MPR4C001R-003 Portfolio: Production & Log
Task 1 – WAV Mixes
Task 2 – Production Log Book
1500 Words
Track 1 (Genre Specific Emulation)
Day Tripper – The Beatles
Pre-Production & Session Planning: Our group selected “Day Tripper” by The Beatles as our genre emulation track, aiming to replicate the performance and production style of 1960s British rock. Pre-production involved listening analytically to the original recording, identifying arrangement elements, tone, and mixing choices that defined the track. We created a session plan outlining the number of tracks, patch list, room bookings, and how we can divide roles. We coordinated as a group to book studio timings and ensured that we had completed our patch lists and session plan before the recording.
Rehearsals & Track Development: The instrumentalists consisted of some of our production group and some close friends, therefore it was easy to ensure that all parts were being learnt in a reasonable timeframe. To tighten the arrangement, we made sure that all the instrumentalists were ready to record beforehand. We paid extra attention to the instrument tones, vocal delivery, and tempo consistency as those are the main aspects that could differentiate us from the original if we weren’t careful. In terms of mixing, we all met for multiple sessions to work it in parts to really allow us time to get it as close to the original as possible.
Recording
Recording Process: We recorded using multi-tracking and many distinct tracks: lead guitar, rhythm guitar, guitar solo, bass, drums, tambourine, lead vocal, and backing vocals.
Microphone Choices & Room Setup:
- Drums: We used a minimal-mic setup similar to Abbey Road’s practices – a condenser and ribbon (Delta 2) on the kick, a Shure SM57 on the snare, and a condenser for the overhead.
- Guitars: The guitar amp was mic’d with a JZ V67 close to the grill, angled slightly off-axis to avoid harshness.
- Bass: We captured both a DI signal and a mic’d bass amp allowing flexibility in the mix.
- Vocals: For lead vocals, we simply used an AKG C414 to achieve the clarity. Backing vocals were with the same mic but placed further back to emulate a roomy 1960s blend.
- Tambourine: the tambourine was simply mic’d with an SM57
Mixing
- Mixing (Concept, Balance, Pan, Tone, FX): In the mixing process, we prioritised warmth, dynamics, and minimal processing. EQ was used mainly on the drums, guitar and vocals to try to achieve the tone used in the song. Compression was applied subtly, particularly to drums and vocals, to preserve the dynamic range. Throughout we utilised many Abbey Road plug-ins to emulate that 60’s Beatles sound. Stereo panning was carefully managed by listening thoroughly to the track and replicating it in our mix. Our mic, plug-in choices and minimalist drum approach were based on extensive research into Abbey Road’s engineering choices.
Track 2 (Live In the Studio Stereo Recording)
Jazz quartet: Black Orpheus
Pre-Production & Planning:
This track involved recording a jazz quartet live in one take using stereo microphone techniques. Pre-production focused on understanding the jazz ensemble’s needs, sound and preparing the studio for the capture. We scheduled a session and coordinated with the musicians to ensure we had their input on instrument placement and room setup. We planned our mic’ing techniques and patch list beforehand to get things to run smoothly on the day as we only had an hour and a half studio session.
Room Setup & Microphone Choices:
- Mid-Side Pair: We used a mid-side (M/S) stereo technique for the central image. A cardioid microphone faced directly toward the ensemble (mid), paired with a figure-8 microphone capturing sound from the sides, both of which were a Sontronics Orpheus. This configuration allowed stereo control in post-production and helped with the mono compatibility.
- Spaced Pair: A second stereo pair of two AKG C414’s was placed in a spaced configuration in either corner of the room to capture the natural ambience and depth. This added spatial detail and enhanced the stereo image, complementing the focused capture of the mid-side setup.
- Instrument Positioning:
- Double bass was placed near the Mid-Side pair for definition.
- Piano was slightly to the left in the middle of the room with the lid almost-closed to stop it from overpowering in the recording.
- Drums were positioned furthest from the mic to naturally balance the volume.
- Saxophone was placed to the right to create stereo width in contrast with the piano.
We didn’t use any spot mics, following the brief. We all assisted with mic placement adjustments and level checks during rehearsal.
