Track 1 – Commercial Pop

Concept and Planning

This track was mainly led by me from the early planning stage. On 02.02.2026, I shared six demos in the group chat for the group to choose from. We discussed the options in class and decided to develop the demo influenced by Kali Uchis’ “Moonlight”. The reference shaped the smooth groove, warm low end, soft vocal space and dreamy pop texture.

The aim was to create a gentle but polished commercial pop track. This reflects current alternative pop/R&B trends, where soft vocals, atmospheric synth textures, warm bass and trap-influenced rhythm sections are often combined.

Arrangement and Production

I created the main arrangement in the DAW through sequencing, layering and editing. The production was built around synth layers, bell-like sounds, atmospheric samples, drum kit sounds and a large bass. The intro used dreamy ambient textures and bells before the main groove entered.

The harmony mainly came from synths rather than guitars or piano. Bell sounds and atmosphere layers filled the high-frequency space, while the large bass supported the low end. For most of the track, I used drum kit sounds with a smooth groove to keep the song relaxed but still connected to commercial pop.

In the bridge, the drums changed to a trap pattern and the bass changed to an 808, creating contrast with the softer main sections. During class, we also recorded a Korg synthesiser for the bridge synth lead and some sub bass parts. These were recorded into the DAW and edited with the programmed drums and synth layers, combining hardware performance with software arrangement.

Vocal Recording

The vocals were recorded on 27.04.2026 in Studio 108. Raff arranged the vocalist for this session. The aim was to capture a clean and intimate vocal that could sit naturally inside a soft, reverb-heavy production. Vocal distance and level consistency were important because large changes would make compression and reverb less stable later.

Mixing and Mastering

The mixing goal was to make the track soft, dreamy and warm, but still clear enough for commercial pop. Because the arrangement used many synth layers, bells and atmosphere textures, the main challenge was avoiding muddiness.

I used EQ to remove unnecessary low-end from synths and ambient layers, leaving space for the vocal, kick, bass and 808. I also reduced low-mid build-up where synth layers overlapped, so the track kept its atmosphere without losing clarity.

I used Valhalla reverb as the main reverb across vocals, synths, bells and atmosphere layers to keep the space consistent. Different send levels were used depending on each sound’s role: the vocal had enough reverb and delay to feel smooth, while bells and atmosphere layers sat further back for depth. I also EQ’d the reverb returns to reduce low-end build-up.

For the vocal, I reduced unnecessary low frequencies, controlled louder phrases with compression, and used delay/reverb sends rather than placing too much ambience directly on the track. In the bridge, the trap drums, Korg synth lead and 808 were given more focus to make the section heavier.

During mastering, limiting brought the loudest sections to around -10 LUFS short-term, while avoiding excessive limiting so the track still felt smooth and open.

Evaluation

A strength of this track is its clear stylistic identity. The Kali Uchis “Moonlight” reference guided the dreamy texture, vocal space and low-end balance. The main challenge was balancing atmosphere with clarity because of the layered synths, bells and reverb-heavy processing.

The main weakness was the bridge transition. The switch from the soft texture to trap drums and 808 felt slightly sudden. If developed further, I would use more automation, risers or transitional effects to make this change smoother.

Track 2 – Acoustic Track

Concept and Reference

The track began with a demo session on 27.01.2026 (2 hours), where an acoustic guitar progression established the main idea. The aim was to create an emotional and intimate acoustic production based on captured performances rather than synths, samplers, or heavily programmed elements.

The approach was informed by FLTYE SELF, especially its use of organic instrumentation, restrained processing, and clear vocal focus. This reference helped guide the natural tone and intimate arrangement while keeping the production centred on acoustic instrument capture.

Session Timeline

The production developed across several sessions:

• 17.02.2026 – session musician recording (2 hours)
• 17.03.2026 – mandolin recording and initial drum balancing in Studio 115 (2.5 hours)
• 19.04.2026 – strings, additional acoustic instruments and vocal recording (8 hours)
• 21.04.2026 / 28.04.2026 – final checks (2 hours each)

These sessions moved the track from a simple guitar-led demo into a fuller acoustic arrangement including acoustic guitar, mandolin, strings, piano, drums and vocals. The material was built using an overdubbed method, allowing each part to be captured separately while supporting the overall arrangement.

