Track 1 (Guitar-based band production)
Pre-Production
Prior to the session:
- I created and shared the microphone and equipment lists.
- Posted session plans and room dates in both the Teams chat and Snapchat Group.
Group decisions:
- Instrument placement and tracking strategy.
- Microphone choices and placement.
- Roles for each session.
My Role:
- Organising Session documents and posting them into the Teams.
- Ensuring all group members understood the equipment lists.
- Researching recording techniques.
11/11/25: Drums And Rhythm Guitar
Goal for the session: Capture Live energy with minimal bleed.
Challenges:
- Recording the drums and rhythm guitar simultaneously.
Solution:
- We placed Guitar amp in the vocal booth.
- Recorded the guitar using DI and Re-Amp box.
- I researched drum setups prior to the session.
- I decided on full mic setup including a hi-hat microphone
18/11/25: Lead Guitar
Prior to the session we discussed:
- The guitar pedals that will be used (Distortion)
- Amplifier Choice
- Microphone choice (Sennhiser 441, Sontronics Halo)
- Placing the guitarist in the control room and Re-Amp to amplifier in the live rom
25/11/25: Bass and Vocals recording
Prior to the session we discussed:
- Microphone choices – WA-87
- Room Choice – 113
- Outboard gear – Lexicon PMC92 (vocals)
- Neve Pre-Amp (Bass)
Recording
11/11/25 : Rhythm guitar:
- Re-amped in the Vocal booth from the live room
Microphones used:
- Sontronics Halo (Dynamic – to capture punch and focused recording)
- AKG C414 (Condenser – recording high and low frequency detail)
Drums:
- Positioning Sound baffle panels around the drum kit to reduce bleed into guitar recording.
My role:
- Helping with microphone setup
- Checking patching matches my equipment list
18/11/25: Lead Guitar
Decisions made before recording:
- Record the lead guitar to the drums, not the click track, due to drums being slightly out of time.
- The pedalboard used by the guitarist caused significant level changes. We decided to record each section separately.
My role:
- Setting up Microphones and amp
- Gain Staging after each take to prevent peaking.
25/11/25: Vocal Recording (4pm-6pm)
Goal for session:
- Capture clean take suitable for post-production mix.
Microphone choice:
- WA-87 Condenser
Outboard Gear:
- Lexicon PCM92 – Small Chamber Reverb (Monitoring Only).
- Drawmer 1968 – light compression for dynamic control (Recorded).
My Role:
- Ensuring the vocalist had the correct headphone mix.
- Session setup.
- Signal routing decisions (Microphone inputs and outboard gear).
25/11/25: Bass Recording (1-3pm)
- Larger studio was unavailable, moved to Room 116
Recording Method:
- Di Box into Neve Pre-Amp
My Role:
- Helping With Microphone setup and gain staging.
- Organising room booking.
- Communicating changes via Teams.
Mixing
Mixing Goals:
- Retain the live performance energy and spatial realism by visualising where each track would be if i were in the audience.
- Using Stereo imaging – Kick, Snare, Bass and vocals in the centre. Guitars and cymbals panned left and right.
Effects:
- I used large plate reverbs to create depth.
- I fed the reverb into an echo to make the reverb bigger and feel real.
- I added chorus to the verse vocals and automated the mix.
References:
- The band provided references from bands Fontaines DC and Wunderhorse.
- I researched how Fontaines DC process vocals using reverb and echo (See Figure 1).
Drums:
- I used gating on the snare to reduce bleed.
- I emphasised the transient attack of the crack of the snare using gating and eq.
Overall approach:
- Minimal processing
- Light EQ and compression
- Group buses for cohesion and group mixing
Evaluation
Strengths:
- Clear role allocation.
- Efficient collaboration – We worked well as a team.
- My mix aligned well with the references provided.
Weaknesses:
- Some of the sessions felt rushed because set up times delayed recording. If I were to do it again I would discuss the list with both the band and the production group further to ensure everything is correct.
- Some tracks could have been re-recorded this then making the mix process easier.
Improvements if I were to do it again:
- Allocate more time to the drum recording.
- Pay more attention during the recording, listen to band demo before so we understand the track.
Track 2 Live in the studio (jazz/folk ensemble)
Pre-Production
Before the session we discussed:
- Instrument lists
- Room Layout
- Decided on Microphones
My role:
- Creating a room layout diagram.
