Commercial Pop Track
Acoustic Track
Location Recording
POP – Pre-Production
Initially, we collaborated with a singer-songwriter from the pop course, but after several sessions it became clear the track did not meet our brief. This led us to change direction and work with a new composer, as discussed below.
Track 1 –
We had references from artists such as Sabrina Carpenter, Chapel roan and Paramore.
As a group we listened to the demo track and wrote down any ideas we had.
Planned and booked studio sessions on top of our studio sessions.
Initial Problems –
- The track was in a minor key, from our research we found that most commercial pop songs were in a major key.
- The track bpm of was too slow for the references and ideas we had.
- We hit a standstill in the studio sessions and realised that the track was not working for us.
Track 2 –
- We decided to work with Ben from our group, he came to us with a more commercial style demo that he wanted our feedback on. We decided that the demo fit perfectly into the brief.
- We had references from artists such as Sombr, Daft Punk and Nile Rogers.
- Our initial idea was to create an indie pop style track that matched the current sound being played in the charts.
- We chose to make the track both in the box and in the studio, with elements such as drums, synths and strings being recorded in logic using midi.
- Recording instruments in the studio such as Guitar, Vocals, Bass and percussion.
- We planned to use our allocated studio lessons to record the majority of the project.
Acoustic Pre-Production –
- We planned to record the Vocals and guitar together to capture the live acoustic sound.
- We planned to use the session drummer to record simple drums with brushes, we made midi drums as reference.
- Using teams and snapchat to organise meetings for comping and final touches outside of the studio.
- We created lead sheets for the violin (See Appendix 4) using Logic to plan with midi, creating an arrangement that worked with the vocal melody.
- We learnt the chord progression by ear, creating a chord sheet for the bass and cello recording.
Location Recording – Planning
- We originally planned to record at Left Bank, Leeds. However they wanted us to pay for the space.
- So we spoke with the artists and decided on doing a Tiny Desk style home recording.
- I feel that it represents the genre of music, acoustic bedroom pop.
- Focusing on the environment that the song was created in and capturing that in the recording.
Pop Track – Recording
Table – 47 words
Vocals
Track 1 – 11/02/25 Vocals
- Working from our references to try to move the track from a ballad into a more commercial pop sound.
- We found that the track felt too dark for a commercial pop track.
Track 2 – Vocals
- Our idea was to record vocal harmonies that could be stacked when mixing. This technique can be heard in our reference track 12 to 12 by Sombr. (See Apendix 3)
- We chose the WA-87 condenser mic to capture a focused clean take that could be altered in the mix process.
Guitar
- We used a re-amp box, having the player in the control room while the amp was in the live room.
- Our references for the guitar were Nile Rogers, specifically his guitar on tracks such as Get Lucky.
- When recording we plugged the guitar DI signal into the SPL Goldmike pre amp to add a warmth to the recording and bring the level up to mic level.
- We used a two microphone technique, using a condenser and a dynamic microphone on each speaker cone (P White, 2021). Allowing me to mix the two signals to create the required tone.
Bass
- When recording bass we used a straight DI signal.
- This provided us with a clean recording which we can add effects to in the mixing stage.
In the Box
- We recorded the rest of the track in the box using logic.
- Using electronic sounds that could not be recorded in an acoustic setting.
- We recorded MIDI drums in logic using a midi controller and one-shot samples.
- Research shows that Sombr produces and records alot of his music using Logic pro and processed drums (B Rogerson, 2025).
Acoustic track recording
Vocals and Guitar- 10/02/25
- We wanted a clean natural recording so we used condenser microphones.
- We aimed for a recording with minimal bleed a condenser microphone provides a focused recording.
- We used sound barriers to eliminate any room sound in the recording.
- Recorded vocals and guitar simultaneously to capture the live acoustic sound.
Drums – 16/02/25
- Provided the session drummer with a reference track and demo
- Created a midi drum pattern for reference
- Took multiple takes allowing us to comp best takes later
Strings and Bass- 24/04/26
- We provided the strings players with a lead sheet.
- Taking multiple takes allowing us to comp the best parts.
- We planned to use strings to add depth and emotion to the track.
Location Recording – 29/04/26
- We wanted to capture both the player and the room.
- I suggested we used a stereo spaced pair to record the room to capture reflections and reverb.
- We asked the performer to sit down to reduce noise and movement when recording.
- We placed the percussionist outside of the room to reduce bleed into other microphones.
- Practising distancing from microphone before each take to ensure the best capture.
Mixing
- Before I started the mix I listened and researched how our reference artists process their sound.
- At the end of each session I comped the tracks selecting the best parts of each take.
- My reference Sombr uses heavy reverb and distortion on their vocals, I used Chroma Glow to get this sound (See Appendix 2).
