Live Capture:

We recorded a well-rehearsed jazz quartet (vocals, piano, bass, and drums) whose prior experience performing together ensured strong cohesion and efficient collaboration within the assignment’s time constraints, already learning cover pieces as a group.

The band was recorded on two occasions due to lost files, but this proved advantageous as the first functioned as a dress rehearsal to experiment and compare studio spaces, microphones, and configurations.

Pre-production:

NOTE: I could not make the session due to a surgery consultation, but I participated in the planning, pre-production and debrief.

During the first recording in R422, the ensemble performed “Can’t We Be Friends?” by Ella Fitzgerald, and “Polkadots and Moonbeams” by Tommy Dorsey and Frank Sinatra. This session enabled my group to gain insight into the band’s performance preferences:

• The musicians preferred to perform together in the same room rather than using isolating spaces, the vocalist opted not to use the vocal booth.
• The drummer alternated between sticks and brushes, removed high and mid toms, switched the snare with skin of his preference, and employed additional performance techniques, including the use of fabric placed on the upper corner of the snare to act as a mute, as well as sizzle beads on the ride cymbal.

As this was a live capture and centered on improvisation, having all the musicians in the same room supported natural interaction and communication.

Kick –> We used a Sontronics DM-1B large-diaphragm condenser to capture the kick’s attack and low-end thump with clarity. It was placed shallow in the porthole to reduce click, which is more appropriate for jazz than the aggressive kick sound typical of rock/pop.

Snare –> As our drummer was using brushes, we used a Shure SM57 and SM58 on the top towards the rim (to capture bright overtones and detail), and a Shure SM57 on the bottom mirroring the top mics (to avoid phasing issues). Cardioid condensers help to effectively isolate the snare drum and brush taps, reducing unwanted cymbal or tom bleed.

Overheads –> We used Neumann KM-184 stereo microphones, small diaphragm condensers with cardioid pickup patterns that isolate the drum kit and control room reflections, resulting in a natural and consistent sound across the kit.

Bass guitar –> We used the Solomon LoFReQ and Sennheiser MD421 on-axis to the bass cabinet (for a boosted fuller sound), with the Solomon enhancing sub-bass frequencies, and the Sennheiser capturing upper midrange frequencies, helping the bass cut through the mix, adding clarity and definition.

Piano –> Since vocals were present, we used a space pair of AKG C451s, following the 3:1 rule, creating a wide stereo spread. Due to the microphones being distanced apart,  a “hole” was formed in the centre of the stereo image, allowing the vocals to immerse in the middle.

Vocals –> We used an ElectroVoice RE20, a dynamic microphone with good rejection and resistance to plosives, reducing harshness and sibilance from the vocalist.

Mid-production:

Because the drummer switched between brushes and sticks mid-performance, we had to manage level changes to keep them consistent throughout.

Using the Glyn Johns technique, most of the drum sound was captured by the overheads, creating a balanced stereo mix.

Due to there being overspill between the keys and drums, my studio group used a baffle to eliminate overspill.

The vocalist had to remain close to the RE20 to ensure a consistent focus on the vocal pickup to reject unwanted background noise.

Conclusions:

Most of the microphones we used worked well, however, there were a few changes noted:

• The kick needed more presence in the mix.
• Using two similar microphones on the snare caused phasing issues, resulting in a hollow sound.

RECORDING 2:

Pre-production:

In the second recording, which I was present, they performed the two covers again but we implemented several changes:

• Moved into studio R104 due to better availability (we struggled to consistently book R422).
• Added a second microphone to the kick: the Shure SM58 (facing the kick skin) to emphasise the click/beat.
• As the close overheads sounded good in recording 1, we added a Rode K2 room mic to introduce space and ambience.
• We tested the Beyerdynamic M201 and AKG C451-B on the snare top. The C451-B captured brush detail, while the M201 provided a more natural, flatter response than the initial SM57/SM58, making it more suitable for jazz.

Kick –> Sontronics DM-1B and Shure SM58

Snare top / bottom –> Beyerdynamic M201 and AKG C451-B (top) and Shure SM57 (bottom)

Bass –> Solomon LoFReQ and Sennheiser MD421

Overheads –> x2 Neumann KM-184 

Piano –> x2 AKG C451 for space pair

Vocals –> ElectroVoice RE20

Room –> Rode-K2

Mid-production:

R104 was smaller than R422 so having unused equipment in the space was limiting, hence why we moved them into the vocal booth. This reduced vibration and unnecessary room resonance.

