Method 1 – Live Band/Ensemble Capture
The jazz performance consisted of 5 musicians; a singer, pianist, saxophonist, drummer and bassist. Our overall outcome was to achieve a recording that the group was happy with as well as fall within the module time regulations. With choosing the jazz piece to be our live recording, we aimed to capture a live, inclusive energy in which jazz musicians usually work better in. Another aim was to ensure that with the chosen recording, minimal editing was necessary. This project included critical decision making with microphones and technical aspects along with workflow efficiency.
The pre-production planning consisted of studio and session scheduling. As a group, we decided to book studio 113, a studio in which we have worked in a significant amount of times, thus we were comfortable and familiar with the mixing desk and the live room. We had decided that this recording was to be live. This is because jazz ensembles work best in live environments, due to the element of spontaneity and capturing the energy of a live performance helps the listener gauge the band’s feel. Although we had no evidence of this band playing previously, a member of our group was already acquainted with the members of the band. We were therefore aware of the talent this band had. While no discussion concerning influences occurred, it was clear the band had influences from the likes of Herbie Hancock and Blue Note recordings.
The studio setup process included attempting to create sonical separation between the musicians. This proved challenging as saxophone and drums are naturally loud, therefore experiencing some spill is inevitable. However, in this attempt, we used baffle boards hoping it would slim the chances of bleeding. Baffle boards are very useful due to them preventing sound bouncing off walls and being picked up by other microphones. The layout of the musicians was also crucial in getting separation; we made sure the saxophone was far away from the piano and vocal microphones.
Microphone choice and placement plays a central role in obtaining a good recording. Prior to the recording, research was conducted from myself as well as others in the group in terms of which microphones to use and where. Examples of this include choosing the Sontronics DM-1B large diaphragm condenser microphone on the kick as on its website it says that it is ‘originally designed for kick drum’. We decided to use the Sennheiser MD 421 as the top snare mic because of the reviews online saying it was great for achieving an ‘old school’ snare sound. It is also described as versatile and robust, so as a group we thought it would suit the snare. Another example of calculated decision making was having a room mic for the drum kit. In this instance, we went with the Beyerdynamic M160 ribbon microphone as it is described as ‘legendary’ online. It is famous for its warm, detailed sound as well as its effective side rejection which was key in minimalising spill. We placed this head height pointed toward the kick drum so it picked up the cymbals, acting as a mono overhead. On the saxophone, we chose a t.bone Ovid System CC 100 Clip-on microphone, which can be attached to the instrument. This was a key decision as recording saxophone can be difficult with the musician moving around and therefore not getting a clear recording. This clip mic therefore proved useful with its clarity and consistency. The piano used three tracks, a c414 xlii as well as two Schoeps small diaphragm condenser microphones. There was a jz67 on a bass amp and an electrovoice re20 for the vocals. These microphones had been used previously by members of the group and they were aware of the quality of the sound produced.
In terms of group responsibilities in the recording process, those in attendance from the start of the session, myself and two others, set up the microphones and headphones. We also took turns and worked alongside each other to gain stage as well as overlook noise management. We encountered some technical difficulties whereby Pro Tools did not allow us to record, however, after we got a technician to help fix this problem, it was all working fine. The band performed well, and with the group’s technical expertise, the process overall was positive.
The mixing process was minimal due to the module guidelines, however, time was taken by the group to automate volume and adjust track levels. We tweaked these levels accordingly to fit the style we were going for. With dynamics being the only post production aspect that can be changed, we ensured that we had a wide stereo field, using panning techniques.
These factors, pre-planning and research on microphones as well as critical decision making, all contribute to the final outcome. This was done through bypassing issues encountered as well as producing a rich and high quality sound.
Method 2 – Overdub Production
The overdub recording consisted of a bassist, a drummer and a guitarist. Our outcome was to achieve the sound that the musicians wanted. With two members of our group being involved in the recording, it was ideal in achieving this sound. As a group, we decided to go down the genre route of metal. We chose this to be our overdub recording due to this genre of music not requiring the same live feel that jazz needs.
Prior to the recording, studio 104 was booked. A studio in which other members of the group had worked in before. Those who had, knew that the drum kit sound was of high quality. While the live room in 104 is smaller than 113, it fit the style of the recording more so due to not all musicians being required to play at the same time. There was also a booth in this studio which allowed for the guitarist to get separation and reduced the chances of drum bleed. The musicians had pre-planned which song they were going to record.
The microphone choice was also planned before the session. Ten tracks were used on the drum kit alone: two kick mics, one in and one out; a top and bottom snare; three mics covering the toms; two overheads in a spaced pair technique; and finally a room mic. Examples of these microphones include the Audix D6 due to its mid frequency rich voicing which works well for metal drums. This was placed inside the kick pointed at the beater for a sound with more attack and treble. A Solomons LoFreq Subkick mic was placed on the outside to get a weighted and sub like sound to make the kick have more low end information. These microphone decisions were based on research done by both myself and members of the group; it was said that the LoFreq subkick was purposed ‘…to capture the chest rumbling sub frequencies’. We decided to use tom mics due to metal drummers usually playing fills. Two AKG c414 xls’ were used on the overheads as we had previously used these in practice prior to the recording, therefore were aware of the high quality sound they produce. The drum kit plays a central role in a metal track, therefore in order to maximise quality, more mics were placed; on the toms, three Sennheiser MD421’s were used as the online reviews argued for the quality of their sound, promoting using these microphones on tom drums.
The electric guitar was captured through an amp. An m160 ribbon mic was used as on its website, it had said that it was ‘ideal for use on guitar amps.’ as well as producing a rich and flat response. In addition to this, a c414 xlii was also placed next to the ribbon mic to achieve a stereo response. The bass guitar, recorded after the guitar and the drums, used an amp as well.
The group responsibilities were divided. Myself and others in the group worked alongside one another to set up the microphones and headphones for both the drum kit and the guitar, however, in this recording some members of the group were playing. This meant that myself and two others worked the mixing desk, including the gain staging and general overlooking of the volume levels. Problems were encountered with Pro Tools which required us to find solutions under time conditions; it resulted in us needing to record onto Logic Pro and after moving the audio files onto Pro Tools to be edited and finalised.
The mixing process, similar to the jazz recording, was minimal. Therefore basic volume editing as well as automation was applied to the mix. We felt automation was needed due to some sections being significantly louder in metal songs. This meant that consistency and clarity throughout was achieved with this automation.
Overall, the recording process was positive. This can be seen through the general contentment of the group with the recording along with the quick problem solving skills. We worked as a group to ensure we could get the best possible recording and within the time frame, this was achieved.
