The BBB Featuring Bernie Dresel | Bern Bern Bern

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Bern Bern Bern

by The BBB Featuring Bernie Dresel

The BBB Featuring Bernie Dresel has earned a reputation as one of Los Angeles’ most exciting large jazz ensembles, if not on the planet. It is one of the most innovative and original hard-swinging large jazz ensembles ever.
Genre: Jazz: Modern Big Band
Release Date: 

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  Song Share Time Download
1. BBB Opener
2:55 $0.99
2. It's Alright with Me
4:07 $0.99
3. Got Groove?
4:43 $0.99
4. Bern Bern Bern
4:57 $0.99
5. A Night in Tunisia
4:50 $0.99
6. Anything Goes
4:08 $0.99
7. Body and Soul
5:25 $0.99
8. The Summit
3:08 $0.99
9. New Dell Inn
3:41 $0.99
10. All The Things!
4:48 $0.99
11. The World Is a Ghetto
4:50 $0.99
12. Early Spring
5:12 $0.99
13. Zuit Soot
4:26 $0.99
14. Suite B
15:26 album only
Downloads are available as MP3-320 files.


Album Notes

1. BBB Opener 2:55 (James McMillen: Composer & Arranger)
Baja Pasadena Publishing –– ASCAP
Featuring The Los Angeles Clarinet Choir
Bernie’s Comments: First of all, I want to say, I hope you will listen to this album from the very beginning to the very end, as it was written and created to be heard like that in its entirety. The album opens with a flashback from my childhood with wooden spoons on pots and pans at Grandma’s house, and then fast forwards in time to a drum pad at my home on Wengler Avenue in Sharon, Pennsylvania, which then morphs into my “graduating” to a snare drum as I learn to play a roll. As the horns enter, we continue into a dream of what would become The BBB Featuring Bernie Dresel. This Bern Bern Bern opener is quite the sonic composition/arrangement by our trombonist James McMillen that also incorporates The Los Angeles Clarinet Choir (the first of two tunes they are special guests on). This introductory piece concludes as it segues into the next tune after the strangest announcement tympani roll you have ever heard!

2. It’s Alright With Me 4:05 (Cole Porter: Composer; Andrew Neu: Arranger)
Warner Bros. Inc./Chappell & Co, Inc. –– ASCAP
Soloists: Carl Saunders (Trumpet) & Rob Lockart (Tenor Saxophone)
Bernie’s Comments: We continue with a new performance of a wonderful
arrangement by Andrew Neu. We originally recorded a version of this on our first album, Live N’ Bernin’ (recorded at Joe’s Great American Bar & Grill in Burbank, California). We didn’t release that version then as we had too many great tunes to squeeze into that album from that live two-set night. So finally, here it is, this time recorded at Capitol Studios in Hollywood, California for Bern Bern Bern.

3. Got Groove? 4:43 (Scott Healy: Composer & Arranger)
Bluedog Music –– BMI
Soloist: Ryan Dragon (Trombone)
Bernie’s Comments: Continuing in the “three spot” is a rousin’ groovin’ shuffle composed and arranged by Scott Healy, Conan O’Brian’s sole (and soulful) organist for 25 years since 1993. In Scott’s honor, you will hear two Hammond B-3s split far left and right (one just wasn’t enough!). This is also the first of several tunes on this album where Brian Setzer Orchestra’s longtime member, Johnny “Spazz” Hatton, is slappin’ the hell out of that upright bass! I hope you agree we do “got groove.”

4. Bern Bern Bern 4:57 (James McMillen: Composer & Arranger)
Baja Pasadena Publishing –– ASCAP
Featuring The Los Angeles Clarinet Choir
Soloist: Carl Saunders (Trumpet)
Bernie’s Comments: This second James McMillen composition/arrangement is a swingin’ homage to the great Benny Goodman and Gene Krupa, and features some “Krupa floor tom” and cowbell (he made cowbell cool way before Will Ferrell!). And instead of the obligatory clarinet solo we decided to up the ante and feature nine clarinets from The Los Angeles Clarinet Choir. You heard them briefly on the short introductory first cut, but here they are fully unleashed on featured melodies and a historic clarinet choir soli!

