Task 1 – WAV Mixes
Track 1- Here’s Where The Story Ends – The Sundays (Alternative Indie Rock)
Pre Production
As a group we came together to discuss the track we wanted to record, we decided on ‘ Here’s Where The Story Ends’ by The Sundays, A simple 90’s Alt Rock track.
We began by finding the original track for reference and recorded it onto the project through the long fader. Using logic’s stem splitter we split the track into each individual instrument, allowing us to solo each element of the track.
Once we had the reference we sourced the musicians to record, using fellow students and friends that were familiar with the track.
Recording
| Instrument | MIcrophone Used |
| Kick In | D112 |
| Kick Out | D6 |
| Snare Over | Sennhiser MD 441 |
| Snare Under | Shure SM57 |
| Hi Hat | Octavia MC012 |
| OH R | Schoeps CMC6U |
| OH L | Schoeps CMC6U |
| Vocals | Rhode K2 Condenser Valve |
| Bass | Di Box |
| Guitar L | Neumann KM184 |
| Guitar R | Neumann KM184 |
Vocals –
When recording vocals we used the Rhode K2 with sound barriers to capture a clean vocal take. Setting the K2 polar pattern to figure of eight to capture some room reverb to make the vocals sound more humanised.
Although the Microphone used in the original track is unknown The Sundays were known for their atmospheric sound, by using the K2 which is a very clean and warm sounding valve microphone, it allowed for us to add various reverbs and delays in the post production to match as closely as possible to the original track.
Bass –
When recording bass we used a DI box to record rather than an amp. This gave us a clean bass recording that we could further process in post production to closely match the original track.
Guitar –
When recording guitar we used a pair of Neumann KM184 condenser microphones to capture the rhythm and lead guitar for the track. We wanted a clean and accurate recording allowing us to match the original reverb heavy atmospheric guitar line with the use of post production plug ins.
Drums –
When recording drums we used a striped back kit with only kick, snare, hats and a crash cymbal as this is all that is used in the original track. We specifically used an XY cardioid overhead pair to capture a more focused overall sound of the drums, as the original sounds as though midi drums or a very tight close recording was used. The drums were surrounded by sound panels to reduce any room sound being captured.
Processing
Drums – Sample replacement on the snare using a sampler to find the correct snare to match the live drums, we heavy quantising and flex time to achieve the tight robotic sounding drums.
Guitar rhythm – Apply reverb, delay, echo and chorus to replicate the atmospheric sound. For the lead we duplicated the guitar track and took the second track up an octave to replicate the higher octave twangy 12 string guitar sound heard on the original track.
Bass – Fast Vintage FET Compressor with boosted channel EQ, boosting high mids at 2khz to allow the bass to sit in the mix.
Vocals – For the Vocals we used various reverbs and delays such as Tape Delay, Space Designer, Echo and Chorus to replicate the original tracks atmospheric sound. A Vocal transformer was used to pitch the vocal up to closer match the pitch of the original.
Project Management
When choosing the track the deciding factor was the length of the track compared to the others projects, combined we had roughly seven minutes out of ten for the cover track and the stereo recording. This leaving us three minutes for the remix.
When planning the recording sessions we decided to record the vocals and bass first in one session. In the second session we recorded the acoustic rhythm and lead. In the final session we recorded drums. We set deadlines for when we aimed to be finished with the recording stage to ensure we had enough time to mix.
Assigning roles came easy with individuals choosing the role that they feel the most proficient, I chose to undertake the role of DAW engineer and helping with microphone placement.
Track 2 (Live In the Studio Stereo Recording)
Pre Production
Before starting track two we came together as a group and discussed possible tracks we could record. Deciding on a friend’s jazz band. We then made a list of the instruments that will be played and the microphones that will be needed, we sketched a floor plan for the setup giving us an idea of how the room will work and how to ensure the day will run efficiently.
Recording
| Instrument | Microphone used |
| Bass | Neumann Km184 Pair |
| Piano | schoeps omnis Pair |
| Trumpet | Sontronic STC-10 |
| Drums | Neumann KM184 pair |
| Mid Side Pair | 2x AKG C414 |
When recording the main focus was the positioning of the microphones with us recording in such a small room we had ensure the setup was capturing a clean and clear recording. This lead to a lot of experimenting with the position of both the musicians and the microphones before we were happy with the sound.
We used XY pairs of small condenser microphones to capture the trumpet and piano. This being an attempt to capture a narrow focused recording to reduce instrument bleed.
Positioning the drums on the far side of the studio further from other instruments to isolate them and have them sit in the mix without bleeding into the other microphones. We used a space pair of schoeps omnis to capture the whole kit with an open recording.
Processing and Mixing
One the recording was finished we spent a session cleaning up the recordings. The Kick drum was very prominent in the mix so we used a channel EQ to take some of the low frequencies from the Mid Side Pair. Similarly the trumpet had to much low end. We used compression to control the track dynamically.
Finalising the track with simple mastering using a limiter, soft compression and Eq to achieve the a clear mix.
Track 3 Remix track
Pre Production
I decided on making a synth pop remix of the Sunday’s track, taking inspiration from artists such as Tame Impala and Djo for their synth pop sounds and four on the floor drums. I wanted to keep the track at the same speed to create a slow Lofi remix with atmospheric synths and Piano parts.
Recording samples with a Zoom handheld location recorder, gathering various sounds to use for percussion. I also recorded found sounds and one shots with my phone at home using voice memos the were later exported into logic and added to the step sequencer.
Processing and Production
Vocals –
When producing the track I decided to use vocal hooks and the chorus from the cover track to keep my production interesting. Adding Step FX to the main vocal and backing vocals to manipulate the sound into something new. To further manipulate the sound of the vocals, I took the hook from each section and chopped them and rearranged them to fit the part then added Step FX creating a glitch percussive vocal line adding texture to the track.
Instrumentation
To fit the genre of choice I created synth parts using Serum, following the chords from the original track and adding lead lines and synth bass, to accompany the synth bass I recorded live bass and guitar following the same notes. I added side chain compression and ducking to the bass and synth chords to create movement in the track. I also used stereo spread to and chroma glow to give a the synth a broader sound. Trying to add a new part each 4-8 bars to keep the remix interesting and different.
Found Sound Percussion
Using the Zoom microphone I recorded sounds by hitting acoustic panels for a kick drum, kicking bins for toms and various other sounds like claps and perc sounds. I took these sounds and created a step sequencer kit in logic.
Four on the floor kick was the main idea for my track, I captured the sound of hitting a wall and the sound an acoustic panel makes when hit and processed the low end using hard compression and eq.
I created the heavy tom sound heard in the chorus by recording the me hitting a plastic bin. Using compression, saturation and heavy eq.
Overall Conclusion
As a whole the projects all went to plan and were finished to a good standard within the deadline. If I were to undertake the project again I would book out room earlier to ensure there is the space for recordings like the stereo array. I would also ensure everyone in the group is aware of the times we have booked and the plan for the session so that everyone can be involved with the recording and post production process. I could also have gathered better found sounds for the remix, and looked further into other artists for more inspiration.
