Project Proposal
Production Project Files (80%)
Progress and Management Records (20%)
In my proposal, I set out to create a modern Rake and Scrape studio production project. I aimed to produce 25–35 minutes of original music that represented the Turks and Caicos style of the genre, while using modern production methods. The proposal stated that I would combine traditional rhythms with modern instruments and studio techniques, using Logic Pro, live recording, MIDI, virtual instruments, and bus processing as part of the process.
The final project became 8 tracks totalling 26 minutes and 18 seconds, so I was still able to meet the time requirement. Originally, seven tracks were planned to be full songs, with one track remaining as an instrumental. However, I was only able to secure vocals for two tracks. This changed the outcome to two full songs and six instrumentals. This was not exactly what I planned, but the project still worked because Rake and Scrape is heavily based on rhythm, groove, and instrumental performance.
Rake and Scrape gets its name from the use of a handsaw, which is one of the main instruments that gives the genre its sound. The saw is scraped with an object such as a table knife to create the rhythmic texture that drives the music. The genre is also traditionally supported by instruments such as the goat skin drum, accordion or concertina, and other rhythm instruments. These instruments help build the tempo, groove, and dance feel that are central to Rake and Scrape music. The genre is strongly linked to the musical traditions of the Turks and Caicos Islands and the Bahamas, with the saw being described as the main instrument that makes the style unique (Iain, 2012).
Although Rake and Scrape can be described as a Caribbean genre, its popularity is still strongest in the Bahamas and Turks and Caicos Islands. Unlike reggae or soca, it was not commercially developed or internationally promoted on the same scale. Rommen explains that Bahamian music has been shaped by outside political, cultural, and economic influences, especially through tourism and the country’s position between the Caribbean and the United States (Rommen, 2011). This contributed to local genres such as Rake and Scrape remaining closely tied to community traditions, festivals, and cultural identity rather than wider international markets.
Traditional instruments such as the saw, goatskin drum, and accordion are important to the identity of the genre and help preserve its raw sound (Bahamas Air Tours, 2020). Modern popular genres and outside influences have also affected the visibility of Rake and Scrape over time, which shows why preserving the genre and presenting it to newer audiences is important (Bahamas Air Tours, 2020). This links to my project because I wanted to keep the cultural identity of the genre while showing how it could work in a modern studio production.
One part of the project that changed was the use of the handsaw. I was unable to modify and record a real handsaw for the project. For the saw to work properly, it needed to be old and dull, but I was not able to prepare one in time. Because of this, the saw sounds used in the project are samples. This was not ideal because the handsaw is one of the main instruments in Rake and Scrape. However, using samples still allowed me to include that sound and keep the rhythm connected to the genre. Looking back, I should have sourced the saw earlier so I had more time to test and record it.
The project followed the modern Rake and Scrape direction I set out in my proposal. This meant using a full band setup with drums, bass, guitar, piano, synths, and percussion, while keeping the rhythm and cultural identity at the centre. My main percussion instrument was a modified floor tom, which I used for the spank drum, also known as the tum tum. I modified it by cutting the rim to create a flatter surface. This allowed me to play it differently and manipulate the texture of the drum closer to the traditional percussion sound I wanted.
Floor Tom Modified
I also used cowbells, which connect to the wider sound of Turks and Caicos culture. Cowbells are commonly used in Junkanoo bands, along with goatskin and synthetic drums, shakers, metal guiros, brass instruments, whistles, and signal horns. Junkanoo is described as a music and costumed parade tradition practised in the Turks and Caicos Islands. The cowbells helped bring in another part of the Turks and Caicos rhythmic sound, while still keeping the project focused on Rake and Scrape (Visit Turks and Caicos Islands, n.d.).
Cowbell spot mic
November to December was the timeline I set to prepare my demo tracks. This part of the plan went well because I was able to focus on structure and instrumentation before going into the studio. I built the arrangements in Logic Pro and used them as guides for the musicians. This was useful for the bass guitar because there is a certain rhythm played in Rake and Scrape, but I also wanted the bassist to add his own riffs and features. The demos gave direction while still leaving space for his own feel.
In my original plan, studio recording sessions were meant to begin in January and finish by the end of February. In practice, recording started in February because the bassist and drummer were not available when I wanted to begin. This was a setback, but I used the extra time to improve the demos and make sure they would translate well for live recording. I also used that time to keep looking for vocalists, so the project still moved forward even though the timeline changed.
The vocal side of the project was one of the biggest challenges. I spoke with a student on the Popular Music pathway who normally performs R&B and jazz. She recorded two demo tracks I sent her, but the songs never moved beyond demo form. I also worked with another student to help put a melody together for one track, but that writing process did not develop into a finished song. These attempts were still useful because they showed how the tracks could work with different vocal ideas, but they also showed the risk of depending on other people’s availability.
I had one song that was already written with lyrics, but the drums needed to be re-recorded. The original artist permitted me to use the song. To find more singers, I made a post on the Conservatoire’s digital social board Life. I described the project as Caribbean-style music to attract students and offer them a chance to try a genre they may not normally work with. Out of three singers who replied, I was able to record vocals for Brown Girl. We spent a few days going over the lyrics and vocal delivery before the session, which helped the recording feel more prepared.
Another source of vocals came through Fiverr. I used Fiverr because I needed another option after struggling to secure enough vocalists in person. I chose the singer based on who I thought would suit one of my tracks. I explained what I needed and gave her references to help her understand the arrangement and structure. She recorded a lead vocal and harmonies, which helped turn the track into a completed song.
Working this way had drawbacks. I was not sure of her recording process, room treatment, or hardware. I needed a dry, unprocessed vocal so I could mix it properly. In the raw vocals, there was noticeable room reflection, and I could hear a noise gate cutting out the sound when she was not singing. She charged extra for revisions, so I decided to work with what was delivered because the performance itself was good. This taught me that remote collaboration can work, but clearer recording instructions need to be given before the work starts.
For the studio sessions, I tried to keep the setup the same across the recordings. I used the same microphone load-outs for most sessions because I wanted the drum sound to stay consistent. Studios were booked a week ahead, and once approved, I filled out a microphone booking form to make sure the microphones were held for me. This helped me stay organised and reduced the chance of not having the equipment I needed.
Most sessions were booked for seven hours, with the first hour used for microphone setup and channel routing. I followed my input list and only made changes when needed, such as a wallbox channel not working or a microphone needing to be replaced. One change was using the Beyerdynamic M201 on snare top instead of the Shure SM57. I chose it because I had not used it before and wanted to try it. This gave me a chance to experiment while still keeping the session controlled.
For mixing, I followed a similar process across all tracks. I started by balancing the instruments with fader volume and panning. Once I was happy with the balance, I moved on to routing and bus processing. As stated in my proposal, I used bus processing, especially on the drums because they are one of the main rhythm parts. I aimed for the drum bus to sit between -10 and -12 dB before processing. I used individual processing for clarity and tone, then used the drum bus to process the drums as a group with compression and EQ.
For vocals, I kept the process simple. I used automation first to balance the vocal level before compression or EQ. I used pitch correction on the lead vocal, fine-tuned harmonies down by -12 cents, and used a de-esser to reduce sibilance. On the vocal bus, I used light compression, stereo width, subtractive EQ, one main reverb, and delay on the harmony and backing parts. This helped the vocals sit better in the mix without overprocessing them.
