MPR4C001R-003 Portfolio: Production & Log 2 Template
Task 1 – WAV Mixes
Please add your uncompressed audio files to the block below
Task 2 – Production Log Book
1650 Words
9 mins 24 seconds
Twist and Shout – The Beatles (Genre Specific Emulation)
For the emulation task, our group chose Twist and Shout by the Beatles, a high-energy classic rock ‘n’ roll song from their 1963 EP. Our aim was to capture the essence of the early live recording format in Abbey Road Studios.
Initially, we began selecting microphone and instrument models using images of the Beatles original sessions, which also acted as references for placement of the musicians and choice of recording studio.
We decided that the Conservatoire’s Studio 113 was the closest match to Abbey Road’s ‘Studio 2’ in which the original track was recorded, as they both share a large open hall space with a reasonably high ceiling , and opportunity for carefully controlled overspill or separation choices. It also allowed us to record the reflections of the room to recreate the live room sound that holds the unique character of the original.
We booked out several hours to allow the musicians to create a sense of tightness and synergy in the recording, and proceeded to capture several takes. We took a break halfway through to allow the musicians to relieve the stress of capturing back-to-back takes. This was followed by isolated vocal recording in the centre of the studio, with the other instrument mics still set up and recording the room so it occupied the same space. We used a Neumann 184 microphone on a clean Vox amplifier for the electric guitar, mimicking the vintage sound of the KM54s used on the original. We used the same microphones for bass and acoustic; we arranged the track as seen in the original, with an acoustic doubling the electric part low in the mix. For the drums, we used a vintage two microphone technique that involved one kick mic – an electro voice Re20 – and a single central overhead – a T-Bone RM700 as this was the conservatoire’s closest option to the original Cole’s 4038. The track was recorded without a metronome as the original fluctuates tempo throughout, and we thought it best to maintain the energy of a live band.
It then came time to mix the track, upon which we realised there were several mistakes that could not be ignored in our recording. The opening notes were out of sync between the guitars and drums, the tempo was altogether too slow, and the tone of the guitar was too sharp and distorted. Additionally the room sound and overspill was not right tonally and made each track impossible to mix without altering the sound of another instrument.
To rectify our mistakes, we rerecorded everything except the drums; they had maintained a good sense of separation, had accurate tonal characteristics and we had good takes of the performance. We used the same microphones and equipment, but recorded them on individual tracks, altering the tone of the guitar to be more fitting and dubbing over the solo section. For the vocals we used a Sontronics Orpheus because its brightness complemented the rich, loud voice of the performer as he imitated John Lennon. He used different tones of his voice, e.g. holding his nose, on each of the backing vocals to create the effect of multiple singers.
During Mixing, we panned all of the tracks as heard in the 2009 Remaster, with the vocals hard right and their reverb bus hard left, with all other instrument doing the opposite. Additionally, I added a touch of clip distortion to the vocals to emulate the vintage microphone timbre as it would react to a loud singer. For the drums I used a digital emulation of a large plate reverb reminiscent of those used in the 1960s. I mixed all of the tracks with exaggerated high mids to imitate the bright and brittle tones of this era, removing some of the lowest bass and highest treble to liken it to the effects of old tape recordings and microphones with a smaller frequency response. Finally, I duplicated the guitar track in the solo and used the Haas trick to bring it up in the mix, which may have been done in the original by riding the faders. There is a slightly delayed copy of the signal heard in the original that I wished to match.
Ventura Highway – America (Live In the Studio Stereo Recording)
For this track, we tested several microphone combinations, including midside, spaced pair and XY. We found the XY combination to be the most successful at displaying a full sound with clear separation for our chosen genre of acoustic folk rock.
