Method 1: Live Studio Band/Ensemble capture
Pre-production:
For the first band, we decided to go with a jazz band, seeing as one individual within our group already had contact with a competent jazz band at the time of planning.
After checking logistics with everyone, we booked 113 for Wednesday the 19th of November , 17:00-23:00. Choosing 113 as we each have most experience within the studio due to our shared lessons residing there and that 113 has ample room for the ensemble members.
production:
For the placements of the musicians, we aimed to isolate each of the members as much as possible, seeing that it was a live recording and having audio spillage from the other instruments onto the wrong tracks would prove challenging for specific post-production needs.
In the isolation of the drums we used acoustic panels and moved them around the drums in a position that minimised as much of the drums sound spilling into other tracks. And for the drum mic choices we chose jazz oriented microphones as they matched the genre recorded.
Live Drum mic list and reasoning:
Live Session kick mic: For the kick drum we used the sonotronics dm1b because it is specifically voiced and designed for kick drums and it was recommended for jazz.
Live session snare: We then used the sennheiser md421 for the snare top because it’s a similar mic to the sm57 but sounds more snappy on snare, possibly due to the extended frequency response compare to the 57. For the snare bottom we used m201 for its less high ends so that we got a fuller body of sound.
Live session drum overhead stereo: With the stereo overheads we used two neumann km184’s for their bright high end lift which we researched was more typical for jazz drum overheads.
Live session drum overhead mono: Then we used the beyer dynamic m160 ribbon mic on the drums as a mono overhead which was in front of the kit about head height pointed at the kick drum, We did this so it picked up the cymbals and the shells for a full sound to balance with the close mics. The ribbon mic also has a “smooth high end” because of the treble roll off in the frequency response which means it isn’t a harsh microphone.
With the vocalist and saxophonist we isolated them by first placing the saxophonist behind panels beside the drummer and then relying on the isolation of the studio to place the vocalist in front of the rest of the ensemble. Mic choice for vocals was the electrovoice re20, chosen for its internal pop filter and that the boomyness within a vocal get reduced well by it. Mic choice for the Saxophone was a t.bone Ovid system for its clip onto sax ability and the small diaphragm for sax recording standards.
And then we placed the bassist within the vocal booth, closing the door and giving them headphones to listen along with the live band to play. The mic choice for the bass was a jz v67 for its large diaphragm, placed approximately 4 inches in front of the bass cabinet sound hole, able to record the low ends within bass and the subtleties within the ‘big’ sound of bass recordings.
Then finally we used the piano that was next to the control room, its placement was ideal it was far enough away from the majority of already ample isolated noise. Mic’s used for the stereo recording of the piano were the schoeps MK2 stereo pair, placed in the X/Y technique so that we got an ample stereo recording. Then for a mono recording we used akg c414 xlii, for its detailed bright sound due to its large diaphragm.
The session of recording went generally okay, only a couple takes were needed, as the band knew there parts within the song quite well. Meaning that we could record multiple tracks of the song, so that later in post-production we could define which take we felt was best for the greatest result.
Post- production
Within Post-production I could help out more, seeing as within the studio session I had other arrangements that I couldn’t cancel. So when the tracks were presented I noticed that the saxophone was much louder and more dynamic than any other instrument. After level mixing the drums and bass, we worked on the saxophone. Noting that the dynamics varied greatly, I used the audio on pro tools to create dips and jumps within volume so that the sax sat within the track but also highlighted itself in areas where necessary. Then finally adding fades on the end and start of the track so that it intros and outros seamlessly.
Method 2: Overdub Production
Pre-production:
We decided on booking out the studio 104, choosing this studio for its vocal booth needed for guitar recording and for its set up drum kit. Booking for 5-11pm Thursday 13th we used the fact that one of our group members was already in a metal band, aiming to record an original of theirs. Recording a group members band helped with time management as we didn’t need to worry about the contacting of bands and whether or not we knew how they’d be within a studio setting.
Production:
During this set up, me and another member of the group set up the drum mics while everyone else were doing other mic placements.
Live Drum mic list and reasoning:
Audix D6 – inner kick mic (beater head on kick/bass drum), we used this mic as it has a boost around 80 Hz which is low end enough for the kick drum thump. And then another boost around 5 KHz for the ‘click’ noises that tend to come from the pedal.
For the outer kick Solomon subkick LoFReQ – outer kick mic (resonant head on kick/bass drum), placing the kick in front of the sound hole so that the mic can pick up as much of the signal from the kick drum. We decided to use this because of its low end weight addition and just for general experimentation as we had never used it but had researched online of its positives for kick drum.
Sm57 – Top snare, we angled the industry standard mic in a recognised angle. Angled towards the middle of the snare, close but not too close that the drummer might hit it.
BeyerDynamic M201- Bottom snare, choosing to use the M201 due to its full body capture, dampening the high mids and top ends so we get that fully body pair with the top snare mic. Going for a snare that would fit the heavy/ punch of the song’s genre.
AKG C451B – hihat close mic, I specifically chose to use this microphone for its ‘airy’ and ‘bright’ sound so that the high hat can cut through the otherwise ‘powerful’ sound.
AKG C414 XLS (2) spaced pair – Stereo Overheads, we mainly chose these because they are a well regarded choice for drum overheads due to their linear sound able to record the range of frequencies from the cymbals.
Sennheiser MD421 (3) – high mid and low toms, again like the overheads, we chose these because of how respected they are and also for their mid-range frequency emphasis.
Guitar:
BeyerDynamic M160 – centre of cone on amp, this microphone was chosen for its high end attack so that the guitar tone we were looking for was achieved without losing the mids.
AKG C414 XLII – side of cone on amp, this one was just so we could get some of the low end and body from the guitar. A very common choice that we thought would be efficient.
Bass: orange terror 500 bass Head di out, recorded elsewhere at home with the bassist, using the orange terror to achieve the rough and strong tone desired. Also using a DI so there wasn’t any cable noise and the consistent tone.
I then sat down at the desk with a couple other members of the group and we worked together on communicating with the band, using talkback through shared headphones. I spent most the time on pro tools, making sure that the tracks we had coming through on the desk, were also coming through on the DAW and also working with the guitarist as they wanted to record over their own guitar lines (for harmonies)
Post- production
Then similar to the live session recording, we sat down in a mixing room and worked out the little parts that we could cut out. Namely shortening the track lengths so that they started and ended without silence and lining up overdubbed tracks so that they were in time. For this I used the grid lines and zoom feature on pro tools to line up tracks and to splice some better takes into the finished product.
