MPR6C001R~001~AST21080645 Coursework & Project Context

Saquona Astwood

7/ May/ 2026

Specialist Study 3

I have added mastered tracks to my appendix to support my final mixes.

Progress and Management Records

Introduction

The creation of a two-part EP with three R&B and three Rake and Scrape tracks was the main goal of my project. This was to explore two different genres while showcasing my technical and artistic abilities in music production, recording, and composition. While the Rake and Scrape tracks used traditional Caribbean instrumentation and rhythmic frameworks, which presented the difficulty of adjusting to a foreign musical style, the R&B tracks permitted experimentation with contemporary vocal styles, beat creation, and electronic instrumentation.

The music I simply loved and the music I grew up listening to serve as my inspiration. I intended the EP to showcase my ethnic history and unique style, especially in the songs “Rake” and “Scrape.” The project’s goals were to create six fully mixed and mastered tracks, strengthen organisational and project management abilities, and record the technical and artistic choices that went into the EP. As a Level 6 music student, the project also promoted critical reflection on my workflow, challenges, and development.

Project Proposal Plan

At the start of the academic year, an initial project proposal was created with the goal of creating an eight-track EP with four R&B and four Rake and Scrape tracks. The proposal outlined a production schedule, resource planning, and desired results for both technical and creative development.

Because it offered a solid and practical foundation for the EP, the original concept was mostly unaltered throughout the production process. However, the approach to achieving these outcomes evolved in response to real-world difficulties, technical problems, and innovative choices made during production, even though the general objectives and framework remained the same (see Project Proposal).

Evidence of Communication

The success of the plan depended heavily on communication. My supervisor and I had bi-weekly one-on-one sessions, which were recorded with notes outlining activities and feedback. One important piece of advice that had an impact on my R&B song was the recommendation to use drum decay and reverb instead of just changing the vocals to turn a whole section into a “spacey” ambiance.

I worked in tandem with the session musicians (guitarist, drummer, pianist, and vocalist) via WhatsApp, which further demonstrated communication (see Appendix 17). These conversations were especially crucial when working across time zones and helped to keep things moving forward despite logistical difficulties (see Appendix 8)

During a drum session, for instance, communication helped to avoid a problem. My phone was on silent when my drummer tried to get in touch with me. He waited at the studio because the session time and studio location had been confirmed beforehand, and we proceeded without interruption (see Appendix 1).

I also kept myself structured by sending myself WhatsApp messages and voice notes every time I came up with a new concept, be it a lyric line, drum part or tune. These documents functioned as documentation of my progress as well as creative reminders.

Management and Organisation Records

From composition to mastering, every production milestone was monitored using a Ganttchart. Tasks designed as “To Do,” “In Progress,” or “Completed” were visually displayed on task lists, which aided in maintaining organization across several tracks (see Appendix 13, 14 and 18).

Time management

I worked on four tracks at once, concentrating on the same components. For instance, before bringing in my session drummer, I simultaneously recorded drum demos for multiple tracks. This method allowed for creative cross-pollination across tracks, kept the workflow fresh, and decreased weariness. (see Appendix 1, 2, and 4)

A daily calendar record that tracked studio reservations, session times, and periods of independent work throughout the project served as an additional tool for time management (see Appendix 18). This improved organisation across multiple tracks and supported consistent progress throughout the EP.

Maintaining Records:

Dates, people, and equipment used, together with technical settings and difficulties encountered, were all recorded in session logs (see Appendix 1-12). Steps were documented with DAW screenshots that showed the arrangement, use of plugins, and progression from rough demos to final mixes (see Appendix 16). These screenshots offered visual proof of the EP’s creative growth as well as technical workflow.

To demonstrate workflow, recording sessions, and overall project progress throughout the EP, supporting video documentation was also gathered during the production process (see Appendix 19). From early demos to the last phases of production, these recordings assisted in documenting the practical progress.

Contingency Planning:

Technical and logistical difficulties during studio sessions required flexibility and problem-solving (See Appendix 7, 10, and 12). To overcome genre restrictions at school, local musicians were sourced and contributed to bass recordings (See Appendix 6).