5. A Night In Tunisia 4:49 (Dizzy Gillespie & Frank Paparelli: Composers;
Jeff Bunnell: Arranger) Universal Music Corporation –– ASCAP
Soloists: Tom Luer (Tenor Saxophone) & Jeff Bunnell (Trumpet)
Bernie’s Comments: Moving into the straight 8th note vein brings us to a
deceptively simple and effective arrangement of this Latin classic by BBB
trumpeter Jeff Bunnell (ok…we swing it a little here and there). What you hear at the top is some street bucket drumming… Latin style! Also introduced into the band (and record) for the first time is the sound of uke bass and keyboard bass (as well as our usual upright bass). And for this record, for the first time anywhere in the history of The BBB, we have introduced keyboards that are heard on these tracks. However, I still stay true to my “no piano” (or vocalist) rule!

6. Anything Goes 4:08 (Cole Porter: Composer; Nan Schwartz: Arranger)
Warner Bros. Inc./Chappell & Co, Inc. –– ASCAP
Soloist: Carl Saunders (Trumpet)
Berne’s Comments: As the title of the tune suggests, we tried to have that be
our mantra as we incorporated “unusual sounds” or “unusual approaches” to this
playful Nan Schwartz swinger. This approach was carried over to the whole album as well, while still retaining the DNA of a “classic” big band sound. And on this cut you will hear washboard, backwards low guitars that blossom from trombones, sticks on upright bass, backwards slap bass, balalaika, ukulele, marimba, xylophone, 55-gallon metal drum, spiral cymbal, drum corps snare, and also from my youth… tap dancing!

7. Body And Soul 5:24 (Johnny Green: Composer; Jeff Bunnell: Arranger)
Quartet Music, Range Road Music Inc., W B Music Corp –– ASCAP
Soloist: Brian Scanlon (Alto Saxophone)
Bernie’s Comments: You heard my beautiful wife and soul mate, Vicky Ramos Dresel, with the clarinets earlier. And now she can sit back and hear, along with you, this beautiful arrangement by Jeff Bunnell of her favorite ballad that is a feature for Brian Scanlon on the alto saxophone. (I’m hoping to score big points with her every time we play it!) I love you baby!

8. The Summit 3:08 (James McMillen: Composer & Arranger)
Baja Pasadena Publishing –– ASCAP
Soloist: Rob Lockart (Tenor Saxophone)
Bernie’s Comments: As the second half of this record begins, we give you a quick tune (in tempo and duration) that very often opens our live second sets. This is an energetic barn burner and the third and final composition/arrangement on the album by James McMillen. Did I say it’s fast?

9. New Dell Inn 3:40 (Michael B. Nelson: Composer & Arranger)
Bone 2B Wild Music –– BMI
Soloists: Andrew Synowiec (Electric Guitar) & Brian Scanlon (Soprano Saxophone)
Bernie’s Comments: We shift gears into a New Orleans style dixie-funk
composition by Prince’s trombonist/composer/arranger Michael B. Nelson.
Originally recorded by the five-horn “a cappella” group, Hornheads, Michael has blown it up for us for the first time into full big band glory. We tried to draw on the “noodling” title play-on-words in the production values of the guitar and soprano solos. And yes that is a banjo you might hear in the background on this “Bernin’ Big Band” album piece.

10. ALL The Things! 4:47 (Brian Williams: Composer & Arranger)
BariBrian Music Productions –– ASCAP
Soloists: Carl Saunders (Trumpet); Brian Williams (Baritone Saxophone)
Bernie’s Comments: This first of two compositions/arrangements on Bern
Bern Bern by our baritone sax player, Brian “B-Dog” Williams, seems to be our 13-member horn section’s favorite arrangement to play in concert. I was told by his daughter that the title is a favorite millennial meme that has to include ALL the capital letters and the exclamation point. During the band’s unison tutti, a percussion loop is introduced for the first time (as well as percussion, guitar, and keyboard loops on the following tune). AND if you are hearing this album in 5.1 surround or, better yet, 9.1 Auro-3D Native Immersive Sound on the 96-kHz/24-bit Pure Audio Blu-ray Disc™ version, you will hear this tutti section start in mono and then blossom to stereo and finally to full surround and Immersive Sound. AMAZE Your Friends!

