All Tracks
Track 1
Pre Production
Kids In America- Kim Wilde- Synth Pop
Rehearsals
- Charlie rehearsed the Bass guitar
- Harry rehearsed the drum part
- Rhys learnt the guitar part
Track development
- Firstly, we tracked the vocals to the original backing track adding lead vocals and harmonies
- Harry and Sophie recreated the synths
- We then tracked the drums to get the track sounding tight
- The bass guitar was then recorded over the drums and vocals
- The synths were eventually placed into the session. This was done using serum which was processed into a UA studer A800 tape plugin to give the synths an analogue sound.
Demo recording
- Programmed bass line and midi drums to give us a sense of the track
- Used ‘stem splitter’ as a guide for recreating the track
Arrangement decisions
- Critically listened to the original track to understand what to record
Session planning
We did two recording sessions in the studio. Parts like the synths and bass guitar were recorded in our university accommodations.
- We contacted a vocalist called Adara for the vocal recording session which was done on 22nd February in studio 111
- Drum session was completed on 4th april in 104.
- Drums, Electric Guitar and more backing vocals were recorded in the 104 session.
- When reflecting we should’ve planned to record both sessions in a shorter time frame to allow more time mixing the track.
Recording
Microphone choices for Track 1
Drum Mics used on track 1:
| Mic | Use |
| D112 | Kick In |
| Rode K2 | Kick Out |
| Shure SM57 | Snare Top |
| Shure SM57 | Snare Bottom |
| Sennhesier MD441 | Hi Hat |
| Sennhesier MD421 | Two Hi Toms and a Floor Tom |
| Oktava MK-012 Pair | Overheads |
| Sontronics Orpheus | Room Mic |
Unprocessed takes of the instruments
Lead Vocals Rode K2 and a M160
Shouty Backing Vocals: Rode K2
Electric Guitar: DI box, Rode K2 and a Sennheiser 441
Bass Guitar: Recorded into a Focusrite Scarlett 2i2
Synths: Sophie used their KORG Minlogue to recreate the synths at the start. Harry used Serum.
Bass Synth:
Octaves:
Sine Lead:
Strings:
Backing Vocal recording:
Guitar Mic setup:
Room setup
- Placement of vocalist- Middle of the room about 1-2ft away from the mic to capture room ambience.
- Drums- 104 drum kit closely miked up. Room mic was placed away from the kit near the booth
Mixing
Mix plan/concept
Recreating the drum sound and phaser effects was difficult, so we spent extra time analysing the original mix’s bright, radio style using white noise, reversed hi-hats, and Logic’s stock phaser to replicate it.
FX
Plugin Chain for Lead Vox- Verses
“Round” Delay Plug In Chain
This audio is heard at the end of the first chorus after the vocal sing the word “round” a delay is heard in the vocals.
Phaser Plugin Chain for Lead Vocal
Reverse Hi Hat Phaser- Plugin Chain
White Noise Plugin Chain
Drum Mixing:
Before Processing
After Processing
Drum mixing was the most time consuming, requiring 80s style sample layering and analog mixing on the Audient desk, with the Lexicon PCM92 reverb adding a retro vibe and dramatically improving the sound.
Reverb Send:
VCA Bus Compressor
We added some compression from the VCS bus compressor to glue the whole drums together.
Drum Logic Plugin Chain
The drums from the original track have lots of high end which meant boosting the high end with EQ on the Audient and also with channel EQ.
To enhance the kick’s thump, we boosted around 100Hz and used FET and multiband compression to balance low and high-mid dynamics.
Bass Guitar Mixing:
Lead Vocal verses EQ
Lead Vocal Compression
Lead Vocal send to lexicon:
Patch bay from mix session:
Bus Processing:
Vox Reverb Send:
Backing Vocals Reverb Send:
Stereo Delay Send:
Guitar Bus Send:
Drum Reverb Send:
The use of reverb and delay created a wider sound on the track overall.
Balance
A lot of the balancing was done with automation to match the original track’s shifting presence. For example, boosting the ‘reverse hi-hat’ phaser in the louder chorus sections.
Pan
- We used pan automation for the “round” vocal delay, gradually shifting it left.
- Intro synths were panned to match the original’s width, while phasers moved dynamically across the stereo field.
Tone
- We tried to achieve the original tone by cutting more low end and adding lots of high end.
Mix Feedback
Project Management
Time management
Gantt Chart of whole project (Starts from 1st Jan)
Planning
The overall planning of the project was smooth. However, our roles and responsibilities could’ve been clearly defined from the start.
Roles and responsibilities
- Setup- Everyone
- Mixing- Rhys and Charlie
- Synth processing- Harry and Sophie
- Performances- Adara (vocals) Harry (synths) Sophie (synths) Charlie (bass) Rhys (guitar)
Management
- We all contributed equally in booking out rooms for sessions
Structure and organisation
Communication across the group could’ve been better to ensure we didn’t leave things to the last minute.