- To get the nile Rogers Guitar sound i used heavy reverb and a high pass filter. (See Appendix 1).
- I used a mix of two reverbs, a large hall and a small room, creating a wide stereo image and giving space to my mix.
- I sent my reverb sends through tape echo to give the reverb a more depth and create a wider image.
- I used phat Fx to add character to my drums, using saturation, distortion and compression.
- When mastering I used mid-side eq to control the dynamics and stereo image of the track.
- using a high pass filter below 80hz from the sides to keep the bass mono and remove sub rumble.
- I also used soft compression using the LA2A to control the peaks and dynamics of my tracks.
- When mixing I listen back to the mix in different environments: For example
- Headphones
- Monitors
- Car speakers
- Studio environment
- Listening in different locations ensured I aware of the equipment I am using and how it affects the outcome of my final mix and master.
- For example, my home studio has a low rumble standing wave. Listening in another location allows me to ensure that the rumble is not in the final mix.
Project Management
- My role – Arranging meetings with original artist, arranging and managing logic sessions, distributing stems and microphone setup.
- Organisation – As a group we used snapchat group chats and teams to communicate, plan sessions and share files.
- I made sure to organise each session the week before, ensuring we had a studio booked and everyone was available.
- I aimed to book at least one session each week on top of our allocated studio lesson to work on the tracks together before the mixing stages.
- I structured sessions around certain production stages (pre-production, Recording and editing) ensuring each session has a dedicated plan (As shown in image 3). This helped to maximise studio time and reduce wasted time at the start of sessions.
- I also accounted for cancellations and time changes. Ensuring all files and booking times were easily available on both the snapchat group and Teams. (See Image 1)
- I maintained a consistent file management system ensuring all drive links worked and were named and dated. This improving work efficiency.
The images below show my role in planning meetings with artists, organising session and sharing the project files.
Image 1
Image 2
Image 3
Conclusion –
What went well –
- We worked well as a team, organising sessions and collaborating efficiently with performers.
- We came to a shared decision about whether the track met the criteria. We agreed as a group that the original pop track did not meet the criteria.
What didn’t go well –
- We could have put more time into arrangement for instruments like strings on the acoustic track, as I believe the arrangement was too busy for the composition.
- We could have communicated better allowing us to book more time in studios, this making the last couple weeks easier and providing more time for the next steps.
Skills Developed-
- I am now more confident in expressing my feelings and ideas towards the final outcome of the project.
- I have gained more knowledge on taking leadership roles in sessions.
Appendix –
Appendix 1 –
I used the video shown to gather information on how to get the Nile rogers style guitar tone. Using high pass filters and reverb. This matched with our chosen genre for our pop track.
Appendix 2 –
I used the video shown to get an idea for how to get a Sombr style vocal sound using compression and distortion.
I also used this video to help process my drums learning how to use a drum bus and Phat FX. The video uses Abelton however I mixed in Logic, I took the information and transferred it into similar plugins in Logic.
Appendix 4 –
The image shows the violin lead sheet. We altered this to fit the track in the session.
Appendix 4 –
The image shows the violin lead sheet. We altered this to fit the track in the session.
Bibliography –
Rogerson, B. (2025). ‘In the actual song you hear today, the guitars, the riff, the bass, the drums and all the vocals are from those initial takes I did in my bedroom’: Sombr on the making of viral hit Undressed, and his formula for creating ‘a legendary indie rock song’. [online] MusicRadar. Available at: https://www.musicradar.com/artists/in-the-actual-song-you-hear-today-the-guitars-the-riff-the-bass-the-drums-and-all-the-vocals-are-from-those-initial-takes-i-did-in-my-bedroom-sombr-on-the-making-of-viral-hit-undressed-and-his-formula-for-creating-a-legendary-indie-rock-song-bestof25.
White, P. (2021). Two-mic Guitar Tracking. [online] www.soundonsound.com. Available at: https://www.soundonsound.com/techniques/two-mic-guitar-tracking.
Video References –
guitartonechaser (2025). How to get a Funky Guitar Tone – Nile Rodgers – Lose yourself to dance (Daft Punk) | GTC. [online] YouTube. Available at: https://www.youtube.com/watch?v=KMKE7gc5V_A [Accessed 6 May 2026].
Beat Academy (2025). Producing Indie Pop Like SOMBR (Vocal, Drums, Bass Breakdown). [online] YouTube. Available at: https://www.youtube.com/watch?v=EDKqlId3hHc [Accessed 6 May 2026].
sombr (2025). sombr – 12 to 12 (official video). [online] YouTube. Available at: https://www.youtube.com/watch?v=cZgUiR31m-Y.