Arrangement

The acoustic guitar remained the rhythmic and harmonic anchor. Strings and piano supported the emotional build, while mandolin and other acoustic layers added texture without overcrowding the arrangement. This gave the track a gradual dynamic shape, moving from an intimate starting point into a fuller ending.

Capture and Recording

During recording, the signal chain was managed through the Audient ASP8024, allowing clean gain staging and routing. The recording environment was kept controlled to reduce excessive reflections while retaining some natural space. This helped capture clear acoustic sources while leaving flexibility for spatial processing later.

The Telefunken ELA M 251 was used for vocals because its warm tone and smooth high end suited the intimate acoustic style. Other microphones, including the JZ Vantage V67, were used during guitar recording to capture different tonal colours and provide more options when balancing the guitar sound in the mix.

Project Management

Due to timetable clashes, I missed a small number of recording sessions. To manage this, I reviewed rough recordings and session notes afterwards and discussed key decisions with group members. This helped keep my mix decisions consistent with the original intention.

Mixing Approach

In the DAW, I organised the session into groups such as guitars, strings, drums, vocals, piano and mandolin. The main mixing challenge was managing frequency masking between acoustic guitar, piano and strings, especially in the mid and low-mid range.

I used subtractive EQ to reduce low-mid build-up in piano and strings, removed unnecessary low end from several tracks, and used level automation to keep the vocal and acoustic guitar clear in denser sections.

Processing and Mastering

Processing was kept restrained to match the acoustic style. Compression was used mainly for control rather than colour, with the Empirical Labs EL8X Distressor used on drum elements to manage peaks while keeping a natural feel.

Evaluation

A strength of this track is the balance between fullness and clarity. However, some later sections remain slightly dense when guitar, piano, strings and drums are all active.

If developed further, I would simplify parts or adjust register choices earlier to reduce overlap and reliance on corrective EQ.

Track 3 – Location Recording

Location and Capture

This track was recorded on 17.04.2026 in the back garden of 5 Regent Park Terrace. The ensemble was recorded live together, including electric guitar, electric bass, drums and vocal, with a harmonica introduction. The style leaned towards alternative rock, so the outdoor garden setting suited the track by adding a natural and slightly raw atmosphere. The space was open, with grass flooring, no cover, and one side facing a wall. Bird sounds were present, but other external noise was limited.

Microphone Setup

The microphone setup was mainly planned and chosen by Rhys. Drums were close-mic’d with Shure Beta 91a / Sontronics DM1B on kick, Shure 545SSD / Beyerdynamic M201 on snare, Sennheiser E604s on toms, and AKG C414 ULS as overheads. Bass used DI and Audix D6, guitar used DI and Beyerdynamic M160, and vocals used Sennheiser MD441. Sontronics Delta 2 room mics captured the outdoor ambience.

Post-production and Evaluation

Due to timetable clashes with the commercial pop production, my involvement in the location session was limited. However, I reviewed the multitracks and track sheet, analysed the microphone setup, and identified issues such as spill, weak kick, thin snare tone and the balance between close mics and room mics.

After recording, the guitar was re-amped through a Fender Twin Reverb with a BOSS Blues Driver to add natural amp character and subtle overdrive. In mixing, I used gates on drums to reduce spill while keeping some room sound for atmosphere. Reverb was added on the mix bus, while vocals used TC Electronic M-One XL and Lexicon PCM92 hardware reverb/delay.

The strength of this track is its live feel and outdoor character. If repeated, I would suggest checking guitar amp tone, kick/snare tuning and room mic positions more carefully before recording.

Overall

Across the portfolio, the group divided work between demo development, recording preparation, performance organisation, and final checks. My strongest contribution was in Track 1, where I provided the initial demos, led the DAW-based arrangement, and shaped the final production direction. For the other tracks, I contributed through reviewing recordings, analysing technical issues, and making individual mix/master decisions. The main project management challenge was balancing different session schedules, which meant that communication through rough mixes, session notes and group discussion became important. Overall, the project improved my ability to make production decisions that supported each track’s style rather than applying the same mixing approach to every song.