Task 2: Production Log Book
1629 Words
Method 1 – Live Band/Ensemble Capture
Pre-Production:
Maxine Evelyn arranged for the band to play in the project, while Daniel Pano booked studio 422 for Thursday, 6th November, 3-10 pm. While we let the performers settle in, we arranged all the pre-planned microphones for each instrument and found suitable levels for each player. For planning the session, we agreed to each set up the microphones with one on each instrument, with me setting up a microphone and stand for the saxophonist.
Recording:
For recording the saxophone, we chose the Rode K2 valve microphone, which is a large diaphragm tube condenser. When setting up the microphone, we decided that the cardioid polar pattern for this Rode K2 was the most suitable for this style of music. The microphone provides a warm and vintage sound while maintaining the ability of modern mics, capturing a clean sound with exceptional quality. Due to the sensitivity of the microphone, the saxophone was recorded in the vocal booth with a slight wedge in the door, allowing the saxophone to be more contained and soloistic in the mix.
For miking up the drums, we went with the Glyn Johns’ minimalist technique. This technique was the perfect option for a jazz recording, as the microphone catalogue for the recording was more simplistic and less time-consuming; the layout of the drum microphones also allowed for a more cohesive sound rather than an audible individual sound for the drums, blending more smoothly into the mix of other instruments.
For the overhead microphone, we used the AKG-C414-XLS, which was placed at an equal distance from the side microphone, allowing a balanced sound in which we enhanced by panning both the side microphone and the overhead in recording. This condenser microphone was a good fit for recording the overhead, as it was able to capture the bright sound of the cymbals without an harshness.
To gain a powerful and deep kick, we used the AKG D112. This dynamic microphone with its cardioid polar pattern has the ability to handle the high pressure of the punchy kiss drum while capturing the clarity of low-end frequencies. Following the Glyn John’s technique, we placed the microphone closely outside the kick drum to catch the sound of the clean kick.
Similar to the Glyn John’s technique, the third, and final, microphone we set up was the side microphone. By using the AKG-C414-XLS (matching the overhead), the condenser microphone was able to capture a crisp and clear sound from the snare and toms as a unit. As we adjusted the microphone to the setting of 40Hz and 6dB, and a cardioid polar pattern, it was able to eliminate any sound from the low end and any resonance from the high-end frequencies, allowing the mid-range frequency to shine, creating a more distinguished and clear sound.
To gain a smoother sound which coincided with their relaxed style of jazz, we used the Neve 1073 on channels two and three. By using this transmitter it elevated the clarity on both the side and overhead microphones.
For both the rhythm and the lead guitars, we used the Shure SM57. This microphone and its cardioid polar pattern was a perfect choice for the instruments, as it picks up the brights sound and the hidden mid-range of the guitars, making the sound especially crisp through the amplifiers.
The two amplifier we chose for the guitars were the Fender Twin Reverb and the Fender Hot Rod. Both these tube amps make for a versatile and clean sound between both guitars, allowing the instruments to stand out within the mix.
For the Bass guitar, we eliminated the use of microphones used the Goldmike pre-amp instead. The use of the pre-amp made the sound of the instrument more smooth and crisper.
To capture the ambience of the room, we used the Sontronics Delta 2. This ribbon microphone captures the surrounding sound with its figure-of-8 polar pattern, picking up all the sound bouncing off the walls. The microphone records all the sounds with a clear and atmospheric texture, capturing the rich low-end frequencies and the crisp and softened high frequencies. The microphone’s ability to record live recordings with minimal feedback and without any harsh distortion was a perfect choice for the band’s warm and relaxed style.
The band had plenty of notice for this project, as they were already an established group. For room set-up and musician management, we placed all musicians spaciously with consideration for them to be able to hear one another. Although the visual aspect wasn't as clear as they were used to, they were audibly happy with the setup.
