MPR5C001R~003 24104259 Studio Portfolio 2 & Log Book

by

Alican Ozturk 24104259

Gantt chart providing overall session plans

Commercial Pop Track

Members & Roles:

Alican – Engineer, Guitarist, Songwriter

Yuheng – Engineer, Songwriter

Sophie – Engineer, Songwriter

Charlie – Engineer, Songwriter, Backing Vocalist

Ben – Songwriter, Vocalist

Reference Tracks:

Blinding Lights (The Weeknd, 2020) – general structure

Out Of Time (The Weeknd, 2022) – synth sound

Drag Me Down (One Direction, 2015) – lyric style

Stay (The Kid LAROI, 2021) – vocal harmonies

12 to 12 (sombr, 202 – vocal style

Main Sessions:

Synth + Main Structure Writing Session (Alican, Ben, Charlie) – Room 109, 2/3/26

Drum Writing Session – Room 104

SSL Mixing + Guitar Session – Room 115, 17/3/26

Extra Writing + Synth Session (Alican, Ben, Sophie) – Room 420, 23/3/26

Vocal Recording Session (Ben + Charlie) – Ben’s Home

Lyric Writing Session (Ben + Charlie) – 15/4/26

Synth + Main Structure Session

• Decided on structure to be similar to ‘Blinding Lights’, aimed to implement layers of synths inspired also by ‘Out Of Time’, pads, ‘howl bass’, fast-paced BPM (160-180) digital 80s style drum triggers, catchy hook, frequent repetition

• Utilised Drum Stems via Stem Splitting on Logic to aid with writing and obtaining similar sonics via Logic Synth plugins

• I wrote a percussive bass element to add variation and groove

• Transposed the key to keep original

• Simple 4 chord progression fitting of current Pop structure

• All plugins were digital to allow flexibility

Pad
Download

Drum Writing Session

• Utilised our tutor’s authentic LinnDrum samples instead + Logic samples

• Layered multiple snares to find different characteristics (punch, sizzle, sustain) for our snare sound

• Four on the Floor rhythm

• Multiple kicks layered for thump

•Low-passed Hi-Hats and Claps for Risers into Hook

• Added Gated Reverb to Snare in line with 80s Synth-wave similarities in The Weeknd songs

Claps
Download

SSL + Guitar Mixing Session

• I played guitar sections for percussive enhancement on the song

• Mixed the bass with SSL console and 1176 Compressor

• Dry room, utilised amp reverb in recording

Equipment:

• 1x SM57

• 1x AKG 414 Condenser

• 1x Fender Stratocaster

• 1x Fender Hot Rod DeVille Amplifier

• 1x Warm Audio 1176 Compressor

Alican Guitar Demo 57
Download
Bass
Download

• Despite time spent doing so, we decided to remove the guitars out of the final mix as they did not fit as well as we intended

Extra Writing + Synth Session (Booked by Me)

• Charlie was unable to make this session

• Used to extend the song further and add variations to sections preventing repetition

• Added volume automation to keep dynamic

• Arpeggios for rhythm elements

• Used Yuheng’s synth plugins

Added Synth Arp
Download

Vocals + Lyric Writing Session

• All vocals recorded at Ben’s Home with Charlie as he felt more comfortable, allowing for a better performance

• Rode NT1A Mic

• Untreated room, had some reverberations in the recording

• Writing style inspired by Sombr and Kid Laroi

• Slight Headphone bleed but not detrimental

• Added Harmonies for ambience and Bridge Section build-up

• Charlie Backing Vocals for support on Chorus

Original Lead Vocal
Download
BV 1Download

• Yuheng added extra risers and effects in-between sessions

TS_1985_fx_one_shot_long_reverse_merengueDownload
ESM_Digital_Wind_Build_Up_Rising_Riser_Cinematic_Trailer_Movie_TransitionDownload

Personal Mixing:

• Scooped mids

• Sidechain Kick to entire Track for enhanced groove

• Highly Compressed Vocals

• Bright ambience

•Side-chained Delays and Reverbs to Vocals to make space

• Tape on Master for warmth + high saturation

• Parallel Compressed Drums for added thickness

• Panned Synths and Harmonies wide for bigger stereo image

MPR5C001R~003 24104259 Better Off Without You – CABS ft. Ben SaundersDownload

Acoustic Track

Members & Roles:

Alican – Engineer, Demo Bassist

Yuheng – Engineer

Sophie – Engineer

Charlie – Engineer

Mollie – Vocalist, Songwriter, Guitarist

Evie – Pianist

Session Musicians – Double Bass, Drums,

Reference Track:

ceilings (Lizzy McAlpine, 2022)

Main Sessions (All Room 109):

Guitar Recording – 3/2/2026

Pre-Mix Session + Bass Demo – 10/2/26

Drums + Bass Recording – 17/2/26

Re-record Vocals – 14/4/26

Piano Session – 30/4/26

Vocals + Original Guitar Recording:

Equipment:

• 1x SM7b (vocals)

• 1x DI Box (guitar)

• 2x C414 mics (guitar)

• 1x Taylor Acoustic Guitar

• Originally had Mollie (Charlie’s friend he brought in) play both guitar and vocals at once, however too much proximity effect from vocals so only did guitar

• Drum Groove on Logic via her band performance video for realistic timing

• Placed in isolation booth for maximum flexibility

• Would re-record vocals at a later date with a more suitable mic (251/U87)

ACOUSTIC GTR DI – Comp ADownload

Pre-Mix Session 1 + Bass Demo

Equipment:

