Audio Files
Audio Documentary
Synopsis
No Sugar?
The purpose of this audio documentary began as a series of interviews about tea and coffee, through which I intended to show that the public might be divisible by wealth, beliefs and more but they’re linked by caffeinated drinks in the morning and the debate around sugar. As I continued my interviews, the project naturally developed into a two-part documentary. The beginning concerns morning routines and lunchtimes at the university while the second half is directed by the interviewees. This organic style brewed many topics, from Donald Trump to positive vibrations. My purpose at time of submission is to provide a snapshot of Leeds, using a common ground of tea and coffee to bond with the guests before letting them tell their story. My secondary purpose is to become more confident speaking in public.
Research
My initial 2 minute interview was recorded solely in my kitchen, with a small number of voices and a lack of conversational freedom [See Appendix 1]. The feedback from my tutor and peers helped make my interview style more open-ended while also influencing me to interview each person in a different location. Although I wanted to continue interviewing my characters in their regular spaces which, in the 2 minute version, was my flatmates in my kitchen, the added kettle sounds were removed as they made the documentary less authentic.
Listening to Melissa speak about her life (NPR, 1996) as a teenager was a more natural, intimate and meaningful experience compared to the typical studio podcast. This gave me more confidence to simply sit with people awhile and let them talk. Her diary being interrupted by phone calls, music and her newborn baby crying was fascinating as that environment had shaped the story she was telling. I employed the same philosophy of authenticity, never taking people away from where I met them or trying to artificially influence the sounds around. An article about interviews suggested to “Plan your story around scenes” (Socolovsky, 2026). Rather than wondering who I should interview, I thought about what places have stories to be told: the streets, the parks, the university etc. The quality of content improved as I found people there who can educate me on their lives within those spaces.
Spontaneous interviewing made hiring recording equipment impractical so I decided to use the iPhone microphone. This avoided intimidating guests, especially the homeless, by shoving a mic in their face. I read several articles about using iPhones properly to record, eg. using a cotton sock over the end of the phone, not covering the mic with your hand and holding the microphone 6 inches from the speaker’s mouth which greatly improved the sound (NPR, 2018) (University of Dayton, 2025) [See Appendix 2 and 3]. I also became familiar with StoryCorps, a non-profit organisation which aims to tell the stories of all Americans through phone-recorded interviews (StoryCorps, 2026). This collection of stories is the greatly expanded version of what I aimed to achieve. The quality of the phone microphones being used is impressive but still obvious that these people were not in a studio, but were more focused on their story rather than the production.
I combined the tacit knowledge gained from repeated interviews with techniques surrounding interview technique such as acknowledging answers verbally as I recorded no visual content (University of York, 2026). Feedback from my tutor strengthened my idea to forego a narrative voice in the documentary as the guest voices speak for themselves. This is due to my questions being asked specifically to induce responses from my guests which explain themselves and the environment of the interview being explained by the background sounds.
Although podcasts are now mainstream, listeners tend to stick to familiar shows (Ofcom, 2024). The Government Communication Service (2021) suggests considering your audience’s needs. Conversations with the general public would become part of my research into which topics people naturally want to talk about and record. The show ‘Atlanta’ influenced my editing choices. It contrasts horrific scenes of violence and despair with comedy, like in S1E10, where a brutal police shooting is followed seconds later by the main character asking if he could get his jacket back from the dead man (Looper, 2022). I used the same technique in my editing to highlight contrasts within the same city on the same day, such as at 5:20, the transition from Michael worrying about making it through WW3 to Abha remembering a security guard shouting “Gouranga!” [See Appendix 4]. Finally, I used a technique from ‘Open Country’ (BBC Sounds, 2025) in which the host performs a quick introduction as she moves to a new location rather than as a voiceover. These techniques help to create an engaging, atypical form of content which bounces between comedy, soundscaping, storytelling and deeper messages.
Project Management
I recorded my initial 2-minute documentary in February. I then recorded more voices on the same question but I wasn’t happy with how closed the questions and answers were – it didn’t feel like an audience would be engaged by anything we were talking about. I then took some time off, coming back in late March to record some more voices. Most days for a fortnight I recorded one or two additional voices until I had a huge bank of material I could use. I recorded a couple of the characters twice but most of them only once. I edited the clips together on logic and the editing process took me another week into the start of April, by which point I was finished and focused on the other parts of the assignment.
Evaluation
My primary aim was to provide a snapshot of contrasting people in Leeds. I achieved this with the interviewee selection, the conversational style and the editing techniques used. The contrast I sought is audible when you hear one Michael speaking and the distant sound of the other begging, compared to Lily and Pollyanna talking about big meals and lemonade in a bustling uni cafe. I have demonstrated to listeners that Leeds is a diverse place but, as Michael J Linnot says, “We’re all human after all and I hope we make it”.