Mixing:
For mixing, we used a BYPASS input: cutting the high-end frequencies on the kick and side drum, boosting the mid-range on the saxophone and guitars, and lifting the high frequencies on the overhead drum microphones. For the drums, we panned the side drum to the left and the overhead to the right, creating a spacious and even sound within the mix. After mixing each track individually, we then adjusted the sound levels of each track, making sure the mix was equal between all parts and sounded balanced as a whole.
Project Management:
For preparation, we agreed on microphone choices and checked them out before the session, which freed up much time to set up the studio and make sure the players were comfortable and confident with the layout. As we had a lengthy seven hours, we were able to record multiple takes for the song ‘Strange Meeting’, giving us options for the best take and the one we were most happy with. Due to our prior organisation to the project, we were able to mix and master the audio within the same session.
Method 2 – Overdub Production
Pre-Production and Planning:
After we arranged an artist, Dan booked a six-hour recording session in studio 104, which was held on Thursday, 16th October, from 10 am to 4 pm. Prior to the recording session, I researched and compiled a list of the best microphone options for all the instruments, using and setting up some of the microphones I had previously explored. For this overdubbing project, we recorded ‘Creep’ by Radiohead, concluding a time of three minutes and fifty seven seconds. The planning of this song, which was decided as a team, was to replicate the original arrangement with one change, which was the improvisatory piano section, which I played, towards the end. The player came rehearsed before the session and was given plenty of notice to perfect their parts.
Recording:
The Shure SM57 was the best choice to record both the lead and distorted guitar textures, as the dynamic microphone and its cardioid polar pattern capture a frequency range from 40-15,000 Hz, perfect for the guitar, as it minimises feedback from the VOX amplifier and picks up low and high frequencies, resulting in a high-quality recording from both the guitars.
For the drums, we used the Shure SM57 for the snare, which captured its bright sound, the AKG-D112 for the kick, and the Sennheiser MKH30s for the left and right overheads, which we panned fully on each side to gain a more atmospheric sound. The AKG-D112 was the perfect microphone for the kick, as it delivers a deep, powerful response to low frequencies. By using the Oktava-MK-012, the overhead microphones were able to capture the intense and bright sound of the cymbals through their dynamic range and figure-of-eight polar pattern.
For bass guitar, the best option for recording was to send the instrument through the Goldmike (tube) pre-amplifier to gain a smooth and clean sound, which also encompasses the bass’ depth, eliminating any type of feedback that would be present when recording with a microphone. Within this line input, we kept the recording simple by only altering the settings to 18dB and 80Hz, making sure the sound was focused on the low frequencies of the instrument.
For recording vocals, we used the AKG C414 XLS, which was a good choice for capturing both high and low frequencies and providing a wide dynamic range. Using the Oktava-MK-012, the microphone captured the (stereo) piano’s delicacy with a warm, clean sound.
Each part was recorded individually starting with drums, which were recorded in the live room, then we recorded bass guitar which we ran through the Gold-Mike pre-amp and lined to the desk in the mixing room. After recording the rhythm section, we recorded the mid section, which was the electric guitar, recorded through an amp in the live room. To finish the song we recorded vocals which were sung in the vocal booth, connected through the patch bay to the mixing desk. With time to spare at the end, we recorded the stereo piano in the live room. Throughout the studio session, we took frequent breaks for both the musician and us, planning our time well and ensuring the musician is well rested and happy.
Mixing:
The mixing session was held in room 107 on the 21st November from 1-3pm, which Dan booked. For the guitar, the distortion heard within the choruses were recorded through the amps, which were left untouched in the mixing session. By panning the left and right overheads on the drums, it created a more atmospheric and consuming sound. For the arpeggiated guitar in both the verses and choruses, we used reverb to make a more dreamy sound, similar to the original song. When handling the tone for each instrument, we boosted the low frequency of the bass and the kick drum, elevated the mid frequency of the distorted guitar, and focused on the high ends for the piano and vocals, especially when mixing the falsetto range within the vocals. When mastering the project, we adjusted the volumes of each instrument to create a balanced sound for the recording. By creating an even sound between all instruments, it enabled their individual tone to shine through while also maintaining an even sound.
