Project Proposal
Production Project Files
Progress and Management Records
As explained in my proposal, this project involved me collaborating with a pop-soul band under the name Summertime, producing a collection of songs designed to showcase their ability as musicians, demonstrating the producer’s role in shaping both creative direction and performance outcomes (Burgess, 2014). The process began with an initial consultation with my supervisor, in which I outlined my intentions for this assignment, presenting her with any rough demos while summarising details of any additional songs and plans.
Upon receiving approval of my proposal, I created a structured timetable, providing a comprehensive blueprint to the order in which recording/mixing sessions would take place (see appendix 1). This itinerary gave me firm deadlines, encouraging efficiency and allocated additional time allowing for delays and movement in the schedule due to unforeseen circumstances. This decision played a vital role in enabling me to complete this project within the given timeframe. Many sessions had to be postponed due to illness, a piano session had to be repeated as a result of a corrupted file, and the entire instrumental section for the track ‘Alone’ had to be re-recorded after we discovered the key wasn’t suitable for the singer’s vocal range. Allocating contingency time aligns with the established project management principles for handling collaborative, creative projects (Bing, 1994).
All communications regarding session booking, mix feedback, and general conversation took place in a Whatsapp group chat containing all members of the band (see appendix 2). This provided an easily accessible point of contact, prompting efficient coordination while maintaining a collaborative decision making approach. That being said, while instant messaging supports rapid response times, informal communication channels can lead to reduced clarity and documentation (O’Leary et al., 2014). Therefore, in future, more formal means of correspondence will be utilised, helping to avoid confusion and miscommunication.
Reference tracks were vital in achieving the desired sound for this pop-soul group. These songs provided influence towards both the musical aspects (melody, instrumentation, harmony, tone) as well as the technologically centred elements (mix balance, use of stereo width, effects processing). Because of this significance, a shared Spotify playlist was created (see appendix 3). This was constantly updated with tracks that both me and the band members thought could be inspirational to both songwriting and production processes. These songs were frequently referenced in practice sessions, songwriting sessions, recording sessions and mixing sessions. This provided a constant sense of creative motivation while helping us ensure we were aligning to the themes of this genre. This reflects the importance of reference material in maintaining both artistic direction and technical consistency (Senior, 2019). The vast amount of reference tracks however sometimes hindered the process, having us attempting to replicate an excessive amount of ideas.
Every recording session followed a procedural order ensuring maximum efficiency. DAW sessions would be created beforehand, with all tracks labelled and assigned the correct inputs and outputs, avoiding wasted admin time at the beginning of sessions. Microphone sheets were also made prior to studio time, these compiled all first choice options as well as backup selections in case of unavailability (see appendix 4). These microphone selections were based on a combination of research and personal previous experience. This prior confirmation eliminated time wastage surrounding experimentation of microphone choice and placement. In the event of a planned live band recording, equipment booking requests would be made in advance, guaranteeing suitable gear for the session (see appendix 5). These preparation methods are essential for efficient studio workflow (Huber and Runstein, 2017).
The recording structure of each multitracked song followed the same order:
- Keyboard guide track
- Drums
- Bass
- Keys + Synths
- Guitar
- Any other instrumentation
- Vocals
(For studio images see appendix 6)
This arrangement contributed to success throughout recording sessions, providing the performing member a suitable track to play to. Furthermore, we had discovered that ideas surrounding vocal melodies and harmonies are adapted and altered when placed in the context of a multitracked recording in comparison to a live performance. Therefore, this structure allowed for these modifications, with vocals being the final instrument to be captured. That being said, as mentioned earlier, this approach brought about challenges for the track ‘Alone’. Due to a change in band lineup, we discovered to achieve the best possible vocal performance, the key signature needed to be lowered by a semitone. This, therefore, meant that all bass, guitar and keys parts had to be re-recorded, resulting in a disruption to the project plan. This illustrates the significance of effective session planning combined with consideration towards how recording structure may impact performance quality.
I ensured DAW projects were organised in a structured manner prior to mixing, maximising workflow efficiency. This methodical setup included comping recorded takes, tuning vocal performances and colour coding, naming and grouping all tracks. Establishing this level of organisation before processing ensured the mixing process would be approached in a focused and deliberate way, reducing the risk of interruptions (Savage, 2014).
Working with the same musicians across the majority of tracks allowed me to establish plug in chains that aligned with the desired sound and aesthetic. Reusing processing chains can improve efficiency while maintaining consistency across projects (Owsinski, 2017). That being said, reliance on these templates required careful alteration to avoid achieving a repetitive sound.
Being a genre derived from authentic soul and jazz, one of my main priorities for this collection of music was to avoid over-processing, maintaining authenticity. This required careful decision making, critically evaluating every choice, ensuring it was beneficial to the overall sonic quality (Katz, 2015). This demonstrates the significance of aligning to genre specific characteristics as well as the importance of restraint in music production.
Alongside reference tracks, other songs from this project were frequently visited during mixing, guaranteeing a consistent and coherent theme throughout the portfolio. Furthermore, regular breaks were incorporated into my workflow, preventing ear fatigue, supporting my ability for critical listening, contributing to effective decision making and overall mix quality (Corey and Benson, 2017).