11. The World Is A Ghetto 4:50 (Papa Dee Allen, Harold Brown, B.B. Dickerson,
Lonnie Jordan, Charles Miller, Lee Oskar & Howard E. Scott: Composers;
Andrew Neu: Arranger) Far Out Music –– ASCAP
Soloists: Brian Scanlon (Soprano Saxophone) & Andrew Synowiec (Electric Guitar)
Bernie’s Comments: Ahh… fast 3/4 swing, a favorite of mine to listen to and to play over the years. Here we kind of meld the idea of 3/4 and 12/8 throughout the tune, both subtly and full-on apparent. Andrew Neu was the only arranger to have two arrangements on our previous album, Live N’ Bernin’, and here he gets a second one as well, with a new take on this classic War tune from 1972, which coincidentally was also made available over 45 years ago in a four-channel
surround sound (quadraphonic) mix in the eight-track tape format back then.

12. Early Spring 5:11 (Brian Williams: Composer & Arranger)
BariBrian Music Productions –– ASCAP
Soloists: Brian Williams (Baritone Saxophone)
Bernie’s Comments: What? A second ballad on a drummer’s record? This Brian “B-Dog” Williams moody composition, arrangement, and baritone sax feature was too good not to include! And who doesn’t love mallets on toms, tremolo baritone guitar, Rhodes, and sizzle cymbal? …fellow producer Gary Reber’s favorite.

13. Zuit Soot 4:26 (Greg Adams: Composer & Arranger)
Andrea Lynn Music –– ASCAP
Soloists: Johnny “Spazz” Hatton (Upright Slap Bass) & Andrew Synowiec (Guitar)
Bernie’s Comments: We near the conclusion of this album in the penultimate spot with a jump swing number written and arranged by founding member of Tower Of Power, trumpeter Greg Adams. Beginning with an upright slapbass/drums feature, along with piccolo flute introducing the melody to come, it then segues into the full tune, which, dare I say it, is danceable AND rockin’!

14. Suite B 15:25 (Bill Cunliffe: Composer & Arranger)
Bill Cunliffe Music –– BMI
Soloists: Brian Williams (Baritone Saxophone), Tom Luer (Tenor Saxophone),
Alan Kaplan (Trombone), Jeff Bunnell (Trumpet), Kirsten Edkins (Alto Saxophone),
Carl Saunders (Trumpet) & Bernie Dresel (Drums)
Bernie’s Comments: I have a 4” x 20” Craviotto snare drum I call “The Beast” (you heard it early on in the beginning of the trombone solo in “Got Groove?”). And I guess you could call this incredible 15:25 long masterpiece arranged and composed by Bill Cunliffe, “The Beast.” But it is instead called Suite B as it concludes this 72-minute BBB journey you have been listening to. This closing number is quite a stroll through different tempos, grooves, and moods (complete with not one…but TWO drum solos). I think it is a perfect way to bring this album to its Finale. But don’t push stop on your CD player, Blu-ray Disc player, turntable, or media player too soon…REALLY savor that long last chord!

Total Time 72:28

Producers: Gary Reber & Bernie Dresel
Associate Producer: Paul Pegas
Executive Producers: Wilfried Van Baelen, Brian Barr, Greg Margolis, Jay & Derek Eitel
Recording Engineer: Jeff Peters
Assistant Engineers: Jeff Fitzpatrick, Morgan Stratton & Beau Floch
Recorded At: Capitol Studios, Hollywood, California
Mixing Engineer: Patrick Lemmens, Galaxy Studios, Mol, Belgium
Mastering: Tom Van Achte, Galaxy Studios, Mol, Belgium
Pure Audio Disc Authoring: Stefan Bock, MSM Studio Group, Munich, Germany

