A Vintage EV 636 "Slim Air"

Flashpoint, The Academy of Media Arts and Sciences - Construction

Flashpoint Recording Arts Studios - Floating Floor




Flashpoint Recording Arts Studios - Plywood Installed on Floating Floor




Flashpoint Server Room




Flashpoint Lighting Lab

Chicagoland Based "Leave" Performs At The Knitting Factory In Hollywood

Leave is part of "International Pop Overthrow"




Leave's last two releases, see below:


"I'd Rather Not Say"
Engineered and Mixed by Bernie Mack
Mastered by Brian Zieske
Produced by Bernie Mack and Leave

"Filled with poignant lyrics, wistful harmonies and a earthy attitude, I`d Rather Not Say deftly balances shimmering lighter moments with sharp-edged roots-pop rockers. Very Highly Recommended." - Not Lame




"Don't Go"
*Tracks 1,2,7,10 and 11
Engineered and Mixed by Josh Shapera
Mastered by Dan Stout
Produced by Josh Shapera and Leave

*Tracks 3,4,5,6,8 and 9
Engineered and Mixed by Bernie Mack
Mastered by Bernie Mack
Produced by Bernie Mack and Leave

"In fact, there's nothing futuristic about their tight harmonies, driving rhythms and thoroughly satisfying power-pop, but as the aforementioned power-pop scene proves, catchy tunes never go out of style."
- Jim DeRogatis from the Chicago Sun-Times

Recently Added To My Collection: A Vintage EV 649B Miniature Lavalier Microphone

An omnidirectional dynamic microphone

Flashpoint Links Listed On Pro-Audio Web Sites

http://www.aes.org/education/courses.cfm?GeoID=2&ProgTypeID=1





http://www.prosoundnews.com/publish/education/directory.shtml







http://www.audiodirectory.nl/






http://www.audiomedia.com/

Project with Hank Williams - Master Mix in Nashville

The Project Included:

Left: Duane Exline - Recording Artist
Center: Myself - Tracking and Mixing Engineer
Right: Hank Williams - Mastering Engineer





Below is an article that was published in Mix Magazine about Hank Williams:


THE HISTORY OF HOT
“I've been at this a long time and this loudness war is nothing new. It's been going on probably since dirt, and it's not going to change,” says MasterMix's Hank Williams, who — in three decades of mastering projects from Platinum artists Tim McGraw, Reba McEntire and Toby Keith to indie projects — certainly sees the big picture when it comes to the Nashville country scene and mastering in general.

Hank Williams
The long-standing loudness issue is a given, but the problem has grown out of control in recent years, say many engineers. Bob Katz, who's been recording since the early '70s and mastering out of his own facility, Digital Domain (Altamonte Springs, Fla.) since 1990, quantifies what he sees as a crisis: “There's a 12 to 14dB apparent loudness difference between Black Sabbath, produced in 1977 or so and transferred to compact disc in the early '80s, and the Black Eyed Peas' ‘Let's Get It Started,’” he says. “The difference between the loudest records and even the reasonably well-mastered records became so great that I can't even make a reasonably loud ‘normal’ record without people complaining that it's too low.”
Katz, who has worked with a full range of rock, pop, classical and jazz artists — including 150 records for the audiophile Chesky label, where he once served as technical director — paints a grim picture. “About three weeks ago, a very well-known jazz pianist, with a trio of some of the finest jazz musicians on the planet, said that he loved his master, but, ‘It's not as loud as some of the more recent things, so I'm willing to sacrifice its sound to make it a little more competitive, loudness-wise.’ I'm thinking, ‘It has come to this? Why would you have to be the least bit concerned about a jazz recording being “competitively loud”?’ I've heard that even some classical musicians are beginning ‘loudness envy.’”



Though most engineers acknowledge that today's music is louder, they don't live in constant fear of squeezing the mix. “That's the gig, you gotta rise to the occasion,” says Stephen Marcussen, head of Marcussen Mastering in Hollywood. “If it's difficult, it's difficult. It's part of what we do. I have no problem if somebody comes in and makes an aggressive record; I quite enjoy it. But you're talking to a guy who's been accused of making records too loud.” Marcussen — whose resume spans Stevie Wonder's 1980 Platinum album Hotter Than July to recent work with the Rolling Stones, Wolfmother, Audioslave, Gillian Welch and Jaguares — says some artists are even asking for lower volume. “Artists have come in and said, ‘Okay, make my record as loud as you can; now, turn it down 3 dB,’ which I thought was a nice, refreshing change in my world.”
Nashville mastering engineer Bob Olhsson, who's been around since the Motown days, agrees that most would like to see average levels go down. “There are brave souls,” he says. “There's an Alan Jackson record out right now [What I Do] that's about 8 dB below average, and I think it sounds way better, especially streamed or as an MP3 file or something.”
Williams, who mastered that Jackson release, says he's fortunate to work with established, involved artists. “Alan [Jackson] has some very specific things that he does and does not want done to his records, and I can tell you from my standpoint, those records do not suffer on the radio from being lower in level. It doesn't happen. So the answer to the question is, what's the point of this dynamic range war?”
Marcussen admits that engineers who voice frustration about the lack of dynamics make a valid point, but stresses that, ultimately, the client drives the master. “So it would be great for me to take a hard-line approach, but that's not the reality,” he says. “The reality is that the guy I'm working with wants to be competitive in today's world, so I think you have to respect the fact that there is good in having loud CDs. I didn't say it was all good, but there is good.”

Recently Added To My Collection: A Pair of Vintage EV 664 Microphones

For kick drum:
Use an EV664 on a boom stand, pointing directly at the beater, about 4 to 5 inches away
In addition, use a D112, placed halfway inside the kick drum, and rest on a pillow

Amazing TONE!

See my earlier Blog about the "Duece" session for a picture of this kick drum technique

A Few Published Works

Chapters on my "Subjective EQ Technique" and teaching stragities were included in Flash MX.







Chapters on my "Subjective EQ Technique" and teaching stragities were expanded upon, and then included in Flash MX 2004.






Chapters on "EQ for Tracking" and "Room Placement of Instruments for a Close Miked Multi-Track Recording Session" were included in The Savvy Studio Owner.

Recently Added To My Collection: A Pair of Vintage EV 644 "Sound Spot" Microphones

Cardiod shotgun microphones - Mint!

Flashpoint, The Academy of Media Arts and Sciences

I have recently joined Flashpoint, The Academy of Media Arts and Sciences - as a faculty member for the Recording Arts Program.

The school's link:

http://www.flashpointacademy.com/

"Candid Input" about Equalization for Recording Magazine

Article:"Part 15 Equalization, Part 2 - Sculpting a Mix"
by Dr. John Shirley - Professor of Sound Recording at the
University of Massachusetts, Lowell

Photos From Recent "Deuce" Tracking Session

EV 664 and D112 in the kick




MD421 and Avlon DI on the Bass




Tracking the rhythm section




Sm57 and 414ULS on guitar




Drum miking



API Legacy console

Star Trax R.I.P.

Below are photos of Star Trax Recording INC. I have worked out of this room for over 11 years. The studio had a reptutation for great tone and surperb translation.
Star Trax closed its doors to the public on January 2nd, 2007.

The facility will be strongly missed...