Task 1 – WAV Mixes
Task 2 – Production Log
Track 1: Genre Specific Emulation: Drive My Car – The Beatles
When deciding what song we would emulate, we considered songs from all the genres given, and we decided to pick a 1960s Rock’n’roll song. We created a list of songs we could recreate. We then narrowed the list down to two songs: Helter Skelter, and Drive My Car, both by The Beatles. We then decided to recreate Drive My Car, due to the simplicity of the song, and the length compared to Helter Skelter.
We started by doing some critical listening to the track, this was to allow us to deeper identify the production processes in the song. One of the main things we were looking out for was where the different instruments were in the stereo mix. We did this by playing the left side of the track, then the right side of the track individually. We found that all the rhythm instruments were in the left, and the lead instruments were in the right. In our first session, in 113, we recorded drums & percussion. As in the original recording, we used 3 microphones to record the drums; an Audio-Technica AT 4033a, 6 inches away from the kick drum, a Beyerdynamic M-201 for the snare bottom, and a Sontronics Delta2 as a mono overhead. My role in this session was setting up the console ready for the session. I ran the kick, and overhead microphones through the Neve 1073 preamp. I then figured out if we should record the song to a metronome, or just use the original audio with the drums removed to keep in time. I set up both options for the drummer, who decided that he would prefer to record to the original track. Once the drums were recorded, we setup the Sontronics Delta2 to record the percussion. We started with the cowbell that was consistently on the beat throughout the song. We then recorded the tambourine, which had multiple different rhythms for each verse and chorus. Later, whilst mixing, we used a pitch shifter to change the pitch of both percussion instruments to make them sound more like the original.
In the next session, we recorded the bass on the track. In the original, Paul McCartney uses a Rickenbacker bass. Unfortunately, we didn’t have access to Rickenbacker, so we used the other bass that McCartney used: a Hofner. Next, we recorded the guitar parts. Ryan used an Epiphone Lucille, and a Vox AC15 amplifier recording through a Shure SM-57 on one cone, and an AKG C414XLS on the other. I was running the console again in this session, so I ran the C414 through the Neve 1073 again. There are two guitar parts in this song, a rhythm guitar part that is panned hard left, and a lead guitar part that is panned hard right. I then recorded the piano part that is during the chorus To record, I used a JZ V67 microphone placed central of the upright piano in 422.
Throughout Drive My Car, there are lots of crunchy vocal lines. As the only vocalist in our group, I took it upon myself to learn the backing vocal lines, and record them. I recorded all the backing vocal lines in studio 113 to capture some of the natural reverb from the live room. I originally set up two microphones, a Sontronics Delta2 ribbon microphone, and a Rode K2 valve microphone. I then recorded one verse on each microphone to compare the tones. I found that the Delta2 had a harsh and high-end sound compared to the K2 that was softer and smoother. I therefore decided to record the rest of the parts using that microphone. In a separate session we recorded the lead vocals in 116 with the smaller sized live room to get a clearer recording. We also found another vocalist that had a different voice to mine to find the contrast that there is between the vocals in the original recording. Again, we used the Rode K2 running through the Neve 1073 preamp to record. Afterwards, me and Ryan trawled through all the vocal takes and comped the most accurate take together.
With all the parts recorded, we moved onto mixing the track. We agreed as a group that we would give ourselves a bit of an extra challenge and try mixing the whole song using as much analogue equipment as possible. We started by setting up a basic mix on the console with all the correct panning from the original, and a good balance between all the instruments. We also added the original track into the session that was synced up with our track so we could compare mixes. Whilst listening to the original track, we picked up that each main instrument (guitars and drums) had a reverb that was sent to the opposite side of the mix to create even more stereo effect. This dramatically helped with the balance of the mix as the dry signal was very harsh being panned hard to each side. For ease, we decided to add this reverb digitally using the ProTools AIR reverb. We also found that the vocals had a separate stereo reverb, so we setup a stereo effects bus on the console, and ran all the vocals through the Lexicon MPX500 reverb unit set to preset 2 “Medium Plate”. We also used the outboard equaliser to EQ the reverb before it got applied to the mix.
