Method 1 – Live Band/Ensemble Capture
Live band Production – “Beautiful Love” (The Keano Ritche Quartet):
Pre-production, planning & project management:
After contacting the band, they made their vision clear to us that the goal was to allow some natural interaction and an ensemble feel to this recording, typical for the jazz aesthetic. Due to this, microphone selection and studio layout were chosen specifically to minimalize bleed whilst controlling cohesion. Therefore, we chose studio 113, due to its large space, allowing all instruments to be played at once, with a nice natural reverb from the room. Before our first session, we prepared a full microphone and equipment list. Tasks were divided between the group (patching, mic placement, Pro Tools setup, foldback), which reduced time spent on tasks and ensured we could adapt quickly if there were any issues.
Drum recording strategy:
The drums were recording using a simple setup to capture a natural jazz sound. Less focus on close mics, more reliance on overheads to represent the kit.
A solomon LoFreq sub kick was chosen for its low-end extension, allowing to boost weight without using EQ. Kick out was recorded with an ATM256 to provide body and punch. The snare was close miked with an SM57 due to its great mid-range and ability to handle high SPL’s. Hi-hats were recorded using an AKG C451B due to its fast transient response and high frequency clarity.
Rack and floor toms were both miked using Sennheiser e604’s, as this provides consistent tone with nice punchy mids and highs. Overheads were a matched pair of Aston Starlights, as they can handle the loud transients of the drum cymbals and shells without distortion. Finally, a phantom C was used as a room microphone to add natural reverb and depth, helping glue the kit together with all the other elements of the band.
(Appendix A)
Guitar, double bass, and piano recording:
The guitar amp was recorded using an SM57 and JZ V67 combination. The SM57 focused on mid-range presence, whilst the V67 adds body and high-end detail, which allows flexibility in the mix. The amp level was kept low to reduce bleed into other microphones.
Double bass was recorded using a combination of microphones and DI. An MK319 positioned at the f-hole to capture low-end warmth, while an AKG 414 aimed at the fretboard to give a more clean, detailed sound. A DI was added to increase the presence and help the bass sit clearly in the mix, without overpowering its natural acoustic tone.
The piano was recorded using two AKG 414’s in an XY coincident positioning to ensure mono compatibility while maintaining a focused stereo image. This setup balanced body and clarity, allowing the piano to remain present without dominating the ensemble.
The piano was recorded with two AKG 414s in an XY coincident setup, giving us mono compatibility and a tight stereo image. This allowed the piano to stay present without taking up too much space in the mix.
(Appendix B)
Session workflow:
At the start of the session, we collected all the equipment needed, and as a group miked up the instruments, me specifically miking the guitar amp and piano. Inputs were done across both wall boxes, with wall box inputs 7 and 8 patched to short faders 15 and 16.
After creating tracks and configuring inputs and outputs in Pro Tools, the band arrived. Therefore, I did the line checks whilst the band rehearsed. We decided to use acoustic walls to reduce bleed from drums and guitar into the double bass microphones, and guitar amp levels were kept low. As the session went on, we weren’t satisfied with the amount of bleed, so adjusted the walls around the double bass. After six full takes, everyone was satisfied.
(Appendix C)
Mix overview:
The mix prioritised retaining the natural dynamics of the live performance. I grouped tracks, then mixed drums first, with hi-hats and toms reduced since they were too present. Bass presence was increase subtly. Overheads and piano were panned for stereo width, with the guitar slightly offset. The room mic level was raised to improve the natural reverb, glueing the instruments together naturally.
Appendix A:
Appendix B:
Appendix C:
Method 2 – Overdub Production
Overdub Production – “Wonderkid” (Jeanine):
Pre-production, planning &project management:
We started by contacting the band, so they could send us reference material and demos of their previous work. This allowed us to understand their aesthetic, a raw but controlled indie rock sound focusing onperformance energy rather than over-production. They shared a rough sketch of ‘Wonderkid’, which helped us understand the arrangement, dynamic changes, and instrumentation. We then made our microphone choices based of this information, and we focused on clarity and flexibility at the recording stage to avoid corrective processing later.