R422 was L-shaped, partially isolating the drummer without isolating him completely whilst in R104, the drums heavily interfered with the room mic.

R104 had brighter acoustics which were not ideal, however, we got a better sound out of the grand piano than the upright in R422 as the grand provided richer tones and a wider dynamic range.

Conclusions:

As this was my first time recording an ensemble, I initially lacked confidence in microphone selection and creative decision-making. However, through the recording process and guidance from my group members, I gained valuable experience. In future projects, a stronger understanding of microphones, pickup patterns, and their characteristics will allow me to make more informed and independent recording decisions.

Overdubbing:

For the overdubbed production, we recorded guitar, bass, and drums for the indie band “Two Of The Same“, performing an original song. Strong communication was evident again as the members had played together previously.

Pre-production:

NOTE: I could not make it due to surgery consultation (same as above).

Rhythm guitar and drums were recorded in R104, while bass, lead guitar, and extra cymbals were recorded in R422. The guitarist used his own pedalboard and played both guitar and bass due to the absence of the bass player. The unused toms were removed to avoid unnecessary resonance.

Kick –> We used the Audix D6, placed internally and directed at the beater’s position, aiming to capture the “click” for an attack-focused sound. Since we were recording indie rock and not jazz, we had to focus on punch and drive rather than warm and soft.

Snare –> We used the Shure SM57 for both the top and bottom, mirroring each other on either side of the snare towards the rim.

Overheads –> We used the Neumann KM184 microphones, positioned slightly further away from the kit to pick up more of the natural room ambience and reflections. We used the Glyn Johns method again.

Hi-Hat –> We used an AKG C451-B to give the hi-hat more presence and definition. Its figure of eight pickup pattern helped to minimise spill from the snare.

Cymbals –> We used the AKG C414 XLS in between the ride and crash. It’s figure of eight pickup pattern created an interesting effect with each cymbal captured on separate sides of the microphone.

Bass –> We used the Solomon LoFReQ and Sennheiser MD421 microphones again as they sounded good in our previous recordings. We placed the microphones off-axis from the centre of the cone.

Rhythm guitar –> We tried multiple microphones for the rhythm guitar: Shure SM57, Beyerdynamic M160, and Rode K2. We placed these microphones towards the edge of the cone for warmth and darkness.

Lead guitar –> We used the AKG C414 XLS for a detailed sound but still keeping neutral tones. We placed the microphone directly at the cone centre for brightness and clarity.

Mid-production:

The drums were moved to the centre of the live room to help make room for the overheads to be positioned further away, as well as to create a fuller sound.

The guitar and room mics were accidentally left on during the drum recording, however, they captured an ambient sound which we used in the verse, creating a sense of fullness when the whole kit came in, adding dynamic contrast between the verse and chorus.

Conclusions:

During playback and basic mixing, we realised the kick and bass were recorded too quietly, leaving no headroom. As with the jazz session, the kick needed an additional mic (eg: SM57), and the bass level needed to be increased.

Roles and Mixing:

• As a group, we communicated and planned professionally, organising sessions, microphones, instruments, and timings via Teams and group chat. Oliver and I booked suitable studio sessions with bands and ensembles.
• Sessions with bands were arranged 1-2 weeks in advance.
• Me, Oliver, Timmy, and Hannah arrived early to set-up microphones and organise our pro-tools sessions.
• Timmy and Marz took control of pro-tools, the console, and levels, whilst me Hannah, and Oliver took priority in the live room. Mic adjustments were made throughout to ensure optimal sound capture.
• The jazz sessions were managed more effectively than the overdub session, with six-hour bookings allowing ample time for setup, practice, recording, and band feedback. Due to a late booking, the overdub session was only limited to three hours.

Mixing the jazz covers (pictures below) involved referencing the original tracks, such as their instrument balance and volume to recreate a similar atmosphere, emphasising room-mic ambience and vocal intimacy.

For the overdub (pictures below), the mixing required more work since there was a larger dynamic range, especially towards the end of the track being significantly louder than the beginning.

Due to having poor volume levels for kick and bass, they were pushed full volume on the mix.