We first recorded our Live Jazz Ensemble on the 19th of November 2025 in the studio. The ensemble included 7 instruments which were drums, kahon, double bass, guitar, organ, saxophone and vocals. With this recording, we aimed to capture a natural and cohesive jazz performance, while making sure that we were able to maintain clarity and separation with specific mic placement, as we chose this as our outboard mix task. When doing this, there were four main parts: Studio set up, microphone selection, level management and outboard mixing.
During setup, we had to think more about placement as the ensemble as we were using two room mics to do the Blumlien method. This meant that we had to factor in what instruments we wanted closer to the mics, so they have more impact on the mix. I suggested putting the double bass quite close as compared to the other amplified instruments we wanted it to have more significance in the mix. We also did close mic the instruments so we could control the individual levels, but we still wanted to exemplify specific instruments in the room mix. We also positioned the saxophone/vocalist far away from the drums as we knew that they were going to be the focus of the mix. As a result of this we were able to minimise bleed from the drums being captured, while also getting as much capture possible from the room microphones. The layout also allowed for the musicians to all face each other and interact easily which would create a better environment for a cohesive performance.
When curating the microphone selection, we had to make sure that we accommodated for a live setting. For the drums we decided to do the Glyn johns method. I like this approach as it allowed for an open and natural drum sound using minimal mics. This helped with the live feel and captured more of the room. Another technique that we displayed during this capture was the Blumlien method where two microphones use the figure of 8 polar pattern to be able to capture the room ambience. We originally intended to use two C414’s but during the session I suggested we opted for the Sontronics Orpheus as we wanted access to different polaroid patterns while also getting more of a high frequency sound which captures more of the feel of the room.
When mixing we struggled with containing the dynamics of some of the loud instruments and making sure they were balanced with the others. The saxophone peaked quite a lot, so to combat this we applied outboard compression which helped us avoid clipping while also keeping the natural dynamics of the instrument. Another thing we really focused on was panning as it created more space. This was important as there were lots of different instruments in the mid-range that had the potential to clash and make the mix messy.
Overall, I felt that the capture process went well, as we recognised the need to emphasise the live capture elements using room mics and the blumlien technique. I felt like we also achieved a nice clarity with the drums which really helped the overall mix of the piece. On the other hand, we could have done better by managing our time more effectively as adjusting microphone placements and decisions when swapping them out had a toll on how much time we were able to capture the band.
Guitar Based Full Band Production
For this track we recorded our guitar-based production at different times in the studio. Our main aim for the capture of this track was for the recording to translate the energy of the performance, while having to combat the fact that instruments were recorded at different times and to convey the intention of the artist through the mix.
When capturing the band, we started off by recording the drums and rhythm guitar on the 11th of November. Before any recording session, we did preparation such as preparing a microphone list which details the specific requirements. Although we had prepared the mic list, setting up the mics and stands lengthened setup time more than expected which limited the amount of time we had in the studio. We initially recorded the drums using a larger set up than usual, as we wanted more tracks on the drums to be able to control when mixing to reach the desired sound of the artist. We put two mics on the kick (Shure Beta 91 and DM1B) and snare (Sm57 and a 441) in order to catch both high and low-end frequencies. We recorded the drums on their own as we didn’t want any bleed from any other instruments being captured. This also allowed us to use a room mic to get more of a live feel and capture more of the room. After drums were done, we captured the rhythm guitar using a C414 and a Halo in order to have a more midrange bite sound while also having the Halo for more tonal flexibility. Using multiple mics in the capture process allowed for the mixing process to be easier as all the instruments had their relevant frequency ranges enhanced through the mic choice which made it easier to prevent clashes in the mid-range.
During the mixing of the track most of the processing was used on the drums and guitars. A good bit of compression had to be used as the song is quite dynamic. Eq was also very important as a lot of the guitar sat in the mid-range which could potentially clash with the vocals and bv’s. To prevent this, I carved out some of the high mid’s in all the guitars in order to let the vocals sit on top. Panning also helped with this as I could separate the guitars to clean up the mix while also giving the track a larger stereo width.
Overall, this project successfully captured a live guitar band through strong initial capture which succeeded through effective microphone selection and preparation beforehand. Despite this I also think that we could have set up faster to get more takes and potentially improve the performances captured.
Remix
For track three I created a remix of the song How Deep Is Your Love. When creating a new instrumentation, I aimed to create a summer house vibe, inspired from electronic/ neo soul artists such as Kaytranda. I created the track on Logic Pro X as I’m used to all its synths, so I was easily able to create what I envisioned. I felt like Sumer house was the way to go when it came to recording two audio instruments as well as it often features piano as well as electric guitar.
Before creating the remix, I listened to the original track so I could find a genre that would be interesting to move the song into. I discussed this with my house mates as this was something we were unsure of. Eventually I decided to start to put down some chords and a bassline. I came up with the chorus first just by experimenting with the ES2 synth. Once I had that down, I came up with a build up to the chorus which gave the track more space and really emphasised the effect. I was able to create this easily by using my reference tracks that I had planned beforehand (You’re the One by Kaytranda and Syd, One Dance by Drake and Flights Booked by Drake).
When capturing the live instruments, I used a Halo and C414 as well as also capturing a DI signal so I could have the most control over the sound of the guitar. The mics gave the guitar sound a clear and reliable sound in the midrange. There was no time pressure as I was able to record quickly. When recording the piano, I more wanted to add a textural element to make the instrumental busier. I recorded the piano using a stereo pair of AKG C414’s that were placed inside the piano. I chose these microphones as they give off the warm sound I want for a summer house track.
When arranging all the track together I focused on using Eq to separate all the different layered parts. This allowed for the vocals to sit on top of everything and be clear while not taking away any of the emphasis from the other instruments. Compression also played a big part as I was mixing a pop track. This meant heavy compression on the vocals as well as the drums. I also automated the eq’s in a creative way to add more movement to the piece and to keep the remix interesting.
Overall, this project allowed me to combine some electronic production techniques I know with live recorded instruments which allowed me to have more creative control over what I was doing. Through utilising effective techniques in both live recording as well as production I was able to make the correct decisions in order to make a remix that works in a new genre effectively.