Track 2: Live Studio Stereo Recording: Trio for Three Clarinets – Fredrich Hummel. Performed by Ellie Clay, Ella Manning & Eleanor Willows
For our live stereo recording, we considered many options for what we could record. We came up with the initial idea to find and record a string quartet – it would be the easy option to record. Ryan then found a jazz quartet that would consist of piano, bass, guitar and vocals however, we were advised against recording anything with vocals. I then found a clarinettist that had a trio that we could record.
On recording day, we set the trio up in studio 113 to get the biggest sound possible. We placed three dividers behind them to absorb some of the audio and direct it more towards where we would be placing our microphones. We all agreed on using multiple sets of microphones: at least one set of ribbon microphones, mid-side microphones, and at least one set of large diaphragm microphones. We settled on 4 sets of microphones: a Neumann KM-184 and AKG C414XLS setup as a mid-side pair in the middle of the sound source, a pair of Beyerdynamics M160s setup in an X-Y configuration close to the source, a pair of Neumann TLM-104s as a spaced stereo pair setup about 2 metres from the source, and a spaced pair of Sontronics Orpheus’ setup approximately 4 metres from the source. As I organised the session, my role during the recording was organising microphones and setting them up in their relevant positions.
Once we had recorded the track, we moved onto mixing. Like on our genre emulation, we decided we would We setup the relevant tracks for the mid-side microphones (creating the phase reversed track from the C414), and then created a balanced dry mix of the microphones so we captured the natural sound of the clarinets as best as possible. We then created a stereo bus on the console to run all the channels through the Lexicon MPX500 to add a small amount of artificial reverb to the track for effect.
Track 3: Remix Track: Drive My Car Glam Rock Remix
For my remix track, I decided to create a glam rock version of Drive My Car. I took inspiration for this track from I Believe In a Thing Called Love by The Darkness. I love the guitar harmonies in the solos, and the overall guitar tones that they achieved in their mixes. I started by recording those guitar parts with my guitarist. We mimicked the intro using the chords from Drive My Car, and formulated the new riff. I then double tracked the guitar, and panned each take left and right to create depth. We also spent some time rewriting the solo, but ended up roughly changing the original, but adding a consistent harmony throughout. Next, I inserted all our recorded vocals having debated re-recording the harmonies from the original to make it fit my remix more. I then added some reverb using Logic’s Space Designer, and added a short Tape Echo that gives the vocals a bit more character. For my drums, I initially recorded it through MIDI, then split up each part into different channels so I could sample my own found sounds in replacement. I used a Shure SM-7B to record all my sounds in studio 113. My kick drum was a drum stool in the vocal booth, my snare was a light switch, my toms were differently pitched chair tops, my hi-hats were the top of a metal chair, my ride was the base of a music stand, and my crash was the metal leg of the mixing console. I then used reverbs, distortion, and delays to manipulate those sounds to make them sound better in my mix.
Bibliography:
Huart, W. (2020) Classic studio techniques – getting that early beatles drum sound, Produce Like A Pro. Available at: https://producelikeapro.com/blog/classic-studio-techniques-getting-that-early-beatles-drum-sound/ (Accessed: 13 May 2025).
Kanayama, R. (2019) Bass TAB : Drive My Car – The Beatles, YouTube. Available at: https://www.youtube.com/watch?v=CvgyzIYnuE4 (Accessed: 02 April 2025).
Frudua, G. (2011) How to Sing Drive My Car Beatles Vocal Harmony Cover, YouTube. Available at: https://www.youtube.com/watch?v=J3gZqcdBTFc (Accessed: 10 April 2025).
Drive my car (song) (2025) Wikipedia. Available at: https://en.wikipedia.org/wiki/Drive_My_Car_(song) (Accessed: 06 May 2025).
Drive My Car (2023) The Beatles Bible. Available at: https://www.beatlesbible.com/songs/drive-my-car/ (Accessed: 08 May 2025).
