The goal of this project was to achieve a well-rounded audio recording out of a band before any post processing was put into either of the tracks. During the process of both recordings, I’d consider myself to be the organizer and mixing desk operator for the overdub project where I created headphone mixes for the band and communicated well with them to ensure that the mixes weren’t too loud and was enjoyable for their recording experience. I also helped with setting up the drum kit in the live recording project and managed cabling ensuring safety during both recording sessions.

Teamwork was very important during this project. It meant solving problems was quicker as there were two people at the console/computer and people on standby when recording to make sure everything was going smoothly and as planned. It was also very good to have those people in the room listening to the recordings live as they happen, as someone may hear a mistake someone else might not.

Planning and preparation

When planning the projects we discussed and practiced in class what we were going to use to record each band. For the overdub band we had discussed the microphones that we were going to use with myself, Josiah and Corban. Whilst we wrote a log of microphones to use for each recording, I used the time wisely to set up a ProTools session. This meant we were prepared to open the session as soon as we got into the studio. This also helped us get a log of the patching we were going to use as they had given me the microphone list and instruments so that I could write all the inputs into ProTools and onto my notes giving us more time to worry about other things such as microphone placements and saving time for any errors that may have occurred.

We used a WhatsApp group chat to stay organized and ensure everyone was free on the day of both recording sessions and informed on all the information needed such as the band genre, studio session times and rooms, microphones etc. I also used the Notes App to keep a log of all instruments, microphones, and pre-planned patch for the mixing desk.

We also planned certain roles such as ProTools operator (Kai), Desk and headphone mixers (Me and Josiah), microphone setup (Everyone somewhat included), and cable management (me). This was great to plan ahead as it allowed us all to get on with each individual job when we arrived to the studios.

I had organised the recording session for the overdub project using a band whom a friend of mine (Freddie) was in and the rest of the group was up for it. I had gone and listened to the band before recording to ensure that the recording would be up to a good enough standard. I really enjoyed what they played and said that I would help them with their project if they helped us with ours. I then discussed a time with them so that I could get them into the studio with the rest of the production group.

Method 1 – Live recording

We prepared ourselves for recording this live track by discussing the room of choice. We knew 104 was out as an option due to the proximity of the piano and drum kit. Therefore, leading us to have no choice but to set up in studio 113, this is because of the distance of the piano and drum kit in this room.

I had turned up early too the recording session to collect microphone and other equipment such as XLR’s and more. With my first goal being to set up the drum kit, Kai on the other hand was discussing with the band and ensuring their needs such as what they want in their headphone mixes for when we started recording.

When applying microphones to the piano we used the AB technique using 2 AKG 414’s both aiming towards the lid of the piano and avoiding bleed by aiming them away from the kit on the opposite side of the room. Using these two large diaphragm condensers allowed us to achieve a fuller sound.

When miking the drum kit I used the following list of microphones for each part of the kit:

• Kick Out – Audix D6, a commonly used kick drum microphone capturing more of the higher end.
• Kick In – AKG D112, this microphone captured a nice well rounded low end of the kick.
• Snare Top – SM57, worked well on this snare as it gave a very clear hard-hitting sound.
• Overheads – x2 Oktavia M-012-01, Both aiming towards the snare, just above a meter’s distance using Glyn John’s miking technique.

For the vocalist we set her microphone up in the vocal booth using an SM7B microphone which is dynamic microphone capable of handling a large dynamic range which was well chosen especially with the predictable dynamic changes in this live setting.

Method 2 – Overdubbing

The role I was aligned with fit my strengths as I was leading the group and giving out roles throughout the planning and recording of the overdubbing project. This is because I had been the main communicator for both the producers and band, as I had already been communicating with the band.

I was operating the headphone mixes and mixing desk with Josiah where he kept an eye out for levels ensuring nothing was clipping and I ensured the band was happy with the sound they received in their headphones whilst recording.
I booked studio 104 for the overdub session as it was the class we were learning in, and the group was used to how the patch bay worked, we also knew as a group any errors that occurred in that specific studio to avoid any setbacks whilst we were recording. For example, one of the channels in the studio was known to have faults when we had practiced in class, so we avoided using it completely as seen in one of the images.

When miking the drum kit I used the following list of microphones for each part of the kit:

• Kick in – AKG D112, used to capture the low frequency depth of the kick.
• Kick In – Audix D6, used to apply the high-end frequency clicking sound of the kick.
• Snare Top/Bottom – SM57, using two microphones on the snare applied the extra detail needed to capture the dynamic range of the drummer hitting the snare both directly and hitting the rim. The bottom microphone captured the mid-range frequency resonance and the top microphone allowed the capture of when he hit the rim of the snare.
• Toms x2 – Sennheiser MD421,
• Overheads x2 – AKG C414, to ensure these overheads were in phase we used an XLR cable to measure the distance between them. These wide diaphragm condensers suited the relaxed playing of the drums, due to them being condensers they are very sensitive to sound allowing them to capture great quality, well rounded drum sound. These high-quality microphones also assisted the two snare microphones in capturing the detail of the snare and rim hits.

For the bass we kept it simple to keep the tone clear. This sounded fine, however in the future I would like to further add depth into the mix by using a bass amp and using a commonly used kick microphone to capture a nice low end with more tone.

Both guitars were amped up, we used the SM57’s from the snare to use on the guitar amps. We were planning on using DIs for this recording, however we improvised to create a more fulfilled sound by using amps and direct miking to the side of the cone.

When recording the vocalist, we set him up in the vocal booth using an SM7B as we have used it before and found we appreciated its ability to capture a large dynamic range. Josiah set this up and made sure to add a preamp attachment as when we used it before there was very little level coming from the microphone, this helped as we didn’t have to drive the gain so much on the mixing desk.

My learning experience from this recording project has helped me develop a vast variety of knowledge, when recording for live or overdubbing bands. This project has also allowed me to apply the knowledge and skills I have learnt in class into the bands I have worked with, as well as highlighting the importance of teamwork in a studio setting, allowing me to feel more comfortable when working with industry standard equipment such as the mixing desks. In doing so I felt it has been beneficial in learning how to use the desk and to gain a deeper understanding of studio patch bays, microphone selections and even using ProTools in a studio setting. Overall, this experience has helped me overcome the daunting experience of working on mixing desk and with the other producers to record both live and overdubbing bands.

Pictures: