SHR4C004M-003 Song Production & Write Up Template

Task 1: Three Minute Song Production (70%)

3:02mins

Task 2: 1000 Word Write-Up (30%)

1098 words

Inspiration and Songwriting Process

My original composition, titled “Red and Blue” (红蓝), is a Mando-pop track that blends elements of Indie Pop and contemporary Folk. This project marks a significant milestone in my studies as it was my first time attempting to manage the entire production pipeline—from initial songwriting and arrangement to vocal performance and final mixing. The inspiration for the track came during my Easter break while traveling through Windermere and Northern Ireland. I vividly remember sitting by the sea during a sunset; the atmosphere was so striking that the melody and lyrics for the first verse came to me almost instantly.

Once I returned to Leeds, I finished the rest of the song quite quickly. My goal was to translate that specific feeling of “tranquil loneliness” I felt at the coast into a musical format. Aesthetically, I was particularly influenced by modern Chinese indie-folk artists like HUSH and Walter Kwan, whose works often combine intimate acoustic instruments with very clean, atmospheric production. I wanted “Red and Blue” to reflect that same balance—feeling raw and personal in its storytelling, yet polished and modern in its sonic delivery.

Material Capture and Recording Techniques

The recording process began in the university’s mixing room 108b, where I captured the initial demo. To preserve the “live” energy of a singer-songwriter performance, I used a dual-microphone setup on a single stand. I used a Neumann TLM 102 to capture the nuances of my vocals and an AKG C414 for the acoustic guitar. This allowed me to record the performance simultaneously, which helped maintain a natural flow and timing that is often lost when tracking instruments separately.

When it came time to record the final tracks in my bedroom studio, I switched to a Shure SM57 for the guitars and a Shure SM58 for the vocals. Since my bedroom isn’t a professionally treated space, these dynamic microphones helped reject background noise while providing a warm, focused sound. I paid close attention to mic placement; for the guitar, I pointed the SM57 toward the 12th fret to get a nice balance between the percussive “snap” of the strings and the body resonance of the wood. For the vocals, I focused on a “close-mic” approach to create an intimate feeling, as if I were singing directly to the listener.

for lead vocal

Vocal Layering and Collaboration

As the song progresses into the verses, the arrangement becomes denser. I tracked two separate guitar parts: Guitar 1focuses on the fundamental rhythm and bass notes, while Guitar 2 adds harmonic “color” through different chord voicings and higher-register accents. To make the chorus feel more expansive, I decided to add multiple layers of vocal harmonies.

I invited my roommate to participate in the recording process. I gave him specific directions to sing non-lyrical phonetic sounds like “wu,” “ooo,” and “en.” I then layered his recordings with my own harmonies. In Logic, I panned these voices across the stereo field to create a “wall of sound” effect. By sending all these vocal tracks to a single bus and applying a shared reverb with a moderate wet/dry mix, I was able to create a cohesive, choir-like atmosphere. This makes the final section of the song feel much more emotional and grand compared to the sparse, acoustic beginning.

Creative Sampling: The “Mountain Stream” Instrument

A core requirement of this assignment was the creative use of sampling and sound manipulation. During my trip to Windermere, I used my iPhone and the Shure MOTIV AUDIO app to record the ambient sound of a mountain stream. I was careful not to place the microphone too close to the rushing water to avoid recording harsh, “splashing” high frequencies that would be difficult to remove in the mix.

I took a small slice of this field recording and imported it into Logic’s Quick Sampler. To turn this “noise” into a musical tool, I applied a 24dB low-pass filter and pushed the resonance (Q) quite high. This allowed me to isolate a specific whistling frequency within the rushing water sound, essentially turning the stream into a pitched synthesizer. When played on my MIDI keyboard, it sounds like rhythmic, melodic water drops. I used this custom instrument in the interlude to provide a rhythmic texture.

organ play with water sample

Mixing Strategy and Critical Evaluation

For the mix, my primary goal was clarity, especially given the amount of vocal layering. I heavily utilized the FabFilter Pro-MB for side-chain compression. I routed the lead vocal signal to the side-chain input of the guitar and harmony buses. I set the plugin to dynamically “duck” the 150Hz to 1000Hz range of the instruments whenever the lead vocal was present. This frequency-specific ducking is much more transparent than standard wide-band compression; it allows the lyrics to remain perfectly clear without making the instruments sound like they are “pumping” or losing their overall energy.

guitar bus set

backing vocal bus set

Looking back at the production, there is definitely room for improvement. Specifically, I am not entirely satisfied with the transition from the pre-chorus into the second verse. Even though I used reverse reverb effects and volume swells to try and “glue” the sections together, the jump still feels a bit structurally abrupt. If I were to redo this section, I would likely change the harmonic rhythm of the guitar part at the end of the pre-chorus to create a more natural “bridge.” However, I think the reintroduction of the water-drop sample here helps maintain at least some atmospheric consistency for the listener.

Commercial Potential and Market Positioning

In terms of commercial potential, I believe “Red and Blue” fits well within the current Chinese “City-Folk” and Indie Pop market. The “chill” and introspective vibe of the song makes it a strong candidate for mood-based playlists on platforms like NetEase Cloud Music or Spotify, such as “Acoustic Chill” or “Late Night Vibes.”

Because the song has a very cinematic and atmospheric quality—the custom stream sampling and the lush string arrangements in the interlude—I can also see it being used for sync licensing. It would work well as background music for travel-related content, vlogs, or even independent short films. By combining the songwriting sensibilities of artists like HUSH with a modern production approach, I have created a track that I think will resonate with young listeners who enjoy relaxing, emotionally-driven music. Overall, this project has taught me how to balance technical requirements with creative storytelling, and I am excited to apply these refined workflows to my future productions.