MPR4C001R-003 Portfolio: Production & Log 2 Template
Task 1 – WAV Mixes
Genre emulation
- Stereo recording
Task 2 – Production Log Book
Track 1 (Genre Specific Emulation)
The selected track for emulation was “Pretty Ugly Before” by Elliott Smith, representing a 1990s alternative/Britpop-influenced style. The choice of track was informed by the availability of a vocalist capable of closely replicating Smith’s vocal tone and delivery, allowing the production to prioritise authenticity in performance.
The production process was collaborative throughout, with all group members contributing to recording, setup, and mixing decisions. Responsibilities were shared, particularly in microphone selection, placement, and processing choices. My contribution formed part of this collective workflow, contributing to technical and evaluative decisions during both recording and mixing to ensure consistency with the reference track.
Pre-production helped make the recording process more efficient and organised. Markers were set up in Logic Pro to label sections of the song such as verses and choruses, making it easier to navigate the session and keep takes consistent. AI stem splitting was also used to isolate parts of the original track, which gave performers clearer reference points for their parts. Alongside this, the group analysed the original recording to identify key elements such as structure, tone, and overall balance. This meant that recording decisions were based on a clear understanding of the track, helping the group work more efficiently and stay closer to the original sound.
A range of instruments were recorded, including vocals, electric guitar, bass, piano and drum kit, with an emphasis on capturing tones reflective of the original recording. Vocals were recorded using a Warm Audio WA-87 condenser microphone, selected for its ability to capture a detailed and intimate vocal tone. A pop filter was used to control plosives, and recording took place in an acoustically treated environment, ensuring a clean and controlled signal.
Electric guitars were recorded via DI and processed using amplifier simulation plugins, allowing iterative tonal refinement during mixing to more accurately match the reference recording. Bass was recorded via DI and subsequently re-amped through a cabinet, captured using an SM57 and AKG D421. This introduced natural spatial characteristics and low-end weight, avoiding the overly direct quality of a DI-only signal. Chorus processing was later applied to replicate the subtle modulation present in the original track.
Piano was recorded using a stereo pair of Schoeps CMC6 microphones alongside a centrally positioned large diaphragm condenser, allowing control over stereo width while maintaining tonal clarity.
Drum recording utilised the Glyn Johns technique to achieve a balanced and phase-coherent representation of the kit. Overheads (Schoeps Omni) captured the overall image, with close microphones including an SM57 on snare, a Octava CK2 on the bottom snare, and AKG D112 on kick, alongside a subkick microphone (SE-Dynamic) that we blended with the kick mic to reinforce low-frequency energy. We also added a room mic (WA87) so we could blend in some ambience to the track. Following comparison with the reference, a hi-hat microphone (Octava 01201) was introduced to improve high-frequency articulation, demonstrating iterative refinement based on critical listening.
An additional production consideration involved recreating the Mellotron-like keyboard texture present in the original recording. In the source material, this sound was achieved using a sampled keyboard approach, where a single vocal tone was mapped across the keys. Within this production, the sound was recreated using MIDI instrumentation, allowing for a more efficient and controllable workflow while still capturing the sustained, slightly lo-fi tonal quality characteristic of the original. This approach demonstrates an understanding of how historical production techniques can be translated into a modern digital context without compromising the intended aesthetic.
Further attention was given to signal quality at the recording stage through the use of pre-emptive EQ adjustments. Rather than relying entirely on post-production processing, EQ was applied subtly during tracking to shape the tonal balance of sources before recording. This helped to reduce problematic frequency build-up, particularly in the low-mid range, and ensured cleaner signals entering the mix stage. As a result, less corrective processing was required later, allowing the mix to remain more transparent and faithful to the original recording.
Processing decisions were guided by the sonic characteristics of 1990s alternative rock. Drum enhancement was applied through snare-triggered sample reinforcement to achieve a more forward and impactful sound. Reverb (using the Lexicon PCM96) was used on the snare to introduce controlled depth consistent with the genre aesthetic. Vocal dynamics were stabilised during recording using outboard compression (Drawmer 1978). EQ was applied selectively to reduce low-mid build-up in supporting instruments, allowing the vocal to remain prominent within the mix.
Mixing decisions were informed through continuous reference comparison, with attention given to stereo placement, spectral balance, and dynamic relationships. The mix prioritised subtle processing and balance adjustments to maintain fidelity to the original recording.