Due to time constraints, we chose to record a track well within our comfort zones as guitarists ourselves. Ventura Highway – America contains three clear parts that would allow us to exaggerate the LCR panning while ensuring it sounded consistent and natural. We practiced several times outside of the studio to ensure the harmonising guitar lines were well synchronised and the harmonies matched the pronunciation of the words. In terms of arrangement, we chose to replace the drums with a simple shaker to keep the pulse in our stripped back version, and placed a single harmony on the opposite side to the melodic lead guitar to enhance the stereo field.
I played the chords and sang the lead melody, so sat centrally in the stereo field. I was a short distance from the microphones facing front on to ensure clarity and consistency (we used Schoeps Cardioids in an XY configuration).
Oli Floyd and Frank Greaves played the lead guitar parts (and sang harmonies) throughout the track. Oli’s part also contained the main countermelody in the chorus, a ‘jangly’ part which makes use of octaves and open strings. To ensure this remained present without becoming overbearing and ringing out over the rest of the song, he was placed slightly further away on the left hand side, providing a sense of antiphony between mine and his guitar parts, and a clear synchronicity with Frank when they both played their homorhythmic line in the verse. This was effective Frank was placed to the right in the crescent shape but closer than Oli, meaning my barre chords (which were played on a duller, warmer sounding guitar) could be complimented by the brighter guitar melodies on either side. Finally, the egg shaker was played behind the microphones facing the other performers to place it in the background.
Initially Frank and I were playing opposite guitars, but chose to swap them after listening back to a few takes to create this effect of a warmer centre with brighter sides.
When mixing, we applied some light compression and reverb so as to not overcomplicate the simplicity of the folk track. We also increased the high mids and treble to bring out the rhythmic click of the picks hitting the steel strings.
Twist and Shout (Remix track)
I chose to take this remix in a 90’s inspired dance direction. I began creating my found sounds drum samples. For the snare, I hit a large plastic salt-shaker with a drum stick, which provided a similar sound to a drum skin being hit while having the rattle of snares imitated by the rattle of the salt inside it. I then applied harsh compression, distortion and gated reverb to thicken it out. I removed the low end frequencies to ensure it wasn’t boomy, and added an echo with high feedback and low wet signal that created a pattern similar to ghost notes. I also recorded an egg shaker.
For the kick, I created a plosive sound into a microphone and EQ’d out the top end, using the sound of the air hitting the microphone to create a thud.
Finally, I used a pen tapping a butter knife to create the hi-hat. With some compression and high pass filtering, I looped it to create an electronic dance feel. I then placed all of these elements in a sampler to allow me to create beats more quickly and alter the pitch of the snare to create fills.
For the remaining instrumentation, I recorded DI bass and electric guitars using presets and pedals within logic to create the atmospheric tones. For the section after the drop, I recorded an acoustic guitar in hard panned double tracked format to bring it out. I created my own synths in the retro synth plugin. This can be heard as a bass line starting at 1:06, and then as chords throughout the rest of the track. I designed my own pattern on an arpeggiator and applied it to the synth to give it a syncopated rhythmic feel. This also helped my percussion as I chose to create a marimba style sound, with a very short attack and square wave pattern. I also used arpeggiators on the bell like sound at 51 seconds and used as a texture in the drops. With a two octave range and 32nd note speed moving up and down through the notes, it creates a glissando sound.
For the vocals I used a heavily compressed sound with exaggerated high end to contrast the vintage sound of the original track. I recorded my own backing vocals on a Rode NT1-A which harmonise the main line through the song, and then provide a countermelody soaked in chorus, reverb and delay in the final chorus (as well as a choir in the drop sections). I chopped up the original to create new phrases and build tension through fragmented repetition as heard in EDM. There is heavy distortion and hard panning on them to differentiate them from the original and utilise the whole stereo space.
I made use of tremolos and side chain compression as well, choosing to switch from live electric bass to a synth bass with a hard side chain to the kick in the chorus. Additionally I added a tremolo with 0 smoothing so that it flickered on and off for a glitchy digital sound; I modulated the rate of the tremolo so that it creates shifting polyrhythms over the rest of the drop which is all focused around the four on the floor feel.