My secondary aim was to become more confident and I achieved this by empathising with the people who were being approached by a university student instead of worrying about myself. I improved my control as a producer, for example asking Ikem to remain in Leeds Cathedral for the interview.
My biggest room for improvement would have to be the lacking crispness of recording. Some clips are cut in awkward positions because I did not leave space after the end of the guest’s response. From a purely production-based standpoint, I did not record the best quality production and this could be considered a weakness. However, the diary-like style of this audio documentary is better suited to a lo-fi production, provided clarity still remains, which it does. Overall, the aims were achieved and, were I to repeat it, I would have a much easier time beginning the process with more confidence.
Ensemble Recording
Synopsis
Ipswich Chamber Choir – Fauré’s Requiem (Offertorium and Sanctus)
For this project, I recorded Ipswich Chamber Choir with an organ accompaniment in their new venue, St. Joseph’s College Chapel. It was their first practice in this new building and for a concert in memory of Alex Young, who died aged 31. They performed Fauré’s Requiem and Ben Ponniah’s ‘Carry me Home’, which was written in collaboration with Alex’s family in memory of him. Their aim was to hear how the they sounded in the new acoustics, requiring a stereo recording which imitates the experience of their audience. My aim was to use the acoustics of the building to record the ethereal, heavenly sound that music for the dead requires, while maintaining lyrical clarity.
Research
Ben Ponniah’s piece is a beautiful tribute to his friend from school, Alex Young. He “Knew him as Tigger” and was touched by his passing. He worked closely with both Alex’s parents and his brother, saying “family involvement shaped the composition from start to finish” (Ponniah, 2026). Fauré’s Requiem is, in his own words, “a lullaby of death” (Schwarm, 2024). He replaces most of Dies Irae (Day of Wrath) with In Paradisium (Into Paradise) and Pie Jesu (Merciful Jesus); a more peaceful deliverance into death than had previously been composed. I decided to keep the climax of the Offertorium (Offertory) into the opening of the Sanctus (Holy) due to the incredible crescendo and ‘libera… de poenis inferni’ (free us from the punishments of hell), a striking moment in the Mass. Despite the religious influence on this piece, Fauré “had no clear religious beliefs” (Classic FM, 2012) which perhaps gives the piece its serenity and glory in death as opposed to the solemn compositions of his more religious contempories.
As a reference, I studied the 2014 King’s College Cambridge recording (King’s, 2014), engineered by Arne Akselberg, 3-time Grammy winner (Grammy, 2026) and produced by Simon Kiln, who has worked multiple times with the prestigious King’s College choir (Kiln, 2018). His recording is “described as reference quality in the Gramophone magazine”. I first compared the two recording spaces. King’s College Chapel is rectangular, roughly 80ft tall and made mostly of limestone (King’s 2025), giving it a long RT60 and heavy reflections off the stone. St. Joseph’s College Chapel is tent/pyramid shaped, roughly 60ft tall with a 50ft diameter (Old Barn Audio, 2025). Its wooden walls are more absorbent than stone, but its size and unusual shape create irregular reflections. Conveniently, the chapel does have a power source next to the staging and an onsite extension which I would use for the interface.
The Ipswich Chamber Choir have around 30 voices and arrange themselves in a V shape with SATB on both sides, so that the men are centred and women on the outside. They sing in 3 rows and at a width of about 10ft (Ipswich Chamber Choir, 2018a). The conductor, Benedict Collins Rice, held “two conducting scholarships at Cambridge University” before performing “from The Royal Albert Hall to Carnegie Hall” (Ipswich Chamber Choir, 2018b). I have previously watched the choir perform and noted their wide dynamic range and meticulous conductor. They would be easy to work with due to their friendliness, ability and determination to record a high quality performance.
The recording notes on the King’s College CD mention attempting to capture natural reverb and the choir mentioned wanting to hear width in recording. I planned to use a spaced pair as my main microphones to achieve a wider stereo image than an XY or ORTF setup (Røde, 2022). The time discrepancies which create the sense of width would also induce phase issues such as comb filtering but these could be controlled with correct placing and blending with other microphones. For a stereo pair, it is recommended to place them 12ft back (Bartlett, 2019). I planned to place them symmetrically, roughly 10ft from the choir due to space constraints [See Appendix 5]. I read a section of an article titled “What else does the sound need?” (Senior, 2024) and applied that methodology. The wide AB setup is not a typical setup as it usually leaves a ‘hollow centre’ and lacks clarity. I added a central back microphone to complete the centre and add depth. I also added two close microphones for lyrical clarity, following standard procedure of one close cardioid mic to capture up to 15-20 singers (Shure, 2009). For close miking, the recommendation is to place your microphone 3ft from the front singer, and a foot taller than the tallest on the back row. This meant I would need to source 10ft tall mic stands from Ipswich. Fortunately, the choir knew a shop in Ipswich and would be able to bring them to the chapel.