The workflow remained flexible, allowing iterative refinement based on critical listening. This enabled ongoing adjustment of both recording and mixing decisions to more closely align with the reference. Collaboration remained consistent throughout, with shared responsibility for both technical execution and evaluative judgement.
Track 2 (Live In the Studio Stereo Recording)
The ensemble recorded was a three-piece acoustic performance consisting of two vocalists and one guitarist, covering “American Honey” by Lady A. Performers were arranged in a line, with the guitarist centrally positioned and vocalists placed to either side, allowing physical positioning to inform stereo placement.
A combination of stereo techniques was used, including two Mid-Side (M/S) arrays and a wide A/B spaced pair positioned at the rear of the room. One M/S array captured the vocalists, while the other focused on the guitar. M/S was selected due to its mono compatibility and controllable stereo width, ensuring a stable central image while allowing adjustable spatial expansion.
Microphone selection supported this approach, with AKG C414 microphones used for vocal capture due to their clarity and flexibility. The guitar M/S array utilised an AKG C451B and Sennheiser MKH30 to capture both direct sound and spatial information. A wide A/B pair (Sontronics Orpheus) was positioned at the rear to capture room ambience.
Stereo width was achieved through performer placement and M/S configuration, with vocalists occupying opposing positions and the guitar remaining centrally focused. Depth was introduced through blending the distant A/B pair with the closer signals, allowing control over the balance between direct sound and ambient space.
Phase coherence was monitored by inverting polarity and critically listening for tonal changes. Where thinning occurred, microphone positions were adjusted to minimise phase interaction. The inherent mono compatibility of M/S further reduced the risk of phase issues.
Processing was minimal to preserve the integrity of the live performance. M/S signals were decoded in post-production through duplication and polarity inversion of the side channel, with only light compression applied for dynamic control. Spatial characteristics were achieved primarily through microphone technique rather than artificial processing.
The recording process involved iterative refinement. An initial performer arrangement resulted in a less effective stereo image; repositioning the performers improved separation and balance. This demonstrates an understanding of how microphone technique and performer positioning can define spatial characteristics without reliance on post-processing.
My contribution included microphone selection and placement, particularly in configuring the M/S arrays and contributing to decisions regarding performer positioning and phase alignment.
Track 3 Remix track
The remix reinterpreted the original vocal into a funk-inspired R&B track, drawing influence from D’Angelo. The aim was to shift the genre context while maintaining the recognisability of the original vocal melody.
The vocal was edited through chopping and layering, with additional harmonies introduced to extend the melodic content while preserving its core identity. This ensured the vocal remained a central and recognisable element throughout.
Two live instrumental parts were recorded: bass and guitar. The bass line was developed first and used to reharmonise the vocal, establishing a funk-influenced harmonic foundation. A complementary guitar part reinforced this through rhythmic comping. A simple 70s-style lead synth was introduced to support the overall aesthetic and provide additional melodic texture:
Drum elements were created using found sounds, including percussive table hits for the kick (using the AKG112) and mechanical button presses from outboard gear for snare and hi-hat elements (using the Calrec CM1050). These were processed with low-pass filtering and distortion where necessary. This approach was both a practical response to the brief and an intentional aesthetic choice, contributing to a raw, lo-fi character.
Mixing was primarily corrective, using light compression and EQ to achieve balance and cohesion. Processing was kept minimal to retain the natural qualities of the recorded material while ensuring overall clarity and blend.
The remix demonstrates a clear stylistic transformation, avoiding conventional EDM approaches in favour of a funk/R&B interpretation. This reflects an individual creative direction while maintaining adherence to the original vocal material.
Overall, the portfolio demonstrates the application of both technical and creative production skills across contrasting contexts. The genre emulation required precise attention to recording techniques, tonal accuracy and stylistic authenticity, while the live stereo recording emphasised microphone technique and spatial awareness as primary tools for shaping the mix. In contrast, the remix project highlighted a more individual and experimental approach, applying production knowledge in a way that prioritised creativity and reinterpretation while still adhering to the constraints of the brief.
Across all three tracks, a consistent emphasis was placed on critical listening and iterative refinement, allowing decisions to be evaluated and adjusted throughout the production process. This reflects an understanding that effective music production is not only dependent on technical knowledge, but also on the ability to make informed judgements in response to the material. Collectively, these projects demonstrate development in recording, mixing, and workflow practices, alongside an increased awareness of how production techniques can be adapted to suit different stylistic and practical requirements.