- Making the microphone and equipment list.
Before the session I researched how to record certain instruments such as the Cajon (See Figure 2)
The image shows the original Layout for the jazz recording. However, this later changed due to the band changing members last minute. The final instrument list was:
- Drums
- Guitar
- Cajon and percussion
- Sax and Vocals
- Double bass
- Hammond Organ
Recording
19/11/25:
Main Focus:
- Microphone placement.
- Finding the balance between isolation and live feel.
My Role:
- Helped With microphone setup
- Patched inputs using the patch list
- Operated the desk during recordings
- Made headphone mixes
Techniques Used:
- Blumlien Pair to capture room ambience and character. (See Figure 3)
- Glyn Johns to capture an ambient Jazz drum recording. (See Figure 4)
Isolation strategies:
- Use Sound baffling on drums.
- Separate the drums and saxophone to reduce bleed.
Before the recording session I made a microphone list and a diagram for all the microphones being used and the placement for each musician. This made the recording session more efficient.
The video shows the final layout after instrument changes.
Mixing
.
Preparation:
- Track Labelling
- Gain Staging
- Initial panning
Mix Goals:
- Use minimal processing to keep the live natural feel.
Techniques used:
- Splitting the bass into high mechanical and low frequency tracks to create a new tone.
- Using Drawmer DL241 and 1968 for dynamic control and cohesion.
- Utilising the desk VCA bus compressor to bring the track together.
- Placing the vocals within the mix without them sounding like a voice over, using compression and gain staging.
Automation:
- manual fader riding during the print.
- lowering the vocal mic when the Sax solo starts.
- Using the master fader to fade out the track.
Project Management
- Roles assigned before every session
Assigning a leader to:
- Book the room
- Manage equipment lists
- Manage time restraints
Utilising the Teams chat ensured:
- Efficient sessions
- Minimal confusion
- Profession sessions
Evaluation
Changes Made:
- Double bass mic repositioned to capture the correct tone closer to the bridge
- Hammond organ was used instead of a keyboard.
Issues in the session:
- Changes to the equipment list and patch list slowed the setup.
- Sax/Vocals bled into other microphones.
- The track length was originally to long for the assignment.
Improvements:
- Better pre-session communication with the band.
Reflection:
- While the isolation could have been improved, it was important to ensure musicians could see each other.
Track 3 Remix track
Pre-Production:
Planning before Remix:
- Genre: EDM, House, Post-Punk instrumental
- Challenge myself to try a new genre
- Instruments: Guitar, Bass, Korg Monologue
- Samples: Drum one shots (Splice)
Initial thoughts:
- Vocal sample needs flattening and compression
- Vocal needs Reverb and Delay
- Four on the floor kick
Composition:
Chosen Genre: EDM
Instruments used:
- Bass
- Guitar
- Korg Monologue
- Yamaha Reface CP
Recording:
- Recorded Guitar and Bass using Neural DSP QuadCortex for pre amp and pre-recording effects.
- Recorded synths and risers using the Korg Monologue.
- Recoded chords and stabs using the Yamaha CP.
Inspiration:
- Track inspired by songs such as – White Noise, Disclosure and Bon Bon, Fcukers.
- I used a vocal breath chop which was inspired by White noise.
- Bouncy side chained bass inspired by Bon Bon.
Mixing and Creative Decisions:
Mixing Aims:
- To create an energetic mix using live recordings and digital synthesisers.
- Give the mix depth and space.
- Create a mix that has dynamic movement and progression.
Creative decisions:
- I researched how EDM vocals are processed as the vocal sample was dry (See Figure 5).
- Automated Delay at the start of Chorus to add depth.
- Created vocal depth and movement with: Reverb, Delay, Chorus and Soft Clip Distortion.
- Used Chorus on lead guitar to create depth and width.
- Creating a deep stereo image using: panning, reverb and tape echo.
- Using Wave Tables and Synthesisers to create unique bass and lead sounds.
- Using volume automation to create movement and smooth transitions.
- Side Chain synth bass to kick to create movement.
Evaluation:
Problems:
- Vocal sample was out of time (Fix- Time stretched to fit 8 bar loop).
