Task 1 – WAV Mixes
Please add your uncompressed audio files to the block below
Task 2 – Production Log Book
1500 Words
Track 1 (Genre Specific Emulation)
For our emulation track, we decided to produce a version of “Chamber of Reflections ” by MacDeMarco. We chose this track while considering the remix segment of our assignment. We believed the vocal melody would be suitable for a wide range of genres. Giving us flexible remix genre options for everyone in the group, preventing anyone from feeling restricted. During our enitional listening sessions, we met as a group and planned how we would go about recording each element. For example, we identified the Drum’s clean and reverberant tone. Correctly, emulation would require deliberate recording and processing techniques.
For the drum kit, we used a Sennheiser MD 441 for the snare top as it has a detailed transient response, while a SM57 was used on the bottom. We combined the Audix D6 and AKG D112 for kick out and in, respectively, as they provide the perfect balance of low-end weight and punch. We used a WA 87 as a knee mic and 2 Scheeps pencil microphones, one for a mono overhead capture and the other pointed towards the corridor for a natural ambience. We chose not to close-mic the hi-hat to avoid phase issues within the kit and to allow the drum kit to sit within the ambient drum sound that Chamber of Reflection has
For the vocal recording, we decided to track pick Louis Halsey as our vocalist, as we believed his vocal tone was similar to MacDeMarco’s. We tracked our vocals in 116 to make use of the vocal booth’s isolation. We recorded multiple takes of each section of the track to give ourselves more options during the comping process. This would result in a performance that is most similar to the song. We monitored through closed-back headphones to minimise noise spill into the microphone.
We attempted to utilise the Juno-60 in 109 for the pad and lead textures. We decided it would be appropriate for this song because it has similar sound capabilities to the pads used in the song. We were almost completely certain that it’s the same piece of hardware. However, we had to replace it with VST synth sounds when we ran into two issues. The first issue we ran into was the tuning of the Juno. At the time of recording, we weren’t aware that the synth had to be retuned each time it was used, so we were having issues with it. The second problem is that it had noticeable distortion on the recording despite lowering the gain below a level that would be considered to be peaking. With these two issues combined, we decided to VST pad and design the sound so we could get it as close as possible. In the future, we could try researching how to use the synth more so that we are better organised during our recording sessions.
The majority of the mix was carried by volume balance and correct audio capture. The drum kit didn’t need any heavy EQ or compression correction to achieve what we were going for.
The Vocal used a Dessing, EW and compression to set its level in the mix, but the main things to give it its character were the UAD century tube channel strip and some tape delay.
Track 2 (Live In the Studio Stereo Recording)
For our live stereo recording, we were recording a string quartet. They were doing a cover of the K-pop Demon Hunters theme tune. Recording this song was a byproduct of who we were recording as opposed to an active selection that we made as a group but the track still worked for us as it hit our time constraints and contained enough varying elements.
For the pre-production of the track, we had to decide on which recording technique we would use. Stereo recording is something we didn’t have as much collective experience with; it’s also something that is simple to set up but easy to capture incorrectly. We needed to know what we were doing well before we entered the session, so that we could adequately prepare and research which technique we would use.
We decided to use the ORTF micing technique with two Schoeps cardioid microphones because it worked well for classical music and emulates human hearing. We wanted to position them at a 110° angle, 17cm apart from each other. To correctly execute this, we used a measuring tape, a protractor and a stereo bar to keep them in line with each other.
We used the XY stereo recording technique to capture a room tone because it has minimal phase issues. By using two Soctronics Delta 2 microphones, we were able to create a wider stereo image that maintained the natural ambience of the space without introducing timing or phase complications. This approach complemented the OTRF setup and reinforced the spatial environment.
During the recording session, all six of us were present, so the individual burden was lessened, and setting up and packing down was quicker because of it. However, there was a risk that this could turn into a too many cooks in the kitchen scenario, so I made sure to understand important roles in our team. Flynn was acting as the executive producer of this session, so I made sure to not to overstep him and allow him to be the primary source of communication when addressing the performers. I followed his lead and was listening more than I was talking to spot any mistakes or contribute anything that we may not have considered prior to the session.
We decided to use the mixing console in 113 for the processing of the track. This helped us take advantage of the rich character of the analogue hardware, but also allowed us to gain valuable experience using it. We used the desk’s EQ to process the stereo pair as well as the room mic.
We added some bass frequencies using the low shelf and tamed some of the high end with the high shelf. We also recorded a reverb auxiliary of the performance using the analogue reverb unit.
Upon reflection, I am satisfied with how we carried ourselves in the pre-production recording and mixing stages of this recording. I think we effectively worked as a team. However, when we received feedback from our lecturer, we realised that the recording had some tuning issues, so this could be an area for us to listen out for next time we are doing a recording with classical musicians.
Track 3 Remix track
The aim of this remix was to reinterpret the original vocal from the emulation by shifting it into an R&B context. This decision was made because I felt myself naturally playing chord progressions that lined up with this genre. I chose to keep the original arrangement to preserve the recognisability and flow of the song. However, I made a minor adjustment to the intro to make the vocals come in sooner.
I recorded a Classical guitar chord progression in 422 using the Brauner phantom C because it has a natural tone. The guitar functions as the main melodic identity within this track. I used Rado-style EQ to make it sound more lo-fi.
I recorded bass DI to achieve a clean bass tone to ensure flexibility with the mixing and production process. Since it was a raw signal, it required heavier compression and EQ to make it fit within the mix. For the Foley drum elements, I layered a couple of different sounds. The first sound I recorded was me drumming a loop on a table in my accommodation. I recorded this using my iPhone microphone to capture a Lofi texture. This required A band pass filter to prevent it from overbearing the mix.
Next, I created a shaker texture by rubbing a Sainsbury’s bag into a TLM 102. I came to this conclusion after experimenting with alternative options and landing on this one. The vocal was difficult to use because I was unable to find the comped vocal take initially. After finding it, I pitched the original vocal up by 2 semitones to make the remix feel more distinct from the original track. I added some auto-tuning to the vocal to correct some of its pitching issues. Lastly, I added compression to help it sit better in the mix and removed some of the low mid to avoid it from clashing with the other elements in the track
