Information
MPR4C001R-003 Portfolio: Production & Log 2 Template
Task 1 – WAV Mixes
Stereo recording final mix
Task 2 – Production Log Book
Track 1 (Genre Specific Emulation)
For the genre specific emulation, our group recreated “We Be’s Gettin’ Down” by Graham Central Station, as we found someone that does covers to this artist, plus it was a nice challenge to try and capture its distinctive funk groove. Due to there being little to no information online about the creation of this song, we got together as a group and decided on instrument and microphone choices by ear and by using our logic of what equipment was mainly used at the time. I used a stem splitter on the original track to act as demo recordings for the musicians / performers. Not only that, but it also allowed us as a group to listen in deeply into how the track was made, what was used on each element of this piece.
We started recording with the drums, as we wanted to get the main rhythm and groove of this song down first. We used eight microphones for this kit, for the kick in we used the Sontronics DM-1B, and for the kick out the Audio Technica ATM250. We used two Shure SM57’s for the snare, one snare top, the other snare bottom. We used the Calrec 1050C for the hats. We used a pair of AKG C414’s for the overheads and finally used the Brauner Phantom V for a room microphone. For the bass, we used the Audix D6, the Sontronics DM-1B and DI combination to balance low end with clarity and a nice attack, we wanted the bass to still have a percussive slap but keeping it flexible in the mix. For the guitar we used a Shure SM57 and a SontronicsOrpheus microphone pairing, which allowed us to blend midrange punch with more tonal detail. We used a Warm Audio WA-251 to record vocals because of its warmth making it suitable for funk vocals. The violin was mic’d with an AKG 451 because of its brightness. Whilst recording, I made sure communicate effectively with the performers to get their input, as they knew the song really well.
For the mix, I took the lead and my approach was to try and emulate the character and limitations of vintage recordings while keeping everything cohesive and clear. EQ was used minimally, to achieve a more restrained tonal shaping typical of the period, so basically, I was focused on resolving key masking rather than sculpting sounds. I used a heavy, vintage style compression approach, especially on the vocals to manage the big dynamic range and make it more consistent. To improve the tonal character, both the guitar and bass were routed to a shared fuzz-wah bus, which added a nice layer of harmonic distortion and movement that glued these together stylistically. The bass was treated with parallel compression, adding density and a controlled muddy low-end texture reminiscent of analogue warmth. Everything was slightly sent through a general reverb bus to create a sense of spatial unity, whilst more creative reverbs were added on the guitar and vocals to add depth and character without overwhelming the mix. Finally, tape saturation was used on the master to emulate analogue tape behaviour. This gently compressed the piece and added a nice harmonic colour, which helped glue the mix together whilst reinforcing a vintage aesthetic.
Track 2 (Live In the Studio Stereo Recording)
For our studio stereo recording, we collaborated with an a cappella baroque / classical opera duet. I got in touch with two classical vocalists who were confident in performing “Gloria: Laudamus te”. This piece is usually accompanied, but as a group we agreed that doing it a cappella would be good for spatial recording techniques. For microphone technique, we decided to use an XY configuration as the main stereo image as it provides a focused centre image, which is important for a vocal duet as balance and clarity is essential. To complement this, we added a spaced pair acting as overheads. We decided to place these wider to capture more of the room ambience and to add more depth. Initially, we intended to use four AKG C414 microphones due to their versatility in polar patterns and accuracy, however these weren’t available. Instead, we used Sontronics STC-3x microphones for the XY pair, as we wanted large diaphragm condensers as they enhance vocal warmth and presence, which suited the operatic style. For the spaced pair, we used Sontronics Orpheus microphones to capture a more detailed representation of the ensemble in the room. As a group, we wanted to achieve a good separation and blend of the singers positionally. So, we placed the singers a few feet away from the XY pair as this ensured clarity, while their relative distance from each other helped avoid bleed from one voice over the other. The overhead microphones were positioned higher and wider whilst set to omnidirectional to capture the natural reverb, which improves the overall stereo sound without overpowering the main signal. I chose to do this in Studio 113 due to its size and acoustic characteristics. I thought this room would complement the a cappella performance as it adds a slight natural ambience but also has the space to set up the microphones to the perfect distance without any trouble. During the actual recording session, I made sure to communicate with the performers and make sure we got the perfect takes. We recorded multiple full takes due to the silence at the beginning and end of piece, which we are not involving. This made sure we had flexibility and avoided issues with abrupt starts or endings. I made sure to communicate effectively with the singers to hear their thoughts and feelings on each take, which made this a strong collaboration. For the mix, we added EQ to the room microphones to reduce high mid and high frequency content, as this gave better clarity and room for the XY pair, as they were the main microphones for this mix. We also added a subtle boost to the low-mid range frequencies on the room microphones to add warmth and bring more room presence and spatial depth. Light compression was used across all tracks to get a more controlled dynamic range, making sure everything was consistent without removing the natural performance dynamics. Finally, all signals were routed to a reverb bus using an orchestral chamber emulation. This acted as a glue, making all the tracks sound like they’re in a coherent acoustic environment whilst also making them add to the brightness and depth of the overall mix.
Track 3 Remix track
We Be’s Gettin’ Down remix:
For the remix, we chose a song with a strong 1970’s funk influence because we thought it would have creative potential mixed into a modern electronic genre. The original had great rhythmic grooves and nice vocal phrasing, which translates well into dance music. Therefore, I decided to produce the remix in a house style because I felt the genre naturally complemented the groove qualities of the original. I reduced the tempo of the track from 147BPM to 128BPM, so it fitted the usual house format, but this also gave the vocals more weight. I also pitched the vocal down by two semitones to create warm and deeper tonal quality. This changed the emotional character of the vocals slightly but didn’t make it unrecognisable. I also believe slowing and pitching down the vocals helped it sit naturally with the synths and instrumentation in the mix.
For the live instrument recordings, I recorded both piano and guitar. The piano was recorded in Studio 422 using two Neumann KM184 microphones alongside an AKG C414. I chose this setup as it gave me both clarity and warmth. The KM184’s give a nice stereo image and articulation in higher frequencies, whilst the C414 gave more body and low-mid resonance. Rather than using the piano as a dominant melodic element, I blended it subtly with the pad sounds in the introduction, adding to the depth and texture of the piece. I recorded guitar parts using a hardware multi-effects pedal alongside a Sontronics Halo microphone. Using the hardware effects allowed me to shape the tone nicely before mixing, which gives the guitar a more ambient feel that suits the house aesthetic, despite electric guitar not typically being used in house music. The guitar is in the intro and almost changes from a lead into a textural layer as the intro goes on, which helps build variation and atmosphere.
For the found sound drum production, I used a field recorder to get good quality sounds. For the kick drum, I layered recordings of me banging on a wall with me stomping on the floor, which achieved a nice punchy low-end. The snare was built from layered recordings of me clapping and me crashing a chair, while the hi-hats and percussion were created by recording switches being flicked and tapping metal objects, which I later re-pitched and processed. I think, after a lot of processing, I achieved really good results for a house drum kit.
