Project Proposal
Project Overview and Concept
This mini‑album is my final project for the Specialist Study Music Production 3 course. I chose the title “Lonely Sentiments” because the music reflects the different stages of a personal journey through relationships and self‑growth. Over seven pieces with a total running time of approximately 25 minutes, the project begins with the end of a relationship and gradually moves toward self‑reflection and acceptance.
The album draws on neo‑soul, R&B and hip‑hop influences. Neo‑soul is distinguished by extended chords and complex voicings that go beyond the standard triads; musicians often employ extended or “shell” chords to create sophistication and emotional tension . I used seven‑ and nine‑chord voicings to establish the album’s harmonic identity and to evoke a gentle yet unresolved feel. Musically, I also experimented with combining Mandarin and English lyrics to connect personal storytelling with contemporary musical contexts.
As a producer, my aim was not only to present songs but to manage every stage of creation. I designed the album to showcase my ability to compose, arrange, record, mix, master and coordinate collaborative sessions across different studios and countries. What follows is an account of each track and the way they fit into the overall narrative.
Production Project Files
Progress and Management Records
Track‑by‑Track Description
Intro (Track 1)
The opening piece functions as an intro rather than a conventional song. I used extended seven‑ and nine‑chord voicings common in neo‑soul to create a gentle yet unsettled atmosphere. The instrumentation is sparse and entirely created using MIDI—mainly electric piano and a soft drum loop—while the spoken‑word interlude was recorded at home by a friend. I recorded and mixed it at home, intentionally keeping some rawness to invite listeners into the album’s mood.
Composed during a quiet evening, the intro symbolises opening a jar of emotions. By limiting myself to chords, pads and a spoken interlude, I let listeners ease into the story without revealing too much. This track serves as the doorway, hinting at the personal narratives to follow.
I envisioned the intro as a portal into my journal; the faint chords and whispered spoken word invite listeners into a private space, and the presence of breaths and room noise emphasises intimacy over perfection.
Track 2 – Mandarin Cover
This track is a straightforward cover of a Mandarin rap ballad. There is no new arrangement or re‑production; I kept the original instrumental and simply recorded my vocals at home on a Sennheiser e945 dynamic microphone. Because the backing track was unchanged, my focus was on delivering a natural performance and balancing the mix with light EQ and compression.
I recorded this late at night in my bedroom‑studio using a dynamic mic; the simplicity of the environment emphasised the rawness of my delivery. Because the arrangement remained unchanged, I concentrated on vocal nuance and blending my voice with the instrumental. Its straightforward love story reflects post‑breakup confusion.
I recorded multiple takes in my bedroom, experimenting with mic distance and tone to internalise the heartbreak. With just a laptop and dynamic mic, my vocal performance had to carry the narrative alone.
Track 3 – Original Storytelling Song
This original song tells the story of a relationship that never truly started. I wrote the lyrics and music and recorded it in a professional studio in Shanghai using an AKG C414 condenser microphone, whose multiple polar patterns and neutral tone provided clarity for layered vocals . When the initial session felt too thin, I quickly invited two friends to add harmonies and a contrasting spoken section, enriching the texture. In the mix I used careful panning, EQ and a touch of pitch correction, and even inserted telephone‑style effects to support the narrative.
I completed this piece during the winter break in Shanghai. The beat came from an earlier arrangement I repurposed, and the lyrics recount the end of a short‑lived relationship. Recording in a studio allowed me to capture overlapping harmonies and telephone effects while overseeing the mix and master.
Track 4 – Mandarin Duet Cover
This duet with a female classmate presents a second perspective on the album’s themes. We recorded our vocals at a professional studio in London using a Neumann U87, an industry‑standard microphone known for its balanced and warm response . I took charge of the audio editing and prepared a basic mix, while a mixing engineer finalised the track. The arrangement remains intentionally sparse, letting our voices interact naturally; we left minor timing imperfections untouched to preserve emotional honesty.
We tracked this cover in a friend’s London studio. My classmate sang the chorus and I took the verses, then I sent a rough mix to an engineer. The conversational interplay bridges the personal storytelling of Track 3 with the introspection of Track 5.
Track 5 – Interlude (“Options”)
I used NF’s “Options” as a brief interlude that marks the transition from songs about relationships to ones focused on self‑reflection. Recorded with an AKG C414 microphone, the piece uses only a simple beat and atmospheric pads. I kept elements of the original flow and delivery so the track serves as a bridge to the introspective second half of the album.