Track 2- Stereo Recording
Pre Production
Rehearsals
Charlie and Ryan rehearsed the arrangement the day before the recording ensuring they were confident with the piece
Track development
Recorded 7 takes with two different placements of the guitarists.
Arrangement decisions
We asked a guitarist (Ryan) to play an arrangement of “Sound of Silence” by Simon and Garfunkel, using the video link below as a reference
Session planning
The session was recorded in studio 113 on the 24th April. We managed to finish the recording in one session.
Recording
Microphone choices
- 2x AKG C414 used as a blumlein technique
- 1x AKG C414XLS and a neumann KM184 used for midside technique
- 2x schoepes CMC5U used as an XY Pair
Room setup
The XY pair captured a more focused stereo image to the overall sound of the guitars.
Used the C414 (figure-8) and KM184 (cardioid) in a mid-side setup effectively capturing both guitars with a balanced signal.
The guitarists were sat facing each other, with mid-side miking using C414s in figure-eight pattern to capture both guitars in each signal.
Musician management
Charlie contacted ryan via instagram and arranged a time and date to record the arrangement in the studio.
Mixing
Mix plan/concept
Mix processing
- Didn’t require much mixing. Just level balancing.
Light compression and saturation were used alongside guitar volume balancing and mic pan alignment. The combined guitar timbre and room ambience created intimacy, enhanced by stereo slapback delay (Yamaha D5000) and subtle EQ touches.
Project Management
Time management
Recording was done in one session and the mix took two hours
Planning
The session could’ve been completed earlier in the time window.
Roles and Responsibilities
- Setup- Charlie, Rhys, Sophie
- Tracking- Rhys and Sophie
- Mixing- Rhys
- Performance- Charlie and Ryan
- Structure and organisation– everything went to plan and ran smoothly
Track 3- Remix track
Pre Production
Rehearsals
There were no rehearsing of parts. The parts played were written and played in straight away into the logic session
Track development
- The existing vocal track provided a strong creative foundation. Though I initially aimed for ‘The Weeknd’ style remix, it gradually evolved into more of a film score.
- Realising the change in genre scoped more creativity.
Arrangement decisions
- Typically film scores have a sense of build throughout the songs dipping in and out of layers to create a big impact in the latter stages of a score. I tried to reflect this style of work in my track.
Session planning
I could’ve planned to start the remix earlier than a few weeks before the deadline to allow for more consideration.
Recording
Setup
I used a DI box for the bass guitar and electric guitar which was processed through the amp designers in logic.
Musician management
- All the instruments and sounds were played by myself which gave myself more freedom to be as creative as possible
Composition Session Window
Percussive Found Sounds
All the found sounds heard below were recorded with a zoom recorder around the university during one of our group studio lessons.
Car Keys —-> reverse sweep and heavy rattle sound
unprocessed
processed
Wet Floor Sign- Snare
Unprocessed
Processed
Door Shutting —> Large Orchestra Drum Hit
Unprocessed
Processed
Low Piano String –> Bass element
Unprocessed
Processed
Clipping Wood Knock —> Kick
Unprocessed
Processed
Mixing
Mix plan/concept
- For mixing, I bounced down instruments collectively to a new logic session making mixing easier and more efficient
- The aim was to achieve a full sound with layers of orchestral, synth, live instruments, and found sound percussion
Mix window
FX
Found Sound Plugin Chains
Percussion Track Stack Chain
- Car Keys rattler sound only used track stack
Car Keys- reverse sweep
Wet Floor
Door Shutting
Wood Knock
Orchestra Sounds
Synths
Vocals
Electric Guitars
Bass Guitar
Piano
Buse Sends:
Balance
To create a cinematic build up feeling, the use of automation was important in achieving the effect.
Pan
Panning was useful in creating a wide mix.
Tone
Overall, the tone was closely looked at due film scores covering a lot of high end and a controlled low end.
Reference Track:
Master Chain:
Project Management
Time management
- Remixing the track took 4 three hour long sessions in the Mac Lab Suites.
- Mixing the track took around 2-3 hours at home and 2 hours in 116a Mixing Room.
Planning
- I left time to mix the remix in 116a and also through my own monitors and headphones
Roles and responsibilities
Doing the remix on my own meant that I was responsible for arranging, playing and mixing the track.
Structure and organisation
The remix began smoothly, but a shift in vision caused delays. However after a few days, I found a new direction and quickly finished the track with a tone I liked.
Bibliography
Bangalter, T., & Homem-Christo, G.-M. d. (2020). Overture [Recorded by D. Punk].
Garfunkel, S. a. (2014). The Sound of Silence (Cover by Carvel) – Simon & Garfunkel [Recorded by TimAndCameronPlayingGuitar]. Brisbane , Australia .
Wilde, M., & Wilde, R. (2024). Kids In America (2020 Remaster) [Recorded by K. Wilde]. Hertfordshire , United Kingdom .
