Task 1 – WAV Mixes
Task 2 – Production Log Book
Track 1 (Use Me – Bill Withers)
This composition consisted of a five-piece ensemble – voice, piano, drums, bass and guitar – with the aim of imitating the production style of Bill Withers. As a group, we were interested not only in recreating the sonic qualities of the track, but also in approaching the session with a 1970s production mindset – prioritising live performance, minimal processing, and a sense of cohesion between players.
The recording process for Track 1 was spread across three sessions. The first session focused on bass and acoustic guitar, which were recorded live by members of the group to reflect the performance-led approach typical of the period. Capturing these parts together helped retain a natural sense of timing and interaction, which felt central to the style we were aiming to emulate. The bass amp was close-miked using an AKG D112 which is an industry-standard choice to capture low-end presence, while the acoustic guitar was recorded with a Neumann KM184, which we selected following research into its reputation for a neutral and transparent sound.
The second recording session focused on drums and clavinet. Recreating the clavinet sound required a degree of experimentation, which we set aside time for, as it plays a defining and central role in the track’s character. A Nord keyboard was used, with a preset adjusted to approximate the tonal qualities of the original. The instrument was recorded via a DI box to ensure we achieved a cleaner signal and avoided spill. When trying to replicate the drum sound, a more minimal miking approach was adopted, using three microphones (an Audix D6 on the kick, an Oktava MK012, and a Sennheiser MD421) – to reflect recording limitations and stylistic tendencies of the 1970s. This encouraged a more balanced performance from the drummer and reduced reliance on close-mic control in the mix.
The final session focused on vocals. A decision was made to change vocalist after an initial recording, instead we opted for a performance from within the group that better suited the style. The vocals were recorded using a Warm Audio U87, as it is renowned for being an ‘iconic’ mic from the late 60’s – 70’s and selected for its mid-range presence. A distressor compressor was also placed upon the vocals. This contributed to a more cohesive tonal character across the track.
My roles within the studio varied across the sessions; it included microphone setup, session preparation, and gain staging at the mixing desk – this involved active monitoring of signal quality during recording, including isolating individual channels to check for unwanted noise or imbalance, ensuring that the captured sound aligned with the intended balance of the performance.
The mixing process was collaborative, with one member of the group taking the initial lead on assembling the mix from their local session files. This was developed iteratively, with regular versions shared among the group for feedback, which promoted discussion with suggestions feeding into further revisions. This approach allowed us to maintain a shared critical perspective on the mix, ensuring that decisions were not made in isolation but refined through group listening. As a result, the mix developed gradually in response to collective input, particularly in relation to dynamics, vocal placement, and overall clarity.
Track 2 (Jazz Trio)
This ‘Live in The Studio Stereo Recording’ composition included a drummer, a double bassist, and a pianist. These musicians were found and booked in by a member of our group. A few members of the group and myself helped to set up this ambient mic recording. The trio had previously known what they were going to play. Prior to getting into the studio and understanding the criteria of only being allowed to use ambient mic techniques, we had to cater to this and choose both the method of recording as well as whom we would record wisely.
My main responsibilities focused on microphone setup, session preparation, and gain staging to ensure a balanced and natural sound was captured. The setup combined a Warm Audio WA-251 tube microphone placed centrally with a pair of Schoeps small-diaphragm cardioid condensers set up in an XY configuration for the stereo image on the left and right. This setup was chosen to blend tonal richness with spatial accuracy: the WA-251 provided warmth and a rich depth at the centre of the image, while the Schoeps pair delivered a crisp high end clarity. Together, this approach aimed to create a cohesive blend of direct sound and room ambience, supporting clarity without losing spatial character.
I began by helping to arrange the recording space to keep the ambient character of the performance. This involved repositioning stands and reducing unwanted background noise while maintaining the natural acoustic qualities of the room. The WA-251 was positioned slightly forward of the XY pair to act as the main focus point, capturing the core of the performance with a smooth midrange and subtle harmonic, vintage character. In contrast, the Schoeps small-diaphragm condensers, known for their precise transient response, were used to capture a coherent stereo image of the room, that gave a natural sense of width and spatial definition, without exaggerating ambient room noise.