Gary Reber - Producer Notes From BERN BERN BERN Booklet

Producer’s Notes: Gary Reber, Reber Productions
Technical Overview Of The DIG•IT Recordings CD And
Auro-3D® Native 9.1-Channel Immersive Sound Recording Project
The BBB Featuring Bernie Dresel – Bern Bern Bern

Bern Bern Bern is the second album release and first studio recording of The BBB Featuring Bernie Dresel in stereo, surround, and Auro-3D® Native 9.1 Immersive Sound. The DIG•IT Recordings release features over 72 minutes of new compositions and arrangements recorded in a state-of-the-art, multi-track Immersive Sound production. Featuring an energetic stereo spread and aggressive surround extension, Bernie Dresel leads his powerhouse jazz orchestra in a controlled studio performance. As a special guest, nine members from The Los Angeles Clarinet Choir played on “BBB Opener” and “Bern Bern Bern.”

Established in 2014, The BBB Featuring Bernie Dresel plays monthly at packed jazz clubs and sold-out concert venues in the Los Angeles metropolitan area. The BBB has earned a reputation as one of LA’s most exciting large jazz ensembles, if not on the planet. The BBB provides potent testimony to the sheer exhilaration of big band jazz... a combination of intense swing and fiery soloing, as well as tight ensemble playing, powered by Bernie Dresel’s extraordinary drumming talents.
This jazz orchestra is comprised of 16 seasoned pros on the Los Angeles studio scene. The ensemble delivers a contemporary, highly original sound featuring the witty, intricate, and hard-swinging compositions of established and up-and-coming composers and arrangers. The sound has a contemporary and dynamic energy with a focused edge to it that is like no other jazz orchestra. At times, it is reminiscent of drummer-led ensembles of the past. The instrumental makeup is unique in that there is no piano, but jazz/rockin’ acoustic and electric guitar instead. However, for this studio session, Bernie augmented the sound with keyboards, played by Jeff Babko. In addition, there are four trumpets, four trombones, five saxophones, upright slap bass, and Bernie on drums and percussion. When people hear this exciting combination, the first thing that hits them is its energy and intensity.

At the helm of The BBB is jazz drummer extraordinaire Bernie Dresel. He has been one of the busiest studio and live musicians in the world as both a drummer and percussionist since moving to Los Angeles in 1983 after graduating from the
prestigious Eastman School of Music. Dresel’s rendering style is nothing less than exciting, driven by one of the most accomplished jazz drummers in the world. Prior to forming his own jazz orchestra, Bernie backed Maynard Ferguson, the Brian Setzer Orchestra, and Gordon Goodwin’s Big Phat Band. Bernie served 15 years for both Setzer and Goodwin. He has been the drummer on numerous Brian Setzer Grammy Award®-winning recordings, and prior to forming his own orchestra, he had played on every recording that Gordon Goodwin’s Big Phat Band had released, including the Grammy Award winners.
Modern Drummer magazine’s readers’ poll named Bernie “Best Big Band Drummer” and Drum! Magazine has put him on their list of “53 Drummers Who Made a Difference in the ’90s” as well as honoring him with a Drummie® for Best Big Band Drummer.
Bernie’s credits with respect to motion picture and television soundtracks represent “A” movie projects, such as Incredibles 2, and such television work as The Simpsons and Family Guy.

Produced under my Reber Productions company, the studio-recording event took place in April 2018 at Capitol Studios in Hollywood, California. These world-renowned studios, located in the landmark Capitol Records Tower, have an established history of Grammy® Award-winning, world-class recording and mixing.
The BBB was captured on Avid ProTools® from which an Auro-3D Native 9.1-channel master audio soundtrack was derived. The band’s performance was recorded on 193 full-range discrete digital channels with 96-kHz/24-bit resolution.
During production, The BBB never once performed as a single unit. First, Bernie recorded his drum kit and numerous percussion instruments and set the energy for each tune without hearing the rhythm section or horn sections. Next, numerous percussion instruments were overdubbed, including pots and pans, tap shoes (representing Bernie’s first inclination to become a drummer when he was a young boy), Japanese taiko drums, tympani, field drums, and other percussive sounds. With the drums and synthesizer overdubs, bass extension is deep and powerful with extension to sub-20 Hz frequencies. Finally, the horns and clarinets were captured with dual AEA (Audio Engineering Associates) large-ribbon microphones and Neumann microphones fed to a Neve 8068 console.
When listening to the final mixes, all the components come flawlessly and magically together, and there is no way to discern that The BBB was not recorded as a single organization all together.
The Capitol Studios sessions were recorded by Jeff Peters, whom Bernie has worked with numerous times when he was Setzer’s drummer. Jeff did a superb job of capturing the incredible dynamic presence of Bernie Dresel and The BBB. He also organized the recorded ProTools files at his studio, The Pie Studios in Pasadena, California. Assistant engineers were Jeff Fitzpatrick, Morgan Stratton, and Beau Floch. Associate Producer, Paul Pages, provided the full array of AEA microphones.

