The Ensemble Recording
Following on from the success of the Second-Year recording with the Leeds Conservatoire Contemporary Pop Choir, I elected to work with this ensemble again for their subsequent performance at Lancaster Priory. This recording presented a more complex logistical and technical challenge than a more conventional studio-based session, as it was to be carried out in a publicly accessible, listed building, during a paid event. As a result, the project required careful coordination between Leeds Conservatoire’s, the ensemble, and Lancaster Priory. It was essential the venue’s requirements were identified and addressed before the recording could proceed.
The main goal was to ensure that the recording process was achievable, of a high standard, and carried out safely. The context of the event made this especially important. Unlike a controlled recording environment, Lancaster Priory introduced a number of practical restrictions relating to power usage, cable routing, public access, preservation of the building, and audience experience. These restrictions meant that the recording could not simply be approached from a technical perspective; it also required detailed planning, risk assessment and management, and appropriate approval.
Preparation for the event can broadly be divided into three stages: Planning and Risk Assessment, Planning and Approval, and Execution. In order for the recording to proceed, I felt it necessary to produce an Event Plan, a Risk Assessment, and a Contingency Plan. These documents would provide a clear understanding on how the session would operate, what risks there would be, and how those risks could reasonably be controlled.
When preparing these materials, I referred to photographs taken during the site visit from the previous recording. I also corresponded with my venue contact, Steph, to clarify the requirements imposed by Lancaster Priory. It was noted that any equipment not directly provided by the venue was required to have up-to-date Portable Appliance Testing certification. Power would be available, but I could not exceed a maximum load of 10 amps. Cable management was also a major concern: cables were not able to cross the central aisle, should be routed to the rear of the venue through side aisles, and should avoid publicly accessible areas wherever possible. Where cables did cross such areas, they had to be protected using mats or dedicated cable covers.
Further restrictions related to the protection of the building and audience safety. Tape or adhesive could not be used to secure equipment to any surface. Any equipment placed directly on the venue floor needed to have rubber or felt feet in order to prevent damage. Equipment positioned in front of the audience could not obstruct the audience’s view or otherwise interfere with their experience of the performance. Finally, no equipment could be positioned in emergency routes of egress. These requirements informed all planning and strongly influenced the technical approach used on the day.
Preparation
In advance of the session, I undertook a site visit to Lancaster Priory in order to evaluate the venue configuration and determine the most effective way to achieve a good-quality recording within the restrictions provided. This visit was a crucial part of the planning process, as it allowed me to assess the relationship between the performance space, the audience area, available power points, cable routes, and possible microphone positions.
During the visit, I paid particular attention to the location of electrical outlets. This enabled me to plan cable runs and equipment placement in a way that would cause minimal disruption to the venue and to the limited stage area. Since the performance space was not designed primarily for recording, it was important to approach the layout pragmatically, balancing technical quality with venue restrictions and audience considerations.
The findings from this visit, along with supporting photographs, formed part of the risk assessment and contributed to the floor plan contained within the event documentation. This ensured that decisions about microphone placement, cable routing, and equipment positioning were not improvised on the day, but were instead based on prior observation and planning.
The risk assessment and event plan were divided broadly into two sections. The first addressed the risks associated with the recording activities themselves, identifying potential hazards and outlining the methods by which they would be controlled. The second focused on the day plan, detailing what would be completed, when it would be completed, and to what specification. This included the track sheet, microphone list, and equipment list. Together, these documents created a structured approach to the session and ensured that the recording could be carried out efficiently and safely.
Evaluating Risk
My risk assessment methodology was based on an established template created for the event “Let’s Rock Bristol”. This template uses a relative metric to evaluate the prospective risk of a given activity by measuring both severity and likelihood. Severity refers to how serious the consequences of a particular activity might feasibly be, measured on a scale of 1 to 10. Likelihood refers to how probable it is that the activity could result in an accident or incident.
By multiplying these two values, I was able to produce a risk score for each identified hazard. This allowed me to determine which risks required mitigation strategies and which activities presented an acceptable level of risk once suitable precautions had been applied. This process was particularly useful because it provided a clear and consistent method for prioritising risk. Rather than treating all hazards as equal, the methodology enabled the most significant risks to be identified and addressed first.
The management of the risks identified was then considered through the “Hierarchy of Controls”. This framework ranks control measures from most to least effective. The most effective measure is elimination, which asks whether the risk can be physically removed. Where elimination is not possible, substitution considers whether the hazardous element of the task can be replaced. Engineering controls then consider whether the risk can be isolated from those undertaking the activity. Administrative controls involve reducing risk by changing the way people work. Finally, personal protective equipment addresses whether those exposed to the hazard can be protected.