- Vocal bpm was too slow (Fix- sped up to 128bpm)
Improvements:
- If I were to do it again I would effect the vocals further or chop the vocal to create a new vocal sample.
- Record variations for the guitar parts to keep the progression of the track interesting.
What went well:
- Utilising effect to create depth and dynamics within the mix
Reflection:
Overall, I believe the composition and mix were successful and met the aims set at the start of the projects. Throught the process i develop a clearer understanding of my workflow and how it shaped the final outcome. One area for future improvement is leering away from the 8-bar loop approach and considering the composition as a whole. This will help me create more dynamic arrangements and allow me to create a final mix I am happy with.
Appendix
Figure 1 : Fontaines DC Vocal Mixing Techniques
This image shows a Instagram reel in which they speak about how Fontaines DC mixes their vocals using plate reverb and echo to add spacey effects to the voice. They also use heavy compression to control the dynamics of the vocal.
Video From – https://www.instagram.com/reel/DSYO848DabG/
Figure 2 : Cajon Recording
In the video they discuss how to record a cajon using various microphones and where to place them. I decided on using a dynamic SM57 on the front to capture the higher frequencies and a RE20 on the sound hole to capture the bass frequencies.
Video Link – https://www.youtube.com/watch?v=LJyHD2mAbpQ
Figure 3: Blumlein
We used Blumlien as a room mic for the jazz recording, we did this as it records an omni directional recording. To do this we used two Sontronics Orpheus Condenser microphones set to the figure of eight pattern. This recording gave us a full stereo image of the room and provided us with a room recording we could later mix into the track.
We used this to highlight certain instruments, for instance the room recording captured a lot of the sax high frequencies which we used to emphasise the sax solo in the final mix.
Blumlein provided us with the character of the room, giving the final mix that live feel we wanted.
Website link – https://www.sageaudio.com/articles/set-blumlein-pair-stereo-recording
Figure 4: Glynn John’s
After further research we decided to use Glynn Johns method to record drums as it provided us with wide stereo image with simple setup. The setup captures a wide recording capturing the character of the room, while also close recording the main elements (Kick and Snare).
Website Link: https://melodics.com/blog/glyn-johns-method
Figure 5: Processing EDM Vocals
The video linked shows a method for mixing EDM style vocals. I took ideas from this video to achieve the sound i wanted for my remix, using OTT compression to flatten and control the dynamics of the vocals to fit them better in the mix. Using effects such as: Reverb, Delay and chorus to create width and give the vocal an electronic sound.
Video Link: https://www.youtube.com/watch?v=UUwzFbZfOww
Reference List:
Matt Ingram. “How to MIC a CAJON (Part 1).” YouTube, 22 Aug. 2023, www.youtube.com/watch?v=LJyHD2mAbpQ. Accessed 7 Jan. 2026.
Melodics. “A Beginners Guide to the Glyn Johns Method | Melodics.” Melodics.com, 2024, melodics.com/blog/glyn-johns-method. Accessed 7 Jan. 2026.
Sage Audio. “How to Set up a Blumlein Pair Stereo Recording.” Sage Audio, www.sageaudio.com/articles/set-blumlein-pair-stereo-recording. Accessed 7 Jan. 2026.
Braren, Nick. “Record Guitar Amps Naturally with This “Secret” Method.” UPAYA SOUND, 16 June 2022, upayasound.com/record-guitar-amp-condenser-dynamic-mic/. Accessed 7 Jan. 2026.
Vnuk Jr, Paul . “Drumming and Drummers and Mics—Oh My!” Recording Magazine, 29 June 2018, www.recordingmag.com/resources/recording-info/mics-miking/drumming-drummers-mics/. Accessed 7 Jan. 2026.
voltsprod. “Vova Tumasiants – VOLTS Prod. On Instagram: “How to Sound like Fontaines D.C.? Vocal Effects Tutorial! What’s Your Favourite Reverb Plugin? #Musicproducer #Fontainesdc #Indie #Shoegaze #Independentartist.”” Instagram, 2017, www.instagram.com/reel/DSYO848DabG/. Accessed 7 Jan. 2026.
Ghosthack. “How to Process and Mix VOCALS in Electronic Music | Sound Design Tutorial.” YouTube, 7 July 2020, www.youtube.com/watch?v=UUwzFbZfOww. Accessed 7 Jan. 2026.