A strict file organisation system was implemented, assigning each individual song its own folder on my desktop containing the logic project, a bounce of the mix, and any audio files (see appendix 7). Multiple versions of the mixes were saved throughout the process, allowing for comparison. This layout encouraged structure, streamlining access to required files. Furthermore, duplicate backups of any materials were frequently saved to both cloud services and an external hard drive, ensuring any corruption to my laptop’s internal storage would not affect this project’s final output. To aid in cooperation, a shared Google Drive folder was also created (see appendix 8). This contained any demos, mixes, and track/lyric sheets, providing easy access for band members at all times.
This project encountered a wide variety of complications, the most severe of which being changes to the band lineup. Toward the end of my time working on this project, a disagreement amongst band members led to the departure of both the drummer and lead vocalist. Not only did this put pressure on the task of finding substitute musicians, but also posed the difficulty of adjusting these songs to suit the new members. Luckily, the replacement drummer was proficient at both playing this style of music, and performing in a recording environment, therefore, the transition went smoothly. On the other hand, with vocals being such a decisive factor of pop-soul music, the switch of singers required careful consideration to production planning. As earlier mentioned, adjustments to the song keys had to be made, in addition to alterations regarding melody and vocal performance. I had to tweak components of the songs, aligning them with the new vocalist’s timbre and expression, ensuring as best a performance as possible.
Another dilemma we faced during the recording process took place on the day of recording the guitar solo for the track ‘The 20s’, on which the guitar player was unexpectedly unavailable. To overcome this issue, me and the keys player composed a solo section that both matched the pianist’s guitar playing ability, yet provided a strong and exciting segment of the song.
The critical thinking and decision making displayed in these scenarios proves the level of adaptability required by a producer when handling a large scale, collaborative project (Massy, 2016).
Throughout this assignment, there are areas that I believe have potential to be improved, but were submitted in this state due to time restraints. Had I been given a longer period of time to complete this portfolio, I would have expanded the duration of the submission. Only presenting approximately 26 minutes of music poses limitations to fully demonstrate my strengths as a producer.
Furthermore, the final product of tracks such as ‘Alone’ and ‘Oh No I’ve Got That Feeling Again’ were rushed slightly, again due to a nearing deadline. Under different circumstances I would have spent time recording additional lead and backing vocal parts, providing a more polished performance with greater depth. In addition to this, I would have sought feedback from a wider range of listeners. Gathering perspectives from both musically trained individuals as well as those not musically inclined would have given me a more comprehensive template of improvements to make.
That being said, overall, this project successfully encapsulated the desired pop-soul sound while demonstrating innovation and individuality throughout artistic means. In addition to this, a level of effective project management and adaptive production skills was displayed throughout the process. The incorporation of many different instruments forced me to challenge myself, expanding my knowledge surrounding capture and audio processing. Meanwhile, the constrained timing situations drove me to work efficiently. Throughout this portfolio I have displayed a comprehensive knowledge of all areas surrounding music production. The quality of song arrangement, sonic capture and mix/master illustrates my skills as a music producer.
Appendices
Appendix 1
Appendix 2
Appendix 3
Appendix 4
Appendix 5
Appendix 6
Appendix 7
Appendix 8
Bibliography
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Burgess, Richard James. The History of Music Production. New York, Oxford University Press, 2014.
Corey, Jason, and David H Benson. Audio Production and Critical Listening : Technical Ear Training. New York, Routledge, Taylor & Francis Group, 2017.
David Miles Huber, and Robert E Runstein. Modern Recording Techniques. 9th ed., New York ; London Routledge Taylor Et Francis Group, 2017.
Katz, Robert A. Mastering Audio : The Art and the Science. 3rd ed., Burlington, Ma, Focal Press, Taylor & Francis Group, 2015.
Massy, Sylvia. Recording Unhinged : Creative and Unconventional Music Recording Techniques. Milwaukee, Hal Leonard Books, 1 May 2016.
O’Leary, Michael Boyer, et al. “Beyond Being There: The Symbolic Role of Communication and Identification in Perceptions of Proximity to Geographically Dispersed Colleagues.” MIS Quarterly, vol. 38, no. 4, 1 Dec. 2014, pp. 1219-+, Available online at: www.researchgate.net/publication/279023902_Beyond_being_there_The_symbolic_role_of_communication_and_identification_in_perceptions_of_proximity_to_geographically_dispersed_colleagues. [Accessed: 05/05/2026]
Owsinski, Bobby. The Mixing Engineer’s Handbook. 4th ed., Burbank, Ca, Bmog/ An Imprint Of Bobby Owsinski Media Group, 2017.
Savage, Steve. Mixing and Mastering in the Box : The Guide to Making Great Mixes and Final Masters on Your Computer. Oxford, Oxford University Press, 2014.
Senior, Mike. Mixing Secrets for the Small Studio. New York, Ny, Routledge, Taylor & Francis Group, 2019.