Using this methodology alongside an event plan ensured that both those working on the recording and those attending the event would not be exposed to an unacceptably high level of risk. This was particularly important given that the recording took place in a public environment, where members of the audience, performers, venue staff, and technical personnel were all present.
Public Liability Insurance (PLI)
As the event was publicly attended, it was important to ensure that both the venue and I were appropriately covered in the event that something went wrong. Public Liability Insurance was therefore an important consideration in the planning process. My own activities were covered under Leeds Conservatoire’s Public Liability Insurance, while Lancaster Priory was covered under its own policy. I obtained confirmation of the venue’s insurance before the beginning of the event.
This provided an additional layer of assurance for all parties involved. Although the risk assessment and event plan were designed to prevent incidents from occurring, insurance was necessary as a further safeguard. In this context, it was not sufficient simply to assume that the recording could proceed safely; it was also necessary to ensure that appropriate institutional and venue-level protections were in place.
As an additional measure, and to provide further protection for both the Conservatoire and myself, I had the risk assessment reviewed by Greg Bush. He was satisfied with the mitigation strategies that would be implemented on site and confirmed that the necessary precautions had been put in place for the event to proceed safely. This review added an important level of external validation to the planning process and helped ensure that the event documentation was robust.
Planning Contingencies
The event plan for this recording also included a secondary plan and risk assessment, which could be used in the event that the original recording did not proceed or was cancelled. This contingency planning was particularly important in the context of this submission, as it ensured that I would still have a recording to submit even if the Lancaster Priory performance could not take place.
The alternative plan was for the recording to be completed in “The Venue” during a rehearsal. In this scenario, the Leeds Conservatoire Pop Choir would perform one song in its entirety. This arrangement was agreed in advance with Craig Lees, the musical director of the ensemble. By securing this agreement beforehand, I ensured that the contingency was realistic and achievable rather than merely theoretical.
During the Lancaster recording itself, I also made use of a Zoom H5 as a backup recording device. This was used to capture a static mix from the mixing console. The purpose of this was to provide an additional recording in the event of a DAW crash, computer issue, or other technical failure. Although this recording would not necessarily provide the same flexibility or quality as the main multitrack recording, it would still provide a usable document of the performance that could be delivered if required.
This contingency planning reflects the importance of redundancy in live recording contexts. In a studio environment, technical problems can often be resolved by stopping and restarting. In a live public performance, however, the event continues regardless of any technical issue. For this reason, the backup plan and secondary recording system were essential parts of the overall project design.
Sourcing of Equipment
The equipment used for this recording was a major consideration, as not all of the required equipment could be provided through Technical & Performance Resources. The project also involved providing a PA system for the event, which would be controlled through the same console that was feeding the DAW recording. This added a further layer of complexity, as the system had to function both as reinforcement for the live event and as a source for the recording.
As part of this setup, radio microphones were required. These were provided by the Events Team and Craig and were used throughout the duration of the performance. They were also recorded for the choir’s purposes, although they did not feature in the song recordings themselves. This distinction was important, as the microphones served a practical role within the live event without necessarily forming part of the final musical mix.
The provision of handheld radio microphones was therefore part of the wider technical infrastructure required to support the event. While the core aim of the project was to capture the choir performance, the live context meant that the recording system had to coexist with the sound reinforcement system. This required careful routing, planning, and consideration of how the two systems would interact.
Recording On-site
When arriving on site for the recording, my first task was to position the microphones according to the floor plan outlined in the Event Plan. This provided a clear starting point for the setup and allowed the technical plan to be implemented efficiently. Once the microphones were in place, I was able to fine-tune the setup in response to the physical conditions of the venue, particularly in relation to cable management.
This process was important because the planned layout had to be adapted to the realities of the space on the day. While the site visit and floor plan provided a strong foundation, minor adjustments were still necessary in order to ensure that cables could be run safely and that the setup complied with the venue’s restrictions. The priority was to maintain a balance between technical quality, audience experience, and safety.
Microphone Placement
The microphone techniques used involved a number of stereo pairs configured in AB and a widened version of ORTF. These techniques were selected in response to the nature of the ensemble and the acoustic characteristics of the venue. The aim was to capture the width, depth, and spatial qualities of the choir while also working within the practical limitations of the performance space. As part of the methodology to my microphone placement. I have referenced a handful of articles available on the internet by DPA Microphones and Yamaha which, in conjunction with the venue requirements influenced heavily on the setup I chose to record with.
The first pair was positioned aloft to the rear of the choir on cathedral stands and configured to use an omnidirectional polar pattern. This placement was intended to capture a broad and natural image of the ensemble within the acoustic environment of Lancaster Priory. The use of elevated stands helped to achieve an appropriate perspective while avoiding unnecessary obstruction of the performance area.
