Task 1 – WAV Mixes
Project overview
This studio portfolio involved the production of three tracks within pop and indie genres, focusing on recording, mixing, and collaborative studio practice. While we didn’t constrain ourselves to particular studio roles, I primarily looked over mic’ing instruments, and the mix. The project involved collaboration with guitarists, vocalists, and pianists. A structured workflow was implemented, beginning with recording sessions before progressing to editing and mixing stages, allowing for continuous feedback between group members The overall aim was to produce balanced, genre-appropriate mixes while maintaining clarity and effective use of stereo space. We made 2 songs, one in the style of indie brit-pop, and the other being closer to folk.
Track 1 (Genre Specific Emulation)
We decided to remake the song ‘Pretty Ugly (Before) – Elliott Smith.’ This was because we felt it had an easy enough sound to replicate, while still having some intricate areas.
We started by creating reference tracks. We stem split the original song, into bass, vocals, drums, and other instruments (guitar, synth, keys etc.) Once we had these set out, we split up individual sections we thought would be tricky to replicate over each instrument. The project was planned before we started recording. We were hoping to get vocals first, then drums, then guitars, keys, and bass. This was important as it gave us a strong starting point for a seemingly massive project. A lot of the time we spent was during the weekly sessions mixing a recording, which helped manage time as we would be able to work and have Dan help us in areas we were struggling in. One area we felt would cause us issues was the reversed guitar section at the end. To counter this, we decided we would leave at least an hour to decipher it during the guitar session.
We started with vocals. We used the warm WA-22 for the vocals. In the first session, we got the lead vocal taken. This only took around 40 minutes including set up, so for the rest of the session we found a vocal mix we liked. I set up the mic; we used a pop shield as well.
In recording, we used the pre-amp, compressor, and reverb. We decided to use these not only to learn the studio better, but as we believed the compressor gave the sound extra warmth.
In the song, the vocals are very reminiscent of a 60’s Beatles vocal tone – very wide and high passed – so in order to capture this effect, we double tracked the vocals, panning them hard left and right.
Once we had the main vocal take, we decided to get the drums in.
These were the mics we used for drum recording.
2 kick mics, the sub sat outside, to give us the extra sub and lows, while the AKG D112 was inside of the kick, helping with the “click” and mids in the kick sound.
We mic’ed the snare twice, getting the top for the body, and the bottom to accentuate the snappy high ends in the snare.
Our overheads were Schoepps Omnis, which we panned hard left and hard right which got the drums sounding nice and wide.
For the hat, we used the Octava 012 01 angled slightly away from the rest of the kit, to limit spill.
Finally, we added a room mic to give extra stereo shape to all of the whole drum mix.
In the drum session, I did a lot of the mic placement, and mixed.
We used Glyn John’s overheads, and spot mic’ed the snare, hi hat, and kick.
Next, we recorded guitar through D.I. using amplifier simulation plug-ins. We did this so that we would be able to change guitar tones, non-destructively, so we could reference back to the track whenever. This ended up being beneficial, as we had a lot of time to create a guitar tone.
For piano, we used an AB pair of Schoepps CMC6, as well as a centrally positioned large diaphragm condenser. This was in order to capture stereo sound, while also being able to control the stereo width.
After we were done with all the live instruments, we had a Mellotron-like keyboard present to record. In the source material, this sound was achieved using a sampled approach, where a single vocal was mapped across a whole keyboard. Throughout this production, this sound was recreated using VST and MIDI, allowing us a more diverse and controllable workflow, while still capturing the character of the original sound. Our approach demonstrates how historical production techniques can be emulated through modern processes, without tainting the original sound.
Further attention was given to the raw signal quality through outboard EQ. Rather than relying on only post-processing effects, we decided on adding subtle EQ throughout, in order to shape the tone of the whole track. This helped out reducing problematic frequencies throughout the recordings, particularly the low-mid range, ensuring cleaner signal entering the mix. As a result of this, less processing was required after, allowing the mix to stay closer to the original recordings.
