The 4th Evolution of the Street Factory

Now that’s more like it! I moved to Bridgeport – 5 houses from Chicago’s own Mayor, Richard M. Daley and I built my first studio from the ground up. Yup. Everything from scratch and I was going to learn the hard way! I had a large raw space to work with, and only my day job and credit cards to fund the project……

Now, having come this far, I wasn’t going to let low ceilings and two feet of mud and sludge-like garbage stand in my way. The studio had it’s own private entrance and to me, that was a good enough start. There was a huge space heater and chimney stack in the middle of the entrance way and beyond that, the coast was clear, if you could get past the sludge-like mess on the floor………..

After a month of cleaning and hauling away debris, the raw space was ready for conversion. No Russ Berger Design. Walters-Storyk Group, forget it. I had the Ken Barnard Design factory built into my l’il ole head and I knew exactly what to do, or, in hindsight, at least I thought I did.
I built a room within a room; 2×4’s, double sided drywall and lots of insulation. I carpeted the walls and the floor. I loaded up the ceiling with insulation, Celotex Soundboard, Drywall and Covered it all with carpeting. I added a extra-wide entrance door to the studio, from the outside “Foyer” and I thought I was ready to rock.

I finished the foyer and added a bathroom and I was set to go. Oh SHIT! I forgot about the control room!
Up until this point, I had spent about 3 months and $15,000.00 of money I didn’t have, building my “Dream Facility”. Now I was in deep shit. I had a large open space, completely deadened by my “MASTER ACOUSTIC DESIGN” with no specific area for the control room. Thinking quickly, I built modular panels out of scrap material and paneling, added framed 1/4 inch Plexi-Glass and voila, A control room…..well, sorta……UGH…..

The projects began rolling in, thanks in large part to KEVIN BIBBS and in spite of my own ignorance to Facility Design. Needless to say, the acoustics weren’t so great. Isolation was nonexistent and the 6 foot ceilings lent strange character to the recordings. In spite of that, we persevered.

When all was said and done I had my first “real” studio. No more closets or bedrooms. The studio had its own private entrance way and a comfortable Foyer with a private bathroom (Very important). There was a large storage area for extra gear, (can you ever have too much gear?) a control room and a live tracking room. The isolation between the control room and tracking room pretty much sucked, but I began to learn more and more about recording through trial and error. Malcolm Chisholm and Murray Allen’s schooling and tutelage helped enormously. I started collecting tube amps and microphones, as well as any other gear I could find. I was picking up different pieces weekly and going broke…We had a Ramsa Four-Buss console with 2 black face ADATS and a Tascam DAT machine for mixdown. Oh yeah, I had a pretty good outboard rack by then as well. I still have most of the Tube Amps and I have all of the microphones. Take a look at the GEAR section to see more of those. In this studio, I recorded work for VocalPoynt, Kevin Bibbs, Paul Edelstein, Ron Shanaver and the All Bubba Blues Band. Most notably, VOCALPOYNT’’S Accapella version of The Grateful Dead’s “BIRDSONG”. It was a great learning experience. Some of the recordings were actually quite good. Next Stop: The Big Time: The Street Factory goes Downtown.

3rd Evolution 1 3rd Evolution 2 3rd Evolution 7 3rd Evolution 10

3rd Evolution 3 3rd Evolution 4 3rd evolution 5 3rd Evolution 8

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