Mixing (Tone, Pan, FX):
The mix focused on preserving the authenticity of the live performance. We used very subtle EQ to balance frequency clashes, and with the help of a multi-pressor, we boosted the lower frequencies to let the double bass come through. No artificial reverb was added as room tone captured by the spaced pair was good. We then panned everything on the desk and printed it back to the DAW so we could take time to perfect the mix and how it translated into mono.
Rationale:
Jazz is an ensemble-driven genre, therefore, our stereo mic setup attempted to capture the real-time dynamics without overproduction. Avoiding spot mic’s allowed the natural dynamics of live jazz, and working in stereo rather than mono preserved depth.
Track 3 Remix track
Concept & Pre-Production:
For the remix, the brief allowed for creative re-interpretation, and I chose to go in a deep house direction to try to contrast the original heavily. I aimed to retain the vocal’s identity to a recognisable extent and worked around it by curating different synth parts, drums, bass and layers to align with my chosen genre.
Track Development & Arrangement Decisions:
I heavily reworked the original vocals by using time-stretching, chopping, and pitch manipulation. I started the track off with a captivating intro that allows my found-sound drums to shine through. It also allows the vocals to introduce themselves before stripping it back into the verse. Automation was extensively used to introduce FX’s, dynamics, and transitions.
Live Recording Elements (Brief Requirement):
Percussion (Using Found Sounds):
- Live Bassline: Recorded using a DI’d electric bass, played to complement the house groove.
- Keys: I played a bunch of little synth parts using a Nord which I heavily processed with different reverbs and delays for space and depth.
Found Sounds:
- Intro percussion: I created this drum intro based around the sounds of a tin jar on my desk and a pencil. I simply recorded them with a condenser and sampled them in Logic.
- Kick Drum: For the kick, I just stomped n the uni cafe bar. I shaped the transient and boosted the low end to simulate a subby house kick with a bit of mid’s to allow some click.
Original kick:
Produced kick:
Microphone & Sound Design Choices:
I recorded all live instruments through DI to align with the clean sound that I wanted to easily fall within my chosen genre. The creative constraint of using no external samples encouraged innovation and originality which I found refreshing.
Mixing (Balance, FX, Pan):
My mix plan centered around space and width:
- The vocals utilised some pre-sets and plug-ins to layer a chorus and telephone effect. Alongside this, I added different automated echos and delay’s for more texture, a whole bunch of time-flexing and some pitch correction.
- Percussion was EQ’ed and compressed to give that sound I needed to replicated common deep house sounds.
- The bass was kept mono to allow for it to be a focus point within the mix.
- A sidechain compressor ducked the bass and keys beneath the kick to produce a driving house rhythm.
Rationale:
By combining recordings and electronic processing, I fulfilled the brief while applying genre-specific elements like swing quantisation, atmospheric effects, and repetitive phrasing. There are some elements of the track that still need some work, such as the pitch being off in the vocals at times.
Project Management & Group Collaboration (LO4)
Planning & Roles:
For the emulation and jazz recordings, we all participated in planning sessions, patch lists and researching different mic’s recording techniques and instrumental parts beforehand. We all helped set up equipment, and assisted with engineering within the sessions. Then, to continue our great collaboration, we all worked together to mix the tracks.
Time Management:
We scheduled our sessions with buffers and extras to allow practice time and refining of our recording techniques. We also ensured that we left enough time for mixing after the recording process was finished.For the remix, I structured my own timeline from ideation to final mix, I communicated with the bassist for a recording session and rehearsing too.
Communication & Documentation:
- We shared our files after every session to keep everyone on top of things.
- We communicated with our performers and each other to curate patch lists, recording session timings and design mic placements.
Conclusion
This production portfolio allowed me to expand my knowledge on a range of things. I collaborated and recorded three contrasting genres, rock, jazz, and electronic music, by adapting my technical and creative approaches accordingly. I developed a deeper understanding of genre conventions, microphone technique, stereo imaging, and professional studio workflow. I also got to work collaboratively with some amazing musicians to create some great recordings.
