Task 1 – WAV Mixes
Task 2 – Production Log Book
Track 1 (Genre Specific Emulation)
For our group’s emulation track, we decided to record “Didn’t Cha Know” by Erykah Badu. We chose this track because we were all familiar with this genre, and we all liked it.
Pre-production, Emre offered to create a demo track using a stem-splitter in order to give us a concept of the different parts of the original recording. The original song uses a lot of sampling, and, in addition to the electronic instruments, the track also includes guitar, bass, and percussion. We therefore understood that it would be challenging to discern the programming of different synths and sounds in the track. We were also aware of the song’s repetitive nature. Emre’s work provided us with a critical viewpoint into the production of the song.
As Room 108B is small and has no live room, we decided that line input would be more efficient. In our first recording session we recorded guitar and bass, bass being first. I helped set up the bass using line input to Emre’s audio interface. I then did the same with the guitar recording.
Most decisions in our group were made collaboratively. Each of us in the group has different strengths, and so depending on the decision on hand, we adapted accordingly. For example, two of my strengths are that I have a good ear and a good understanding of how a synth’s signal path works. Therefore, these strengths were helpful to the group while we tried to determine how the wobbling synth sound that plays after every chorus was created.
Our final track was fairly accurate and faithful to the original. Though some of the sounds could have been made more authentic, overall, I believe that our final mix was very close to the original.
- Over heads: 2 AKG c414s
- Kick: Audix D6
- Snare: SM57
- Hihats: mk012
- Room mic Neumann TLM102
- Vocals: Neumann Tlm 103 vocals
Track 2 (Live In the Studio Stereo Recording)
Our session planning all occurred via group chat. Our group all respected each other and appreciated each other’s strengths. Just as examples, one of my strengths was understanding what the group needed and translating that into quick action. This skill contributed to the group’s efficiency and logistical ability.
The very first thing that our group did once in the studio was to set up the studio to record. Everyone helped. Reuben and I had prime responsibility for setting up the microphones, and we chose to use (number indicate wallbox port):
- Oktava MK-319 (Room R) (2)
- Aston Spirit R (3)
- Aston Spirit L (4)
- Schoeps CMC6U MK2 (SCL) (6)
- (SCL Near Guitar R) (5)
- Oktava MK-319 (Room L) (2)
Although this was supposed to be a stereo recording, we had a really small recording studio (Studio 104), and so it was somewhat of a hybrid recording. In order to mitigate the issue and keep the recording as stereo as possible, we put Schoeps CMC6U MK2 (SCL) (6) and Schoeps CMC6U MK2 (N Guitar R) (5) at the far side of the live room facing slightly askew from the piano and in the direction of the vocal booth’s door where the guitarist would be sitting.
When the jazz band arrived, we started rehearsing. We had our band run through the piece at least a dozen times until they reached the sound we were aiming for. Our goal was to record in one session, and we met that goal.
Daisy and Emre worked primarily on the mixing console and helped set up all of our inputs through the desk to Pro Tools. During the set-up, we encountered difficulties with Pro Tools with it not recognising any of our inputs. Therefore, as a team, we decided to record into Logic and post recording, move our recorded audio files into Pro Tools for mixing.
As Daisy and Emre were at the key positions on the desk, they communicated the most with the band. However, all of us participated in the band management. For example, at one point during the recording, our talk-back microphone failed and the bassist couldn’t hear us. Daisy and I attempted to get it working, and finally discovered that we had the wrong CUEs turned up. At other moments during pauses in the recording session, I would run into the live room and help move mics and communicate with the band.
At a later date during a mixing session in 113, as a team we huddled around the desk top, and discussed how to best balance the microphone levels. One issue we faced was how loud mic Room R was. Ideas were mostly equally presented by members of the group, but as this was my first time mixing a stereo recording, I listened more than I spoke.
In order to give the mix a wider stereo image, we decided to put the audio from Room R and Room L through a send with reverb on it panned left and right. However, later, we all separated into pairs in order to continue mixing the recording. As my partner had a time conflict and arrived somewhat late, I had an opportunity to mix the stereo recording on my own, which was a valuable experience which I enjoyed. I specifically noted that track Room R was peaking in a certain spot, and I was able to quieten this issue. The opportunity to work alone for a couple of hours before my partner arrived was a big learning experience for me and one that I greatly benefited from. Despite this being my first time mixing a stereo recording, I believe that my input helped us achieve a better mix.
In terms of project management, to a certain extent our group reminded me of William Golding’s famous novel, “Lord of the Flies” (without the unkindness or discord). Natural leaders appeared as did followers, which was interesting to observe.
Track 3 Remix track
For my remix, I initially decided to create a breakbeat track by sampling the vocals from the emulation track, creating found sound from objects around my room. I made the recordings using different sounds from two keyboards that I have in my room and my shure SM7B.
This initial idea collapsed when I attempted to recreate an Amen Break using pencils, pens, and my pill container as a shaker to add shape to the sounds. I also used boot stomping to create a kick. However, I couldn’t manage to make the sounds to cohesively interlock in the same style as the Amen Break does.
My second obstacle was caused by my false impression that I would have around two minutes and 30 seconds for the total length of the track. However, after checking the total run time of the three combined tracks, I would only have a maximum length of one minute and 15 seconds in total length of the given 10 minutes. This ended up causing a huge issue for my arrangement, and I would have needed to greatly shorten my remix.
My second approach was to create a type of messy “lunch table” style sampled beat reminiscent of secondary school pen-drumming. I created this by structuring my samples in an arrangement that was completely different from the Amen Break. I added various plug-ins to aid in making the individual sounds sound heavier as they all had a very high transient while dampening really quickly.
My third failure occurred when I initially used a recording of the original track’s vocals and completely stretched them in time with a tempo change for the track. I later reread the brief’s instructions and realized that I had to use the recorded vocals from the emulation track rather than the original one. I then had to time-stretch the emulated vocals from scratch. I realised that after I had time-stretched these vocals, they were not entirely in tune, so I used pitch correction to help bring the vocals into the track’s key.
To make the instrumentals, I used Logic’s sampler several times and pitched the emulated vocals down and up by seven semi-tones in different sections of the vocal recording. I also added reverb to one of the pen sounds and pitched it down with the goal of creating a clap. For my two recorded instruments, I recorded both a small beeping sound from my Korg Minilogue as well as a pad that plays every now and then on a Roland VR-09-B V-Combo Keyboard, through my SM7B, hitting two birds with one stone.
Some of the samples that I used were the same samples that I have recorded to use on previous tracks such as a video-gamey warping sound and a vinyl crackle from a record player in my local record store back from when I lived in Boston (USA). These I routed to a bus with a granular-effects plug-in to further distort and enhance the character of the sounds.
I am pleased with my result. Although my final track is different from the concept I initially had, and it is not in any way a break-beat track, I am captivated by the samples that I made by chopping the vocals. Likewise, I am drawn to the sounds that undulate in an ethereal way throughout. This type of sound is a characteristic of the type of music that I hope to include as I create in the future.