The AEA microphones consisted of multiple R88 Mk2s (stereo), R44C/CXs, NUVO N8s, and NUVO N22s fed to AEA TRP, EPQ, and RPQ 500 microphone preamplifiers. AEA microphones feature the company’s Big Ribbon™ technology and are renowned for their warm, even sound with a wonderfully smooth top-end and deep bass extension. Rooted in the RCA microphone tradition, all AEA microphones are designed to offer a fresh approach to the ribbon transducer and represent founder Wes Dooley’s take on the evolution of the ribbon microphone. The AEAs also were used for direct, close miking of each horn instrument, each clarinet in The Los Angeles Clarinet Choir, drum overheads, and room capture, including height.
The primary overall drum microphone was the AEA R88 Mk2, essentially a pure ribbon stereo version of AEA’s famed R84. Each 2.35- x 0.185-inch element is a corrugated native pressure-gradient ribbon transducer that is 1.8-micron thin. The frequency response is 20 Hz to 20 kHz (useable output to 40 kHz) with a maximum SPL of 165 dB above 1 kHz! As with the R84, the sound is big and warm, yet natural and open. Other microphones used on Bernie’s drum kit and percussion instruments were Sennheiser MD-421s, Neumann KM-84s, Shure SM-57s and SM-7s, along with AEAs and RCAs.
Classic RCA 44 microphones also were used and fed to AEA TRP microphone preamplifiers. The RCA 44s were used for the height layer to record Bernie’s drums and percussion.
While Neumann cardioid condenser microphones were positioned next to every AEA for direct, close miking of each horn instrument, only in one instance were they used in the mixing of the horn sections. Neumanns were used as soloist microphones and room capture. The Neumann compliment consisted of U-67s, U-87s, U-48s, KM-86s and M-49s.
Two Royer Ribbon R-122 MKII microphones, positioned in stereo, were used to capture Andrew Synowiec’s guitars. An AEA R44CX was used to capture Johnny “Spazz” Hatton’s upright slap bass, as well as a direct feed.
The overall room low and height capture was with Neumann M-49s and AEA R44s, respectively. During the recording of Bernie’s drums, the horn and clarinet sections, the microphones capturing the height layer were positioned in a virtual square representing the height layer over the four loudspeaker corners of a home surround system.
We had two setups: For drums, the front L/R and front height were both AEA R88 Mk2s, surround L/R were the Neumann M-49, and surround height were RCA 44s. For the horns, the front LCR were Neumann U-48, Neumann KM-86s for front height, M-49s for surround L/R, and AEA R44CXEs for surround height.