Our ideas for processing were influenced by the techniques used in 1990s alternative rock. Drum processing was first applied through sample triggered reinforcement. We used the snare to trigger a sample of the snare, in order to fill out the body, and bring the sound forward. We used outboard reverb (Lexicon PCM96) on the snare, in order to introduce controlled depth, compatible with genre.
Vocals weren’t processed too much in post, as we compressed, reverbed, and EQ’ed using outboard gear, however we still used chorus to widen the vocal more. We also cut out a lot of the low to low-mid range, to achieve a Beatles vocal style.
A lot of the mix decisions were decided through referencing. Seeing as we had the whole track stem split from the start, referencing was not an issue.
This track ended up going well overall.
The time management was clear, and worked well.
The mic techniques worked, and captured a strong stereo width.
Track 2 (Live In the Studio Stereo Recording)
The ensemble we recorded was a three-piece acoustic band, consisting of two vocalists, and a guitarist. They covered ‘American Honey – Lady A.’ We arranged the performers in a line, with the vocalists on the outside singing into the mics, and the guitarist stood in the middle, this was to add an extra stereo element, prior to the signal entering the desk.
For this recording we used a combination of different stereo techniques.
We used two M/S pairs, and a spaced AB pair in the back of the room, in order to further shape the stereo image. One Mid / Side pair was set at mouth level to capture vocals, while the other was sat at chest height in order to capture guitar. We decided on Mid / Side as we can alter the stereo shape after the recording, suited to opinion. This left us a stable central image, while allowing us the freedom to widen it as we like.
For mic selection, we decided on the AKG C114, due to their clarity in the high end. For the guitar, we used an AKG C451B, and a Sennheiser MKH30, for the clarity, and capture of stereo information. For the AB pair we used the Sontronics Orpheus, due to its very flat frequency response, making it flexible.
Phase coherence was monitored by reversing polarity, and listening critically. If thinning was observed, we would move the mics accordingly.
My contribution included mic placement, and DAW arrangement.
Overall, this process was a success.
We achieved a solid stereo shape without any signal issues.
Track 3 Remix track
My remix reinterpreted the original source into a 2010s dubstep / colour bass track, drawing influence from ‘Chime.’ The aim was to shift the genre, while keeping the vocal recognisability.
I edited the vocal using EQ, vocoding, compression, delay, and reverb.
‘Little Alterboy’ is a plugin which duplicated the audio, and pitch shifts it using formant, or transpose. I used this effect to give me a fifth harmony throughout the song.
I started with an arpeggiator, followed by a lead and keys for the melody in the intro.
As we weren’t allowed to use samples, I created risers and impacts using my friends synth
As I had to record two live instruments, I also recorded his keyboard through D.I. As he has an older keyboard, I felt this gave the track more personality, hitting at classic aesthetics.
In the track, Smith chooses to use an E major chord for tension, releasing on an Am.
For this section, I heard this being the area that the pre-drop came in.
The drums were created using found sounds, including vocal noises, desk hits, button clicks, and key shakes. Originally, I made a plethora of sounds, but ended up only using what I made for the kick, snare, and hi-hat. They were processed heavily through EQ, compression, and distortion where necessary.
For the drums, I created ‘colour bass’ sound effects, including growls, resses, and glitches.
I did this by creating bass patches in serum 2, running them through a ‘convolver reverb’ a sample-based process that uses digital recordings, known as Impulse Responses (IRs), to simulate the acoustics of real physical spaces or hardware devices. This gives the bass a shiny sound, forming as the main bass for ‘colour bass’
I used a lot of creative processes in the mix, such as low pass sweeps, in order to process the energy throughout the track.
A lot of the mix was corrective, levelling and removing frequencies I didn’t see fit, in order to improve clarity.
Overall this process left me to oversee a lot of creativity, allowing me to exemplify my technique. I think this brief helped me to show creativity as it kept me somewhat refined, but not enough to limit me.