• 1x Fender Jazz Bass

• Added Stereo Delay + Plate to Guitar for enhancement

• Made marks and notes for Double Bass and Drums (intro sections, pauses etc)

• I recorded a Bass demo for the session musician to visualise the part

•Spent time planning on miking Drums and Bass (capture DI, condenser mic on Bass)

BASS DEMO
Download

Drums + Double Bass Recording Session

Double Bass Equipment:

• 1x Delta 2

• 1x KM183

• Delta picked up attack, I attached a KM183 to the bridge via rubber band to pick up lows. The KM183 worked over a 184 because it was omnidirectional and picked up all the resonances of the instrument

Drums Equipment:

• 2x C414s (Overheads)

• 2x MD421s (Toms)

• 2x SM57s (Snare Top, Bottom)

• 1x AE2500 (Kick Out)

• 1x AKG D112 (Kick In)

• Wrote out a sheet for song structure and lyrics for the players to follow, minimising recording time

• Punched in certain parts for a more even performance

• Bassist in isolation booth to reduce excess rumble from drum shells and piano strings

BRUISE_c drms 2.1Download
BRUISE_v drms 2.1Download
Double Bass KM184
Download
Double Bass Delta
Download

Vocal Session

Equipment:

• 1x Warm Audio 251

• 1x Warm Audio U87

• 1x Gravity Pop Filter

• Mics had more clarity with less ‘boxiness’ than SM7b

• Recorded at same time close to each other for minimal phasing

• Overdubbing with harmony ideas + rerecording inconsistencies

• Double Tracked for Chorus texture

• Experimented with whispering and triple harmonies

251 LEAD VOX#01Download
U87 LEAD VOX#01Download

Piano Session

Equipment:

• 1x Boston Grand Piano

• 2x C414s

• 1x KM184 (talkback)

• Conversed about how to mic the piano, researched multiple sources, including Sound On Sound (Robjohns, 1999) and The Recording Engineer’s Handbook (Owsinski, 2023)

• Settled on a Stereo Pair configuration, one on low strings + one on high strings, would then pan them wide left and right

• Dampened Snare resonance from previous Drum Kit with a cloth, reducing bleed

• Handed out chord sheet, corrected one chord in the Bridge to E Major

• Kept talkback mic in for mono balance

PIANO L – Comp ADownload

PIANO R – Comp ADownload
TALK BACK – Comp ADownload

Mixing:

• Recording in the same room proved beneficial for ensuring instruments sounded in the same space

• Plate to Vocals + Guitar to add brilliance

• Less tuning than Pop track due to difference in style

• One ‘glue’ reverb to contextualise sound as learned from The Mixing Engineers Handbook (Owsinski, 2022)

• Harmonies panned differently for separation + width

• Bass + Drums Parallel Compression to tighten low-end

• Minimal dynamic processing as song is a more open structure

MPR5C001R~003 24104259 BruiseDownload

Location Recording

Members & Roles:

Alican – Engineer

Yuheng – Engineer

Sophie – Engineer

Charlie – Engineer, Bassist, Backing Vocalist

Ben – Songwriter, Rhythm Guitarist, Vocalist

Ollie – Lead Guitarist

Equipment:

• Location Rig + MacBook Laptop

• 3x AKG 414 XLS (Stereo Pair for Room + Acoustic Guitar)

• 2x SM57s (Guitar Amp, Bass Guitar Amp)

• 1x RE20 (Vocals)

• 1x Sennheiser MD441 (Backing Vocals)

• 1x Active DI Box (Bass DI)

• 1x Fender Hot Rod Amp

• 1x Fender Rumble Amp

• 5x Mic Stands

• 2x Short Mic Stands

• 9x XLR Cables

• 3x Jack Leads

Room + Booking:

We decided unanimously that recording Charlie’s band (Cab Driver) to do an acoustic version of a song would sound good in The Venue Bar. Charlie would book this out as he knew when they would be free. We were originally also going to have a Cajon for percussion but the Drummer was not available.

• Seeing the room, we thought acoustics would be great but bass might need control. Goal was to capture as much room as possible

• Did research on Stereo miking (Practical Recording Techniques, 1992) and decided on a Stereo Pair configuration for enhanced spread + immersion, positioned equidistant from each other to ensemble to reduce phasing + same height

Figure 1: Practical Recording Techniques (Barlett, 1992, pg. 108)

• Positioned players according to stereo image (vocals centered, guitar and bass panned left and right as more room in stereo field)

• Utilised furniture to help focus sound of electric guitar

• Utilised curtains as dampeners and to block too many reflections from glass

• Decided on a lot of DI for Bass as it would be a cleaner recording

• Purposely sat outside when they recorded as I wanted to ensure no distractions or unnecessary noise picked up

• RE20 had great isolation for vocals

• After the recording, we would patch the vocals into a compressor and also add a Lexicon 224 reverb to help glue sounds together more + add more brilliance

Distressor Vocals#03Download
LEAD VOCAL- RE20#10Download
STEREO PAIR- L- 414#10Download
STEREO PAIR- R- 414#11Download

Mixing:

• Very dynamic, needed to level out

• Bass was too spread so had to utilise imaging and Mid/Side EQ to narrow it down

• Resonant a lot in 500hz

• Inconsistent low-end, needed control from Compression

• Had to be very careful about phasing issues and to phase check everything

• No further reverb or modulation/pitch manipulation as I wanted to keep the recording feeling natural

MPR5C001R~003 24104259 Location RecordingDownload

Bibliography