We had the studio booked for three different days, so we planned to record the drums and guitar in studio session 1, vocals and bass in session 2, then mix the song in session 3. Tasks were divided between the group (patching, mic placement, Pro Tools setup, foldback), which reduced time spent on tasks and ensured we could adapt quickly if there were any issues.
Drum recording strategy:
For the drums, we chose a close-miking approach to give us a lot of control in the mix whilst using a room mic to add depth.
For the kick, we used a three-microphone setup (sub kick, in, and out) to capture different frequency ranges separately. The Solomon LoFreq sub kick was chosen specifically for its low-end extension, allowing us to boost weight without using EQ. The DM1B inside the kick provided attack and definition due to its cardioid pattern and low-frequency response, minimising bleed. The ATM250 on kick out captured body and punch, acting as a bridge between sub and attack.
Snare top and bottom were both recorded with 545SDs. We did this as they offer a similar dynamic response to the SM57 but with less mid-range boxiness. Hi-hats were recorded with an AKG C451B because of its fast transient response and extended high-end.
Rack tom used an ATM250 for consistency with the kick out, reinforcing tonal cohesion across the kit. Floor tom used an ATM25 for its ability to handle low-end resonance cleanly. Overheads were a matched pair of AKG 414 XLII microphones, chosen for their bright, detailed top end, helping capture definition.
A Neumann KM183 was used as a room microphone. The omni polar pattern allowed us to capture a natural reverb, giving the drums more texture, adding depth and cohesion. This mic also functioned as a “glue” element in the mix, subtly blending close mics together.
(Appendix A)
Guitar and bass recording:
Electric guitar was recorded using an SM57 and AKG 414 combination. The SM57 focuses on mid-range and bite, helping the guitar cut through the mix, while the 414 captured full-frequency detail and air. This setup gave us flexibility in the mix.
Bass guitar was captured using Direct Injection alongside two microphones. The DI ensured clarity and transient accuracy, whilst the Audix D6 delivered low-end punch. The DM1B added depth and weight while handling high SPLs effectively. This layered approach allowed us to balance clarity and character during mixing.
(Appendix B)
Vocal recording:
Vocals were recorded with a Sontronics Orpheus, chosen for its clear and detailed sound. This suited the band’s raw, character-driven vocal style, as the microphone is designed to capture subtle performance nuances. A pop shield was used to reduce harsh popping sounds.
Session workflow:
The first session focused on drums and guitar to get the rhythmic and harmonic foundations. To start, I collected the correct microphones and additional equipment needed. Harvey and Noah rerouted the patch bay, so each instrument was in our preferred order, whilst me and the rest of the group set up mic positioning. We recorded a guide track (guitar and vocal), which I sent to foldback for the drummer so he could lock into the arrangement and click. Minor issues arose, including repositioning the kick-out mic after critical listening and replacing a faulty XLR on snare bottom. We finished the session after achieving multiple good takes from the drummer and guitarist.
The second session focused on vocals and bass. We started the same way as session 1 with our roles. Gain staging required careful attention due to dynamic variation in the vocals, mainly in the last section. Spare studio time allowed us to experiment with guitar doubling using a Sontronics Delta 2, SM57, and phase-inverted DM1B behind the speaker cone, creating a wider and more aggressive texture. If we had more time, I would’ve wanted to add harmonies to the vocals.
(Appendix C)
Mix overview:
The mix began with organisation, e.g. colour coding, grouping, and gain balancing. I then balanced the drums first to establish energy and groove. Overheads and guitars were panned to create stereo width, while bass automation was used to boost its presence during the solo. Finally, vocals required detailed automation due to the dynamic range.
Appendix A:
Appendix B:
Appendix C:
