Production Log – Task 2
This production log talks about my individual contribution to the creation of a three-track studio portfolio, completed as part of the production group assignment. The portfolio consisted of a guitar-based band production, a live jazz ensemble recording, and the individual remix project. We chose to do the analogue mix for our live in the studio jazz ensemble. This log reflects on the production processes involved, my role within the group, and how communication and planning really helped us throughout all stages.
Track 1 – Guitar-based band production
Pre-Production
The pre-production stage for the guitar-based band track was essential in ensuring the recording sessions ran as smoothly as possible. As a group, we began by contacting a band and listening to their original demos to assess whether their sound and musical direction would suit the brief. Once we agreed to move forward, we worked closely with the band to refine the track, finalising both the arrangement and overall vision of the song.
One of the first practical steps was creating a demo recording, with the full band playing live together. This acted as a scratch track and gave us a strong reference point for structure, tempo, and energy. During this stage, we made arrangement decisions to emphasise the song’s dynamics, such as having instruments drop in and out at certain sections and developing vocal harmonies with the vocalist. These decisions helped create contrast throughout the track and ensured it would feel engaging without overcomplicating the performance.
Session planning was another key aspect of pre-production. We booked rehearsal slots and studio time in advance and planned the recording process carefully, deciding to track drums first, followed by guitars and bass, and then vocals. This structure allowed us to capture a solid rhythmic foundation before layering overdubs.
Recording
During the recording sessions, a strong focus was placed on microphone placement and room setup to achieve a live band feel while maintaining clarity. The drum kit was recorded using a range of microphones. This gave us room to experiment as we had a few room mics and a dirt mic too. The guitars were reamped, with the bass also recorded through a DI to give us tonal options.
In terms of room setup, the drummer was positioned behind shields at the back of the live room to manage spill, while the bass was recorded in the booth. Guitars were reamped in the live room, and vocals were recorded separately in the isolation booth in Studio 422. This setup allowed us to maintain separation while still capturing the energy of a band-based performance.
Musician management was something I wasn’t as involved in for this recording as it was organised by someone in our group who is also in the band that played, but we organised sessions around everyone’s availability and even brought the drummer in for an additional session prior to the final recording to address timing issues. Rhythm guitarists recorded together, followed by solo guitar, bass, lead vocals, and backing vocals as overdubs.
Mixing
The mix concept for this track was intentionally guitar-forward, while being careful to avoid muddiness caused by overlapping frequencies. I focused on achieving clarity and balance, particularly between guitars and drums. During the initial balance stage, I found that some of the drum room microphones were adding too much ambience, so I removed them to tighten the overall sound.
Panning played a big role in this mix, especially due to the number of guitar and drum tracks. Spreading these elements across the stereo field helped create space and separation. Volume automation was used throughout to allow guitars to have moments of prominence without overpowering other elements.
In terms of tone and processing, we paid close attention during reamping to avoid overly harsh distortion. Vocals were treated with compression, including an LA-2A, and reverb was used to create depth, particularly on backing vocals. EQ and compression were applied across drum microphones, and Logic plugins were used for tonal correction where needed.
Project Management and Evaluation
Time management was a challenge during this project, particularly when the initial drum recording didn’t go to plan due to tempo issues. While creating a demo track slowed us down initially, it ultimately helped streamline later stages. Planning was supported through detailed patch lists and pre-renting microphones to ensure availability.
Roles within the group were shared, with Finn focusing heavily on the patch bay, while Arthur, Brooke, and I worked on setup and gain staging. Communication was maintained through consistent messaging to coordinate schedules with the band. Overall, while there were areas we could improve in efficiency, the project demonstrated strong collaboration and adaptability
Track 2 – Live in the studio (jazz ensemble)
Pre-Production
For the jazz recording, I contacted a trio who regularly play together as part of their course. I ensured they understood the performance length requirement and listened to demos in advance. Unlike the first track, this project required a purely performance-based approach with no overdubs, so planning was crucial.
We discussed structure and solo sections beforehand to ensure the performance would reach the required duration. Instead of working from a demo, we recorded multiple full takes, experimenting with different approaches before choosing the strongest performance.
The studio was set up in advance so that gain staging and recording could begin immediately upon the musicians’ arrival, allowing us to work efficiently and avoid unnecessary downtime.
Recording
Microphone placement was much more minimal than in the band recording, as bleed would significantly affect the overall sound. The grand piano was recorded in stereo, while the cello was captured using an omni microphone technique, which I had not previously used. This approach produced a natural and open sound, and we also recorded a DI signal to ensure clarity in the mix.
Room setup focused heavily on acoustic control. Shields were placed around each instrument, and the piano lid was nearly closed with a cover used to further contain the sound. This helped maintain separation while preserving the natural interaction between musicians.
Musician management involved coordinating availability and booking a session immediately after our studio group lesson, ensuring the space was ready before the trio arrived.
Mixing and Outboard Processing
This track was chosen for the analogue mix, which was carried out as a group. We used Drawmer DL241 compressors on the kick, a Drawmer 1968 on the snare, gold mic preamps on overheads, Neve 1073 preamps on the piano, and a Warm Audio WA-2A on the double bass. Reverb was printed onto the piano to add space while maintaining a cohesive sound. We also spent a huge chunk of time of doing the EQ’s of each track till we got our desired sound.
Balancing the mix required careful attention to the solo sections, ensuring each instrument could step forward naturally without disrupting the ensemble feel.
Project Management and Evaluation
This project was less complex in terms of scheduling, but we created patch lists in advance and completed a practice jazz mix with our tutor, Dan. While the recording and mix were completed late in the timeline, the focused workflow helped prevent clashes with other parts of this coursework.
Track 3 – Remix track
Pre-Production and Development
The remix was an individual project, allowing me to explore creative freedom while still adhering to the brief. I performed and recorded the instrumental elements myself, using a TR-8S and a KORG Prologue. I layered so many synths and drums to make the main parts of the song till I was happy with the amount of layers. These instruments suited the house genre and allowed me to incorporate techniques from my Music with Electronics module.
The bass created on a prologue:
Building synth on the prologue:
Example of drum layers on TR-8S
I began by working around lyrical themes such as “breathe” and “air,” building the verses first and later creating a chorus using vocals from the original breakdown section. This approach helped give the remix a clear identity while respecting the original material.
Arrangement decisions were driven by genre conventions, with strong dynamic contrast between sections. The track gradually builds in intensity, strips back during the breakdown, and returns with impact. Vocals were central to the track, and I experimented with chopping and processing them so they became almost unrecognisable in certain sections.
Recording and Mixing
Both instruments were recorded via DI in Room 108B. This simple setup allowed me to focus on sound design and arrangement rather than technical limitations.
The mix focused heavily on balancing the vocals against the rest of the track, as they were the core of the remix. Stereo placement was carefully considered, even for small details, to create interest and depth. Effects included tape echo and reverb buses, with a layered “deep vocal” effect used prominently in the breakdown.
Project Management and Evaluation
Time management was more flexible for this project, as I didn’t need to coordinate with external musicians. I practised with the instruments before recording and allowed ideas to develop organically rather than forcing a rigid structure. This approach helped maintain creativity while still meeting the deadline.
In conclusion, across all three tracks, I demonstrated collaboration, technical understanding, and reflective evaluation. From managing live band recordings to analogue mixing and individual remix production, I applied both practical and theoretical knowledge within a studio context. Each project presented different challenges, contributing to my development in production planning, microphone technique, mixing, and professional working practices.