I chose microphones based on the setup in Appendix 6. I selected two Neumann KM183s as a spaced pair due to their low end response, and omnidirectional polar pattern, perfect for capturing low organ passages. They have also been diffuse-field equalized, making them ideal for recording ensembles in reverberant spaces (Schoeps, 2018) (Neumann, n.d.). I chose Neumann KM184s for close mics as their slight top end boost and cardioid polar pattern keep the clarity of consonants (Narang, 2024). This is demonstrated by AixOrgue (2018), comparing the beginning with all the microphones to 0:29 with the KM184s. Finally, I decided to bring a Sontronics Orpheus and AKG C414s, deciding which to use in the chapel. A C414, due to its versatility and range of selectable polar patterns, is also a useful backup and a potential organ mic if needed. The Orpheus was a microphone I was satisfied with in previous choir recordings.
Project Management
I rented the necessary microphones and equipment from university [See Appendix 7], including mic stands in case no appropriate stands could be sourced by the choir. The choir requested bring tape for the cabling in the Chapel as many choir members are elderly. I then made a list of all the equipment I needed to bring [See Appendix 8].
I carried the equipment on the train to Ipswich, where I was picked up by the chair and driven to the chapel an hour before the choir arrived. From there, I setup the microphones as shown in the planning and listened to each one, repositioning as I went. The KM184s were moved forwards and I should have moved them higher and pointed them downwards as well as there are sections where the front sopranos overwhelm the tenors at the back. The ab spaced pair was initially wider but I reduced this due to a muddiness between the two microphones. I chose the C414 as it captured clarity in the lower organ passages as opposed to the Orpheus, likely due to its low-mid warmth which, in the reverberant chapel, caused muddiness.
I faced difficulties with gain staging the close mics when the full choir entered a forte section so I left significant headroom. Moving them slightly closer also improved the consonant clarity across all dynamics so I could reduce the gain slightly and avoid peaks. Another problem I faced was the pianist who playing the organ and not understanding the organ stops. This meant that some timbres were incorrect according to the music but, more pressing at the time, they were difficult to set levels for. As there was limited time to work with, I focused on setting the levels based on the choir and asked that the organist would try to keep a consistent level throughout.
I mixed on logic and kept my processing to a minimum to preserve a natural sound. I used EQ to reduce the noise of the central omni by rolling off everything outside 120-10K Hz, increase brilliance in the close mics by slightly boosting at 3K and 10K and increase clarity in the spaced pair by boosting at 3K and reducing above 10K. I also reduced slightly between 300-500 for all microphones to reduce muddiness from the room acoustics and low mid buildup. The spaced pair is my main audio source, with the close microphones blended underneath to not lose the sense of depth provided by the C414 at the bottom of the mix. I used a de-esser on the close mics at 6790 Hz as the sibillance was slightly too sharp. I used sample delay of 20ms on the close mics to align them closer to the spaced pair without fully overlapping them to maintain depth but align consonant transients. Compression on the close microphones mitigated peaks and made the quieter sections slightly more audible. When editing the audio there were a couple of coughs and some instructions during singing from Benedict, which I would usually want removed. However, the performance and recording of this section was high quality and the choir’s request to hear themselves recorded can be achieved regardless of these extra noises.
Evaluation
Overall, the five-microphone system blended ambience and clarity well. The use of EQ was heavier than I expected, mainly due to the wide spaced pair. Within the context of the size and shape of the building, a closer configuration such as an ORTF would have been more accurate to reduce phasing issues and muddiness without losing the stereo image fully. My preparation allowed the recording to run smoothly and gave me time to fix problems. If I were to record the choir again I would use a different stereo pair technique and ensure we have a day for recording only, not during a practice.
Ipswich Chamber Choir have since performed the Ponniah and Fauré concert and it was received well. I was informed that they preferred my recording to the one they received of the concert and would like to work together again. For this reason, the project was a success for me. They wanted to hear a well-recorded demonstration of how the audience perceives them and I provided that. I used natural reverb and miking choices to my advantage. I also worked with a conductor and choir from whom I have enjoyed performances for years and the opportunity to work again is a professional step forwards.
Found Sounds Track
Synopsis
Youtube.43
For this project, I composed a jerk song. I recorded and processed a range of every day objects – lighter flick sounds, key crunches and a bass amp hitting a door – to build most of the drums. I later added synths, an 808 and recorded vocals. My purpose for this track was to create a fun rap song which draws together some of my favourite hip-hop techniques: sampling percussion, writing scatty, minimalist jerk style drums and making danceable music. The track, produced on FL Studio, features underground rap influence from the recording process to the lyrics and style. I aimed to create a song just as experimental and danceable as other jerk songs.