We used a classic jazz orchestra setup to present very aggressive stereo and
surround dimensionality. The orchestra setup was patterned after that used by Stan Kenton, who I worked with in the 1970s.
In Auro-3D Native 9.1, Linear PCM 5.1 and Lossless DTS-HD Master Audio™ 5.1, Bernie’s drum kit and percussion instruments were positioned mainly center and spread left and right across the frontal soundstage, with the percussion at times in the rear. Andrew Synowiec’s guitars were positioned to the left and right in the frontal soundstage. Johnny “Spazz” Hatton’s upright slap bass was positioned center front. The trumpets were positioned behind Bernie on risers and slightly above Bernie in a stereo spread. The saxophone section was spread from left front to left rear. The trombone section was spread right front to right rear. Both the baritone saxophone and the bass trombone were facing opposite each other in the far left and right surrounds, respectively. The soloists were recorded in a separate booth at the same time and positioned center in front of Bernie’s drums. The BBB’s horn section, The Los Angeles Clarinet Choir, and Bernie’s drums and percussion were natively recorded with a height layer, with the addition of placing instruments and percussive effects in the height layer. In selected tunes, keyboards, guitars, and sound effects enhance the energy and are placed at ear-level across the soundstage and in the height layer.
As with Live N’ Bernin’, the audio tracks were mixed by Tonmeister Patrick Lemmens, and mastered by Tom Van Achte at Galaxy Studios in Mol, Belgium. Renowned worldwide for its leading and state-of-the-art innovations in sound recording and reproduction, it is the most impressive recording and dubbing stage studio I have ever experienced, and I have experienced numerous studios and dubbing stages over the years in the United States and Europe (including Abby Road Studios in London).
The 96-kHz/24-bit stereo master was recorded to a Nagra Seven two-channel
digital recorder used for my personal reference (see
There was no compression during recording and mixing, and very slight limiting applied during mixing.

Immersive Sound
Immersive Sound is “Surround Sound with Height,” adding the third and missing dimension in sound reproduction. A height layer is added on top of the two-dimensional 5.1 multi-channel format. In order to experience this third dimension, the master recording is delivered on the relatively new Pure Audio Blu-ray format in uncompressed 96-kHz/24-bit resolution.
The Auro-3D sound format is the next generation in audio, marking an exciting leap forward from standard Stereo and Surround Sound that increases the dramatic impact of recorded musical performances, to create a natural three-dimensional listening experience.
In the case of Bern Bern Bern, more natural sound (instrumental clarity, harmonics, and depth) is perceived from all loudspeakers. The ear-level front and rear surrounds and front and rear height surrounds create a three-dimensional natural Immersive Sound field reproducing the natural spatial ambience captured in Capitol Studio B. The listening experience is like “being there” in the studio with a “live presence.”
Auro-3D is the only sound format on the market that has both 5.1/7.1 Surround and Auro-3D 9.1/11.1 in just one standard PCM delivery file, delivering uncompressed, full 96-kHz/24-bit high-resolution audio in all channels (ear-level and height), making easy distribution on any system in the world possible.
The Auro-3D format is available in many consumer applications, with mobile, automotive, and also gaming versions, all bringing a new immersive and true three-dimensional sound as intended by the creators to all consumers.

With respect to the Pure Audio Blu-ray Disc and the CD, Gentek Media, an in-house CD, DVD, and Blu-ray Disc replicator in Southern California, was chosen to replicate. Gentek Media uses single-speed glass mastering, which is recognized by engineers, audiophiles, and discerning music enthusiasts as the finest in audio quality. The standard way to cut a glass master is as fast as 8X speed. This is the accepted industry standard, and provides acceptable results. However, because of Gentek Media’s in-house glass mastering facility, the Bern Bern Bern CD and Pure Audio Blu-ray Disc replications deliver enhanced fidelity. Single speed creates a master that literally cannot be differentiated, even by an oscilloscope, from the source that’s been provided.

Prior to producing the Bern Bern Bern and Live N’ Bernin’ projects, Gary Reber produced and recorded Buddy Rich’s last recordings, the Emmy® Award-winning Mr. Drums: Buddy Rich And His Band Live On King Street video concert special, including The Channel One Suite Set and The West Side Story Set. Reber has worked with such artists as Stan Kenton, Shelly Mann, Lionel Hampton, Rob McConnell Boss Brass, Bill Watrous, David Bowie, Dolly Parton, DEVO, and others.
Reber also produced and recorded a Concert Jazz Series, produced under his DIG•IT Recordings video and audio records label. In 1983, Reber released, in association with Sony Corporation of America, a jazz Compact Disc sampler, which Sony used as a bonus CD provided to new purchasers of Sony’s first CD player, the CDP-101.
Reber has recorded various private projects since 1992, when he founded the serious enthusiast home theatre and custom home theatre design magazine Widescreen Review. Once a saxophone player, he has always had a keen interest in jazz, particularly big band orchestrated jazz, since first being introduced to Stan Kenton as a young boy, and has produced, recorded, and been associated with a number of famous jazz artists over the years.