Process Evaluation (SWOT Analysis)

A SWOT analysis was utilised to evaluate the project’s strengths, weaknesses, opportunities, and threats to critically assess this EP’s production process.

Strengths

This project’s usage of collaboration with session musicians was one of its main strengths. I included talented musicians who could interpret and improve my ideas because I was aware of my limitsas a non-specialist drummer or guitarist for example. As a result, the recording’s overall quality and authenticity were greatly enhanced (see Appendix 4 and 6).

My workflow strategy of working on several tracks at once while concentrating on the same aspects (drums across multiple tracks, for example) was another strength. Because each track delivered a distinct tempo and feel despite comparable activities being completed, this approach helped retain creative freshness and reduce fatigue (see Appendix 1, 2 and 4).

I also had strong interpersonal skills with peers, technicians, and tutors. I was able to overcome problems and produce high-quality recordings by asking for help when I needed it (see Appendix 2 and 4).

Weaknesses

During the project, creative fatigue was found to be a major problem, especially while creating the last tune in each genre. At this point, coming up with fresh, original ideas got increasingly difficult, which affected the production’s ease and speed.

My lack of familiarity with Rake and Scrape music production was another flaw. Even though the goal of this project was to investigate the genre, there were times when more effort and investigation were needed to achieve authenticity in rhythm and instrumentation.

Furthermore, even though using outside musicians was advantageous, scheduling and availability issues occasionally caused delays (see Appendix 7, 10, and 12). This demonstrated the need for more thorough planning when organising group projects.

Managing the duties of the producer, recording engineer, mixing engineer, and mastering engineer presented another difficulty during the process. Maintaining objectivity and consistency in the final stages of production was sometimes challenging due to the constant switching between technical and artistic roles.

Opportunities

Opportunities for professional and artistic growth were made possible by this endeavour. Developing my multigenre mixing and production abilities was one significant chance. I was able to increase my technical expertise and flexibility by contrasting R&B with Rake and Scrape.

Cultural development provided an additional possibility. I improved my cultural awareness and connection to the music by learning more about the origins and significance of Rake and Scrape viamy research and production of these songs.

Future development of the EP is also possible. The project might be pushed to a professional release level with additional time and funding, especially for the Rake and Scrape tracks, possibly featuring well-known Turks and Caicos musicians.

Threats

The project was affected during production by several threats. Time constraints limited the amount of time available for regular in-depth track development, especially when juggling this project with other academic projects.

Technical difficulties that hampered development at first were eventually fixed with coaching (see Appendix 2 and 10). The availability of session musicians, especially those who were conversant with R&B and Rake and Scrape, posed a logistical burden throughout the project, but it was lessened by remote collaboration (see Appendix 8).

Overall, the SWOT analysis shows that even though the project had difficulties with time management, genre familiarity, and cooperation logistics, these were counterbalanced by excellent communication, efficient workflow techniques, and ongoing skill growth. In the end, the approach helped me develop creatively and improved my capacity to oversee a major music production project.

Conclusion

Creating this EP has been one of the most important and challenging projects I have worked on during my academic career. In addition to applying technical expertise in recording, mixing, and production, it also required time management, efficient teamwork, and flexibility in the face of obstacles.

Through the project’s effective exploitation of two opposing genres, I was able to advance both technically and creatively. While the Rake and Scrape recordings expanded my cultural awareness and connection to traditional musical aspects, the R&B tracks improved my comprehension of vocal production and modern sound design. A wider and more adaptable production skill set resulted from this dual strategy.

Several difficulties were faced during the process, such as problems with technological workflow, musician availability, and vocal recording. Nevertheless, these difficulties prompted the creation of problem-solving techniques, such as adjusting to home recording, enhancing collaborator communication, and improving session production (see Appendix 3, 7, 8, 10, and 12).

This project shows how far I have come as a producer, especially in terms of my capacity to oversee a large-scale production project on my own from start to finish. It demonstrates my development in both professional practice and technical proficiency, setting me up for future employment in the music business.