Electric Guitar – When recording guitar I used a Shure SM57 and a AKG C414 using a setup I found using online research. The setup places a dynamic microphone (SM57) and a condenser microphone (C414) next to each other pointing at each of the speakers. The article by (Mark Opitz, 2014) shows a stereo recording technique. I took this article and experimented with the placement of microphones to achieve the sound I wanted. The placement allowed for a clear recording with a small amount of room reverb. I used the DBX 580 Preamp to achieve the correct level and sound I wanted for the recording.

Acoustic Guitar – When recording acoustic guitar I chose to use a pad of Neumann KM184s. One placed near the hole of the guitar and the other near the neck. I experimented with the distance of the microphones from the player to achieve the clearest recording. I used the DBX 580 Preamp to achieve the level and sound I wanted for the guitar recording.

Vocals – For vocal recording I used the Rhode K2 Valve Condenser microphone for its warm and smooth sound, with the polar pattern set to cardioid to eliminate any room noise or unwanted reverb . Again using the DBX 580 Preamp and a pop filter to reduce sibilance and any peaking during the recording. Given that tame impala uses this microphone, I chose it to capture a similar tone for my track.

Keyboard and Synth – The keyboard and synthesisers on the track are a mix of analog and MIDI. Using the Rhodes sound on the Nord Electro for the Lead parts and a MIDI Rhodes sound for the rhythm. The track also features a midi Prophet sound in the chorus and a piano sound recorded using the Nord Electro.

When processing vocals the aim was a present lofi sound with a distinct character, using the sound toys echo boy as the main plug-in, along side the RC-20 for soft distortion and heavy EQ, the vocal chain also consisted of plugins such as multi band compression, delays and limiters. I took inspiration for the vocal chain from artists like Slowthai and Mac Miller who commonly used the EchoBoy.

The guitar has four different parts acoustic rhythm, acoustic lead, electric lead, electric rhythm, distorted lead. The majority being sent to the same bus channels for reverb and delay.

I use a hall reverb with 2.14 second delay for the guitars, applying a low cut eq to provide space in the mix. With a DeEsser on the acoustic guitars to reduce string noise.

For drums I used Superior Drummer to create a realistic midi groove that fit the alternative indie rock genre and the feel I aimed for. Adding sampled drum loops to add character and groove to the midi drums, creating an overall wider sound.

Sampling is used heavily in the intro of the track, using found sound and digital samples. The image shows a tambourine recorded using a Shure SM7B then manipulated with a filter sweep and an LFO pitch sweep. This creating a wave like jingle sound.

The image shows a section from the Rhodes Lead that I re-sampled to create a piano fill with a filter sweep and a pitch bend that is used in the tradition between verse one and the first chorus.