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):
Thursday, August 23, 2007
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):
Chandler LTD 2 Compressor (Qty 4):
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):
Chandler LTD 2 Compressor (Qty 4):
Wednesday, August 22, 2007
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
Friday, August 17, 2007
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:
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:
Wednesday, August 15, 2007
Recently Added to My Collection: A Vintage EV 502B Matching Transformer
Part #531496 Electro Voice - Buchanan, Michigan
Lo-Z to Hi-Z Transformer
Lo-Z to Hi-Z Transformer
Flashpoint Faculty Meetings
Left to Right: Peter, John, Myself, Paula, Perry, Brad, Charles and Simeon
Thursday, August 9, 2007
Flashpoint - Music Control Room
Wednesday, August 8, 2007
"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&
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&
Sunday, August 5, 2007
"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.
D112 and EV 664 in the kick
414 (silver) and 57 on guitar
Left: Tom Holler - Guitar
Right: Steve Wyrostek - Guitar
Ken White - Drums
Trident Console
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
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
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
The Houndz Next Gig:
8-11-07 Lake Michigan Yacht Club Party- New Buffalo, MI
|
Pictures by Classic Photo - www.classicphoto.com
Saturday, August 4, 2007
Stairs Installed at Flashpoint Academy
Stairs installed between the 5th and 6th floors at 28 N. Clark
Thursday, August 2, 2007
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
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
Wednesday, August 1, 2007
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
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
Tuesday, July 31, 2007
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
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
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
Flashpoint Recording Arts Studios - Plywood Installed on Floating Floor
Flashpoint Server Room
Flashpoint Lighting Lab
Monday, July 30, 2007
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
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
Saturday, July 28, 2007
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.”
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.”
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