Task 1 – WAV Mixes
Task 2 – Production Log Book
Track 1 (Genre Specific Emulation)
Pre Production
We chose the song after finding a vocalist and agreeing on a song that would suit her voice. This led us to choose Kids in America by Kim Wilde.
Rehearsals
As everything was overdubbed, we didn’t arrange any group rehearsals.
However, performers practiced relevant parts before recording sessions.
Track Development
We began by acquiring a stem-split, quantised version of the original track.
The first thing we recorded was vocals over this backing.
We then decided who would be responsible for each part, and planned to make recordings with time to spare for the mix stage.
Demo recording
We used the stem-split track as a kind of demo to help with recording.
Arrangement decisions
Arrangement was based on critical listening to the track to dictate what parts are needed where.
Session planning
Arranged time with singer early on, 22nd February, she booked the songwriting studio.
As seen in Gantt chart, drums, guitar and backing vocals were recorded later on in 104.
Other parts, such as synth and bass, could be recorded outside of studio sessions.
Further sessions in late April were used for mixing.
Recording
Microphone choices
We chose drum mics to record a clean sound with isolated parts, giving us freedom to process drums or replace with samples as needed.
We also recorded synthesiser parts to sound similar to the EDP Wasp used on the original.
Harry programmed most synth parts in Serum, and I recorded the sound effects in the intro on a Korg Monologue XD.
Room setup
We minimised the importance of room setup by recording everything overdubbed, so there was no need to isolate different instruments.
Musician management
The vocalist was very reliable. She knew the song well so there was little need for direction.
Mixing
Mix plan/concept
One thing we noticed upon listening to the original track was that it has a very heavy high end. This was identified as something that could be replicated in a mastering stage.
We also noticed heavy effects processing, such as phasers throughout the track.
Tone
Matching the tone of various instruments was not straightforward. For example, the drums recorded in 104 did not match the sound of the track at all, which we required solutions such as replacing some parts, such as the snare, with samples that approximated an 80s drum sound.
Guitar and bass required extensive listening and comparison with the original, and were matched with processing such as analogue EQ and compression as well as digital processing such as virtual amps.
FX
The vocals required particular reverb and delay, and often required delay on specific words. We also used EQ and compression throughout, as well as further effects such as flangers and phasers that had been identified in the original.
Project Management
Time management
We began with good time management: vocals were recorded early on, we planned to get recordings done with time left for mixing.
However, as seen in the Gantt chart, some things were left later than necessary.
Planning
With improved planning of recording sessions and time for mixing, things could have been less rushed at the end.
However, once we began doing more recordings in April, we developed a clear plan going forward that was useful for getting the project completed in time.
Roles and responsibilities
We were all responsible towards booking rooms and equipment.
We decided who would be responsible for each part of the track early on, which was very helpful in efficiently bringing things together.
Track 2 (Live In the Studio Stereo Recording)
Pre Production
Charlie contacted guitarist Ryan to arrange a performance of The Sound of Silence by Simon and Garfunkel.
Previously, we had attempted to arrange recordings with other musicians, but it was difficult to align availability times.
Charlie planned rehearsals with Ryan before the recording session, agreeing on how to arrange the music for two guitars.
We only used one recording session; as it was a live performance, we decided further recordings such as demos were not necessary.
Recording
We used a combination of XY, Blumlein technique and mid/side.
2x Schoeps CMC5U for XY pair; 2x AKG C414 for Blumlein; AKG C414XLS with Neumann KM184 for mid/side.
We experimented with different arrangements of the musicians in relation to the microphones, and settled on having the musicians facing each other as visual communication between musicians elevates the performance.
There was a drummer in the room above the studio, from which the mics were picking up a low frequency rumble. We attempted to mitigate this by using the console’s high pass filters.
Mixing
In the studio session, we used a Yamaha D5000 for a stereo delay effect.
Most of the post mixing was done by Rhys. This involved balancing and panning appropriate to the stereo techniques. He also used some subtle mastering:
Project Management
Our overall management was adequate. Despite the recording session being late in the semester, there was plenty of time for mixing afterwards. This was a simpler project to organise due to only one session being required, which resulted in a more streamlined process.
Track 3 Remix track
Pre Production
Outlined structure and harmony with simple synths before making final recordings.
I explored ideas before settling on a genre. When I decided to make the track stylistically similar to hyperpop, I kept most of the harmony and structure I had explored but developed the sound to fit the style.
I did not approach the track linearly; I worked on the middle of the song first before deciding how it would be built up to.
In the intro, I decided to make the time signature ambiguous between the synth and percussion to set up the slightly weird feel.
The first verse follows the structure of the original song, with only mildly different harmony, but with heavy reverb and a more distant feeling. I wanted to record some live piano here to make it feel more gentle.
This leads into a chorus that maintains this feel. I added a descending voice leading in the harmony to make this chorus lead up to something.
The gentle feel is then contrasted by a more abrasive mix of the chorus, using metallic found sounds, harsh synths and chopped up trumpet samples. The rest of the song from here departs from traditional song structure and experiments with these styles.
I used synths in place of live instruments before recording. I then wrote and rehearsed piano parts on a keyboard.
I planned to record piano and found sounds in the same session in 104.
I also booked a session in 116c for mixing, which I also used for recording live trumpet.
Recording
In my session for recording piano, the studio counter were low on mics and had none of the microphones I would usually use for recording piano. This led me to have to figure out what other mic arrangement might work. My uncertainty in recording a piano highlights an area I might need to improve, but overall I was happy with the recording. I used two Calrec pencil mics, one over high strings near the hammers and one over bass strings, and a Sonitronics Orpheus capturing the mids.
I also recorded live trumpet with a Brauner Phantom V for its clarity in recording acoustic instruments.
The first found sound I recorded was the sound of hitting two half-full drink cans together. This was not planned; I noticed the interesting sound while in my flat. I decided to record it using my phone’s microphone because that was what I had at the time.
This led me to record more metallic found sounds, so I took various metal objects into 104 and recorded hits using Calrec pencil mics in XY configuration.
I also recorded muted piano bass strings which I manipulated to use as a kick drum.
Mixing
Mix plan/concept
I wanted the mix to contain a contrast between a gentle feel and an abrasive feel in different sections. One way I went about this was by setting up two different aux channels. For the gentle feel, everything is sent to a long reverb into a subtle flanger. For the abrasive feel, the send used tighter reverb and distortion.
Balance
Balancing the vocals was very important: in some parts of the track, they needed to be distant, while in others, they needed to become the focus of the mix.
Pan
I have used panning in ways that I think make the track more acoustically stimulating. Some examples:
Tone
One way I achieved the tone I desired was through use of heavy compression, which makes the metallic hits feel as if they are being hit harder.
FX
Many parts have been elevated through subtle distortion and saturation. I also used occasional autotune and formant shifting to make the vocals feel more digital.
Project Management
I think this project could have benefited from more extensive planning and time management. For example, the trumpet was a last-minute addition after realising that I had not met the criteria of two live instruments. If I have planned live instruments from the start, I could’ve recorded something more genre-appropriate such as guitar or bass.
However, I did still have an organised approach. I planned the majority of the process early on—such as arrangement and how I would record found sounds—and was able to organise my time such that the production was not rushed.