The setting up of this configuration required careful attention to placement, phase alignment, and gain staging throughout. My role within the group focused on technical setup, including clean cable routing, correct assignment of phantom power to the Schoeps condensers, and ensuring the WA-251’s external power supply remained stable and properly grounded. The group and myself also set the XY pair at 90 degrees and centred it above the source to maintain stereo coherence and to avoid phase issues. These setup decisions contributed to the stability of the recording environment, with particular impact on stereo imaging accuracy and phase consistency. Attention to detail in alignment and consistency of setup, including capsule positioning, helped ensure a more controlled and reliable spatial field in the final recording. We did however, in the post-recording stage, realise there were some phase issues with the Schoeps microphones.
Managing gain structure was also essential in preserving dynamic range and avoiding unnecessary distortion, particularly given the combination of close and ambient microphones operating simultaneously. The final recording achieved a strong sense of space and clarity, although phase interactions became apparent on review, highlighting the sensitivity and limitations of multi-microphone ambient recording setups and reinforcing the importance of mic placement precision in future sessions.
Track 3 Remix track
The remix of Use Me by Bill Withers presented the most challenging task in terms of reworking the original within a new stylistic direction. The initial stage involved researching existing remixes of the track on SoundCloud to build an understanding of how others had approached it, which helped inform both the structural direction and stylistic approach of my own version. As a result, I chose to develop the remix within a soulful drum and bass context, aiming to retain elements of the original’s groove and vocal character while placing it within a more rhythmically driven production style.
Alongside establishing the genre direction, I also planned to re-record the clavinet as well as record more electric guitar and bass parts. The clavinet was recreated using a MIDI keyboard and experimenting with Logic Pro sounds, with the aim of emulating the 1970s tonal character of Use Me by Bill Withers, adding in and introducing different fills unheard in the original arrangement.
The electric guitar and bass were both recorded using DI techniques. While this approach can reduce some of the natural character associated with amp recordings, it was chosen for its flexibility in shaping tone during production. This allowed greater control within Logic Pro, where I was able to recreate aspects of an amplified sound through processing while maintaining a clean and workable signal.
Using found sounds to construct the drum kit was one of the more challenging aspects to overcome, particularly when recreating a genre such as drum and bass. Following research and a process of trial and error, I began recording a range of household sounds using a Zoom H5, including thumps and percussive hits, metallic sounds, and low-frequency textures from both inside and even outside the home. From an initial library of over 20 recordings, I then selected and flagged those with the most potential to work within the genre.
I found that layering was central to creating drum sounds from found material. The mix between layers was also vital, in shaping both tone and impact. For the snare, I recorded the sound of hitting a metal can, which provided a sharp metallic attack with a short ring. This was then trimmed and shaped using EQ to boost the mid-range presence. It was further layered with several clap recordings to add ‘body’ and density, along with additional subtle textures to fill out the sound and create a more snare-like response. A similar process was used for the kick drum. The aim was to achieve a natural low-end thump, which I developed through testing layering a foot stomp with a pillow punch. Together, it resulted in a kick sound that felt grounded while still retaining definition within the mix.
After completing the drums, I then focused on the arrangement. With the remix limited to two minutes and ten seconds, it was important to establish a clear structure that introduced ideas quickly while maintaining momentum throughout. I aimed for a concise introduction that moved into the main section, avoiding extended build-ups in order to keep the energy consistent with the drum and bass style.
A key consideration was how to incorporate the original vocals effectively within this shorter format. Rather than using them sparingly, I chose to foreground them early on, allowing the vocal to act as a central anchor for the track. I did repeat certain phrases such as ‘use me’ to add variation and texture. In addition, in the middle section I dropped all drums to allow the guitar, clav and vocal to be highlighted and to allow for space.
