Introduction

This production log discusses the creative decisions behind the project: two fully live studio

recordings and an overdub production, each with separate recording setups. For each

recording, we had to consider the genre’s conventions for recording techniques, as well as the

technical limitations present in each session.

For the live recordings, we completed two recordings to reach a total duration of 10 minutes. We

focused on creating a comfortable environment so that we could capture high-quality

performances from the musicians. We did not have as much control as we did in the overdub

process, so this comfortable environment was especially important. The overdub was less about

an ensemble performance and more about capturing strong individual takes from each

instrument. As a group, we were able to explore two separate skillsets and ideologies through

these recordings.

Pre-Production

Pre-production is an important part of project management because it ensures that the process

runs as smoothly as possible. Planning began with organising preliminary recording dates and

studio bookings. This process was difficult because it required all the band members and my

group to be available on the same date for it to be viable. This required us to be clear

communicators with each other and respond in a timely manner. We primarily used WhatsApp

to communicate.

We shared the responsibility of finding and liaising with musicians. Having more people looking

at once increased our chances of finding a reliable band. We agreed to send potential bands to

our group chat to ensure everyone agreed on who we selected.

This aided session efficiency. For example, for the live recordings, we knew the structure of the

songs before entering the sessions, as phone recordings of the songs were sent to the group

chat. This meant that we could direct the musicians’ performances more effectively, as we were

already familiar with the material.

As part of the pre-production process, a room layout plan was created so the group had a visual

reference for how to set up the room. The diagram outlines the positioning of the instruments

and microphones. This was effective because it ensured everyone was on the same page prior

to the live recording session. It also allowed us to consider how the microphones could maintain

line of sight with each other and how microphone bleed could be minimised.

Live Recording

For the live recordings, we focused on creating a comfortable environment for the performers.

During the jazz recording, we had a larger ensemble consisting of a pianist, drummer, bassist,

and vocalist, with the pianist and bassist also providing backing vocals. For the drum kit, we

mic’d the full kit because we had enough time for this to be a viable option.

Microphones used in the jazz session:

Kick in – boundary microphone

Snare – SM57

Toms – MD421s

Overheads – Schoeps small-diaphragm condensers

Lead vocal – JVL V67

Backing vocals – 2× SM7Bs

Bass and keys – DI

For the backing vocals, we used SM7Bs to reduce microphone bleed from the other

instruments. The main vocalist was inside a vocal booth, allowing us to use a condenser

microphone to capture a more detailed performance.

For the rock recording, we used two room microphones to ensure the instruments sounded

cohesive with each other, without relying on potentially muddy artificial reverbs

Overdub Recording

The overdub recording contrasted with the live studio recordings in both workflow and available

resources.

We were unable to capture the guitar and piano before the conservatoire closed for Christmas,

meaning we could not access the intended facilities or musicians. This required a flexibleproblem-solving mindset to ensure we could still deliver the project to a high standard, despite

these limitations. In response to the restraints, I learned the guitar and piano parts so I could

record them myself at home. Home recording presents different challenges, such as the

acoustics of my room, limited access to microphones, and equipment.

For the acoustic guitar, I chose between an SM7B and an Audio-Technica AT2020. I decided to

use the Audio-Technica AT2020, as its condenser diaphragm captures a brighter and more

detailed sound. I positioned the microphone towards the soundhole to prioritise warmth over fret

noise, as this suited the song stylistically.

To mitigate room reflections, I identified the dullest part of the room by clapping while moving

around the space. I then covered one side wall with a mattress and the other walls with blankets

before placing the microphone in this area. While this is not equivalent to professional acoustic

treatment, it significantly improved the recording quality by reducing unwanted reflections.

The piano part was recorded using a Novation Impulse 49 MIDI keyboard, which provided

greater flexibility during editing. I recorded multiple takes and comped them into a single

continuous performance. I used Keyscape as the VST due to its range of realistic piano tones,

allowing me to select one that best suited the tonal and stylistic character of the song. One

limitation was not having access to a sustain pedal while in London, which influenced my

performance and phrasing.

The drum recording used the Glyn Johns method. This technique was chosen because it saved

space on the mixing desk and reduced the potential for phase issues. We also recorded hand

and knee slaps and claps using the same microphone setup. Once Chris recorded several takes

for each section, we selected a four-bar loop within the verses that was in time and duplicated it

for the duration of the verse. The same process was applied to the choruses and bridge,

ensuring consistent timing throughout the song.

The bass was recorded using a combination of DI, bass cabinet, and sub capture to allow

greater flexibility during mixing.

Arrangement and Genre

The arrangement and structural techniques we implemented resulted in strong recordings.

Rather than focusing purely on composition, we also considered instrument selection, layering,

and performance.

For the lead guitar, we decided to use a Heavy distortion tone on the amp. This fits the stylistic

conventions of the genre, but also allows the guitar to pronounce itself in the mix withoutrequiring extensive post-production. We emphasised dynamic variation by giving direction

between takes, resulting in a more engaging recording with a wider dynamic range.

For the overdub arrangement, we had more control over the arrangement of each sound

because we could do everything in multiple takes. We intentionally recorded and edited the

Drums first to provide a stable foundation. This allowed for the rest of the composition to be built

around a consistent groove.

As this was a cover of a soul song, it was important for the melodic instruments to have a

warmer tone. This led me to choose a nylon-string guitar instead of a steel-string guitar.

Collaboration & Contribution

Collaboration throughout the project relied on consistent communication and shared

responsibility. We primarily used WhatsApp as our communication platform, as it allowed us to

communicate efficiently outside of lecture time and make calls when necessary. Discussions

mainly involved potential musicians, studio dates, and photos taken during sessions. Using a

group chat ensured everyone stayed up to date.

There was no designated musician liaison. Responsibility was shared across the group;

however, once musicians were selected, the person who initially contacted them became the

main point of communication regarding session times and locations. Working within the six-hour

studio limit per student was manageable because my group members showed initiative, rather

than relying on one person to organise sessions.

During studio sessions, teamwork was essential to ensure everything ran smoothly. During

setup, roles were informal, with the group collectively sourcing equipment using the prepared

equipment list. Billy often documented cable routing using the Notes app on his phone, which

helped resolve any confusion quickly. During recording, we ensured that only one person gave

directions to the band to avoid confusion. During pack-down, responsibility was shared equally.