Alone in the school studio, I chose “Options” because its introspective tone signals the album’s pivot and experimented with phrasing; the minimal mix serves as a breath between the relationship songs and the more personal second half.
Track 6 – Highlight Original Song
This song is the project’s centrepiece, chronicling my personal and musical growth. I composed and arranged it in Logic Pro with virtual instruments such as Nexus and Kontakt, layering vocals and echoing effects to create a spacious mix. Vocals were recorded at SoundLab in Shanghai. Even with prepared lyrics, I and the engineer rewrote several lines during the session to better fit the groove—an exercise in flexible, on‑the‑spot creativity. Though engineers managed the technical recording, I directed the arrangement and sonic palette to ensure the final mix reflected my artistic vision.
The arrangement evolved gradually, and recording at SoundLab gave me space to refine lyrics and ensure the energy fit the album’s arc.
Track 7 – Outro (Acoustic Adaptation)
The final track brings the narrative to a calm close. It reimagines a Chinese hip‑hop song in an acoustic setting, centring on wooden guitar and an intimate vocal that leans toward spoken delivery. Recorded at Largo Studio in Shanghai, the piece preserves the guitar’s natural tone with minimal accompaniment. This understated mix gently leads listeners out of the album, encouraging them to reflect and find personal resonance in the closing lines.
Narrative Flow and the Role of the Intro
Sequencing was crucial to making the project feel like a journey. The intro acts as a gateway, introducing the sonic palette and emotional tension without resolution. It is followed by three pieces exploring relationships from different angles—a cover, a personal narrative and a duet—that build intensity. The interlude then pivots toward self‑reflection. The final two tracks focus on my own growth and deliberately echo the intro’s minimalism. This symmetry—opening and closing with sparse textures—emphasises the cyclical nature of entering and exiting the record.
Timeline and Project Management
My planning ability is evident in how I managed sessions across Shanghai and London. Between December 2025 and January 2026 I recorded the intro, Track 3 and Track 6 in Shanghai and sketched ideas for the outro. In March and April 2026 I travelled to London to work with a classmate on the duet and to record the interlude, while continuing to refine the outro. By April and May 2026 I was back in London mixing and mastering the entire album and preparing the supporting documentation.
Communication with collaborators was straightforward: we relied on WeChat and email, sharing stems and mix versions through cloud folders. Before each session I circulated reference tracks and lyrics, and afterwards I backed up recordings and sent rough mixes for feedback.
Managing a project across two countries posed challenges. Scheduling sessions meant accommodating different time zones and last‑minute changes. When Track 3’s initial vocal timbre felt too flat, I quickly invited two more friends to the studio, and their spoken and harmonic contributions elevated the song. Track 6 demonstrated the need for flexibility; realising the lyrics didn’t sit comfortably with the beat, I rewrote lines on the spot with the engineer. Selecting microphones appropriate for each environment—like the versatile C414 or the warm U87 —also ensured consistent quality.
Personal Growth and Reflection
Working on “Lonely Sentiments” has been both technical and emotional. I learned to craft a narrative arc and independently manage songwriting, arrangement, recording, mixing and mastering. Coordinating across time zones improved my leadership and communication skills. Technically I deepened my proficiency with Ableton Live and Logic Pro and learned how microphone choice—whether a C414’s flexibility or a U87’s warmth —shapes the final sound. I also realised that sequencing and transitions are as important as individual songs; embracing small imperfections can enhance authenticity. Collaborations yielded unexpected creativity, and the on‑the‑spot lyric rewrites in Track 6 reminded me to stay open and responsive.
Conclusion
“Lonely Sentiments” is more than a collection of songs; it is a personal chronicle of relationships, growth and resilience. The project meets the formal requirements of the course and serves as evidence of my capability to conceive, manage and execute a mini‑album from start to finish. By blending neo‑soul chords , Mandarin and English lyrics, and varied recording environments, I built an immersive narrative. As a producer, I handled composition, arrangement, recording, mixing and mastering, collaborated effectively with singers and engineers, and made real‑time creative decisions. This experience has prepared me for future professional projects where technical expertise and emotional storytelling go hand in hand.
Communication history
Some DAW Interface/Console
Mic Set
Recording process/atmosphere