The microphone strategy was shaped by the constraints of the venue and the presence of the PA system. While more conventional approaches may have been preferable in an ideal recording environment, the restrictions relating to sight lines, cable routing, access routes, and equipment placement required a more adaptable approach. The selected techniques therefore represented a compromise between the desired recording quality and the practical conditions of the event.
[The microphones positioning can be viewed in the gallery]
Evaluation
Overall, I believe the Lancaster location recording was successful. A high-quality recording was produced and delivered, due in part to the microphones selected, but also to the unconventional techniques used to accommodate the venue requirements on this occasion. Although the setup was not ideal from a purely technical recording perspective, it provided sufficient clarity for the purposes of the project and allowed the material to be mixed effectively during post-production.
The project also demonstrated the importance of planning in location recording. The success of the recording depended not only on microphone choice and placement, but also on risk assessment, contingency planning, equipment sourcing, and the ability to adapt to a live environment. The restrictions imposed by the venue were significant, but they also encouraged a more considered approach to the session.
If I were to complete this recording again, I would aim to achieve the maximum possible quality and clarity by using condenser microphones exclusively and avoiding the presence of a PA system. The PA introduced challenges during mixing, particularly because of its proximity to the microphones and the choir. However, under the circumstances, removing the PA was not practical. The speakers were positioned to the rear of the choir and broadly in line with the rear stereo pair, which created a risk of spill and feedback.
In an ideal scenario, I would have preferred to position the PA further to the sides of the stage area and further away from the primary microphones. This would likely have reduced the interaction between the reinforcement system and the recording microphones. However, this was not possible with the cables and equipment available for the event. As a result, the final setup represented the most effective solution within the limitations present.
The recording therefore stands as a successful example of adapting a technical process to a challenging real-world environment. It required careful collaboration between artistic aims, technical requirements and limitations, venue restrictions, safety responsibilities, and audience considerations. While there are aspects I would refine in future, the project achieved its main goal: to produce a usable, high-quality recording of the Leeds Conservatoire Contemporary Pop Choir in a non-studio, less controlled environment.
Gallery
The Documentary
My documentary is centred around the social influence on music during adolescence, highlighting the importance of music in making friends, and personal development. I have opted for a conversational style of audio documentary to allow this topic to have the intended though process on the listener. Featuring music recorded outside of a studio, by one of the bands mentioned in the documentary from a local high school, despite the performance not being entirely perfect I think this, from a style point of view, lends itself to underpinning the point of development I am attempting to make by covering this topic. The topic covered is based on the research conducted by Hanzilla et al. (2024) and Laiho, S. (2004).
The conversational style in audio documentaries is an established and effective production technique supported by research and industry practice. This style has been shown to enhance listener engagement and uphold an emotional connection, making it a very useful tool in audio documentaries.
Firstly, this tone ensures the documentary remains relatable and engaging, allowing listeners to connect on a more personal level. McHugh (2022) highlights the importance of the “voice-in-your-ear” intimacy, arguing that a conversational, more narrative-driven approach can make complex topics more accessible by creating a “parasocial” bond between the narrator and listener. This approach is critical in audio format, where the typical visual cues are missing, and the tone of voice used becomes the main way of establishing a rapport. By adopting this style, the documentary creates an atmosphere that feels more intimate, building a stronger connection with the material.
The conversational style helps with creating authenticity. Biewen and Dilworth (2017) argue that moving away from formal narration toward a more informal tone and using storytelling creates trust with the listener. This style humanises the content, important particularly with this topic, making it easier for listeners to interact. The inclusion of personal anecdotes helps express experiences that academic research alone might not be able to communicate effectively, creating a more intimate narrative.
Additionally, this style allows the seamless integration of personal stories with expert insights. Dowling and Miller (2019) explain that combining a personal narrative with supported factual research in a conversational manner offers a compromise between emotional connection and academic backing. By weaving research into a conversational narrative, an audio documentary can be both informative and engaging without overwhelming the audience with otherwise unnecessary technical detail.
Finally, the conversational style plays a vital role in visualising the social aspects of the subject matter, such as how music shapes community. Research by Hanzilia et al. (2024) and Laiho (2004) emphasizes that music is a critical tool for the formation of identity and social bonds. The documentary captures this by using the interviewee’s personal experience to illustrate how music fosters connections, reflecting findings that suggest music helps adolescents navigate social development and build communities based on shared interests/artists.