I had followed Bernie Dresel when he was the drummer for The Brian Setzer Orchestra and Gordon Goodwin’s Big Phat Band. Sometime in early 2011, I introduced myself to Bernie and subsequently supported his desire to form his own jazz orchestra.
To me, Bernie Dresel is today’s greatest jazz drummer, as these recordings will attest to. Both during recording with Jeff Peters and in mixing with Patrick Lemmens and Bernie, I was immensely impressed with the talent these gentlemen possess.

As I approached producing this recording project, I enlisted the support of Wilfried Van Baelen, CEO of Auro Technologies and Galaxy Studios in Belgium and Brian Barr, CEO of California Audio Technology (CAT) and President of Scientific Audio Electronics (SAE), as Executive Producers. Wilfried Van Baelen provided the mixing and mastering at Galaxy Studios of all release masters. Other support followed from Greg Margolis, Jay Eitel and Derek Eitel, who are credited as Executive Producers as well.
Paul Pegas, from AEA, served as Associate Producer and worked with Recording Engineer Jeff Peters and I to position the musicians and microphones during the recording sessions.

The Galaxy Studios Complex is the home of Auro Technologies and the Auro-3D Immersive Sound format, which became the first true 3D Immersive Sound audio format with end-to-end solutions for all markets.
Galaxy Studios, which is located in the countryside in Mol, near Antwerp, Belgium, is a bunker complex, weighing 1,500 tons, built on springs. The facility is comprised of 15 sound rooms (with record-breaking noise isolation). The full-concrete bunker construction is comprised of 33 centimeters (a little over 1 foot) of concrete foundation thickness, with an inter-room background noise floor of just 14 dBA with the air-conditioning system on. The interior spaces are so quiet that one can hear their own internal body systems. All the sound rooms have in excess of 100-dB noise isolation, down to less than 3 Hertz.
Several rooms are equipped for Auro-3D post-production. The first room to be equipped was the result of collaboration between Galaxy Studios’ Wilfried Van Baelen and AMS Neve, which produced the first Immersive Sound mixing console, the 88D. The $1-million-plus console was ordered in 2006 and delivered in 2010. This was the first-ever big room in Auro-3D. The 88D features 3D panning and 3D routing, both internally. Galaxy’s Neve console has 2,000 channels inside at 48 kHz or 1,000 at 96 kHz or 500 at 192 kHz, with 16 stereo auxiliaries, eight-band EQ, and for each channel an expander gate and compressor. Every expander and gate compressor has its own side chain filter. This is a state-of-the-art console, which was used to mix the 96-kHz/24-bit 193-recorded tracks for our Auro-3D Native 9.1-channel DIG•IT Recordings Pure Audio Blu-ray Disc release of Bern Bern Bern.
CAT (California Audio Technology), EgglestonWorks, Genelec, Meyer Sound, and PMC professional monitors are a few of the loudspeaker systems employed at Galaxy Studios. The mixes were monitored over Genelec 1035A, 1038A and 1032B main LCR, surround and height (respectively), and 7071A studio subwoofer professional monitor loudspeakers. BGW, CAT, Perreaux, and SAE are a few of the amplifier brands employed at Galaxy Studios, which can accommodate whatever kind of brand that the engineers want for any given project.



to write a review

Randy Charles

Superb big band led by a superb drummer!
The first thing that struck me upon my first listening is the sensational audio quality of this CD! The clarity, accuracy of instrument's sound (particularly the drum sound!!!), the presence - all of the attributes you could assign a recording are here!!

Then the fire present in a full on swinging big band is becoming nearly extinct! Not here!! These guys swing their asses off!!
Some very unique and fascinating sounds appear now and then. This is particularly evident in the brilliant opener!

ANYONE who loves genuine big band kick ass music , played by great musicians,along with the bonus of a fabulous recording of it should not pass this up!!! It is of the best big band records maybe ever!!