The Composition
The composition element of my project submission is based around found sounds recorded on the London Underground, focusing primarily on the London Underground’s Jubilee Line in locations such as Canary Wharf station. The goal here was to create a synthwave track that uses real-word urban sounds as its base, rather than relying on conventional, purely synthesised waveforms. I was particularly interested by the way trains produce sounds that are both mechanical and, in places, melodic in nature. The movement of motors, wind pressure from the tunnels, and the resonance of large underground spaces all contain musical qualities that could be shaped into various synthesiser pads, rhythms, and textures. These sounds also carry an inherently gritty and urban character to them, which suited the dark atmosphere I wanted to create in this track.
To capture the audio, I used a Zoom H5 field recorder at various points on the Jubilee Line and recorded in and around a number of stations and platforms gathering sound such as the aforementioned motor hum, wind noise and track noise. The Jubilee Line was especially useful here as the architecture of the space lends itself nicely to allow sounds to carry in a way that they wouldn’t in an otherwise confined or fully open space.
During the recording process, I wanted to capture the sounds as they might be heard by the ear. As a result of this, I made the conscious decision not to use a wind muff on the microphones. Although, this would mean later that the raw recording would contain wind noise and an unpolished texture, this would lend itself nicely to the mechanical and industrial quality sound that I was aiming to capture. While recording, announcements and unwanted noise would occasionally interrupt the recordings, so some material had to be recorded multiple times in order to capture cleaner sections.
After collecting the recordings, I began experimenting with different ways of processing them in Logic. Two of the most notable techniques for me were Loop Sampling and Microsampling. Loop sampling allowed me to take section of the raw recording that contained a loopable element and process it into synth pads or one shot, tuned, percussive elements. Microsampling also played a crucial role in the sound design for this track as it allowed me to take a handful of waveforms and create a unique synth patch which could be used as a tuned instrument similar to how you might construct a waveform using fundamental waves (Sine, Square, Triangle, etc.). Some of the sounds used are provided below:
In the writing and production stage, I used EQ to remove unwanted frequencies and isolate the most useful parts of each recording. Side-chain compression was used to create movement and give the pads and textures a pulsing quality associated with synthwave. Gated reverb helped position drum elements within an 80s influenced soundscape, while the sampled Underground textures added a harsher mechanical layer underneath.
The final product is not intended to sound explicitly like a collage of the London Underground recording. Instead, the train sounds are embedded subtly within the track’s soundscape. The listener should be able to feel the idea of industry, mechanical sounds, and urban feel without the source material sounding overly literal and abstract and I feel this goal has been achieved.
Appendices
Appendix A: Risk Assessment and Event Plan (The Ensemble Recording)
Research Sources
Biewen, J. and Dilworth, A. eds., (2017). Reality Radio, Second Edition. [online] doi:https://doi.org/10.5149/northcarolina/9781469633138.001.0001.
Brixen, E.B. (2024). Stereo Recording Techniques and Setups. [online] Dpamicrophones.com. Available at: https://www.dpamicrophones.com/mic-university/audio-production/stereo-recording-techniques-and-setups.
Dowling, D.O. and Miller, K.J. (2019). Immersive Audio Storytelling: Podcasting and Serial Documentary in the Digital Publishing Industry. Journal of Radio & Audio Media, 26(1), pp.167–184. doi:https://doi.org/10.1080/19376529.2018.1509218.
Hanzilia, S., Purwanto, E., Primagama, M., Yana, K.E. and Ngasa, A.D.K. (2024). The Influence of Popular Music on Youth Culture. International Journal of Progressive Sciences and Technologies, [online] 45(1), pp.65–70. doi:https://doi.org/10.52155/ijpsat.v45.1.6232.
Laiho, S. (2004). The Psychological Functions of Music in Adolescence. Nordic Journal of Music Therapy, 13(1), pp.47–63. doi:https://doi.org/10.1080/08098130409478097.
Levine, M. (2023). Simple Stereo Miking Techniques. [online] Yamaha Music – Blog. Available at: https://hub.yamaha.com/proaudio/recording/simple-stereo-miking-techniques.
Lindgren, M. (2016). Personal narrative journalism and podcasting. Radio Journal: International Studies in Broadcast & Audio Media, 14(1), pp.23–41. doi:https://doi.org/10.1386/rjao.14.1.23_1.
Logic Pro Life (2025). Use Sampling to Add MAGIC to Your Music | Logic Pro 11.1.2. [online] YouTube. Available at: https://www.youtube.com/watch?v=OJ-wURE0wW0.
McHugh, S. (2022). The Power of Podcasting. doi:https://doi.org/10.7312/mchu20876.
Soundonsound.com. (2019). Location Recording. [online] Available at: https://www.soundonsound.com/techniques/location-recording.