Research
In order to support my stylistic choices, I used many reference tracks, with the main one being ‘Party At My Place’ (Xaviersobased, 2026), for its tapping sounds, minimalist production and jerk aesthetic. With jerk being a subgenre of hip-hop which is slightly experimental, underground and not typically well-documented, it is difficult to find any general industry-standard sources. The main information on artists in this area comes from instagram lives, lyrics from songs and producers/collaborators leaking information on reddit and other music fora.
Before beginning and recording or composition, I listened to a lot of jerk songs to try and locate the essential production skills which make turn minimalistic beats into dance anthems. ‘Party At My Place’ has a tapping rhythm which persists throughout the whole song and an 808 which appears in half the song. Apart from a couple fills, that is the entirety of the drums. This made the found sounds aspect of the project much more realistic – I just needed a to record a couple of good sounds in order to create an entire drum pattern. The idea of taking an atypical sound for drums and using them in a rap track is not new. ‘Heat’ (50 Cent, 2003) uses a gun cock as a layer to the kick, while the snare is the sound of a gunshot as reported by rolling stones (Reeves, 2022). These tracks are well known and seen as pillars of production genius despite not using typical drums. They both use catchy rhythms and interweave real drum sounds with the more experimental ones, which became my plan for the found sounds.
The tracks ‘Tony Dim’ (Lazer Dim 700, 2023) and ‘On Glo’ (2Slimey, 2022) are examples of successful artists using Bandlab effectively to create an underground sound. Lazer Dim 700 has well over a million monthly listeners while 2Slimey peaked at around half a million. Despite his success, 2Slimey has rejected using a good quality microphone over either his phone or his own microphone because his distorted sound is what draws people to him. Similarly, Lazer Dim 700 is pictured using Bandlab to record a song on his way to stream with Plaqueboymax (MaxPlug, 2024). The lo-fi sound is part of the reason they became famous and greatly informed my choice to use bandlab to record vocals into as the underground production style would not fit well with ultra clean vocals. ‘Drankdrankdrank’ (Nettspend, 2023) is another example of bandlab being used for vocal recording. His unusual style of music is “the product of a life whose action happens in a phone, songwriting included” (Pitchfork, 2024), reinforcing the importance of a comfortability in familiarity even after success, which is clearly visible within 2Slimey and Lazer Dim 700’s recording choices too.
When talking about the composition required to achieve the goals of the genre, ‘iphone 16’ (Xaviersobased, 2026) is the epitome of jerk music. It features a verse, a bridge where the beat cuts out and then the same verse over a slightly changed beat. What was a 45 second verse has become a 4 minute song, similar to electronic genres such as house and jungle in which one loop can be played for minutes at a time. The danceability that arises from the steady, consistent rhythm is much more important than a fast development, while the lyrics used in iphone 16, as the title suggests, are not serious whatsoever. “Being smart is hard, ignorance is bliss” is followed by the line “Smoke em like a spliff, yeah”, which almost encapsulates the entire range of lyrical content within the subgenre.
Project Management
My first step was to record the tapping sound. After trial and error from tapping pens on my desk with inspiration from Lenstrumental (2024), a beatmaker who specialises in pen tapping, to keyboard typing sounds, I settled on hitting my wooden wardrobe door with my amp. It created a strong ‘click’ like a kick, while also keeping some low end, which was cut out mostly by EQ later. I then went into my wardrobe and padded it with a duvet, blanket and other soft materials [See Appendix 9], in order to dim reverberations and get a cleaner sample of me crunching my keys and flicking a lighter for percussion. After I had recorded the sounds, I used FL Studio to progress. I relistened to the recordings, selected the best takes of each sound and chopped them to the transient, adding a very quick fade in and out to avoid clicks.
I then added EQ to the sounds. For the lighter and keys, I added a high pass filter of 300 Hz before boosting each with relation to the role they played in the drums. For the lighter flick (hi-hat), I boosted at 6-8K Hz to add some high end without it becoming airy, whereas I boosted the keys (clap) at 3-4K Hz to provide some definition in the mids. For the amp hit, I applied both a low pass filter at 6K Hz to reduce the clickiness and a low pass filter at 50 Hz to remove some rumble. I compressed all the sounds fairly heavily (4:1 – 5:1) to make them more useable as drum hits. I added delay on the lighter flick, similar to ‘everyday is the same shit’ (Ocelot, 2025), in which the delay of the samples keeps the tempo clear in what is otherwise a heavily distorted minute and a half of noise. Similarly, the lighter flick plays scarcely in the beat, but the delay ensures that every half beat has a lighter flick (original or delayed) of some volume.
I applied a combination of versions of jerk rhythms to the found sounds and had a skeleton beat. In order to add some harmony to the clicky, monotone beat, I layered the amp hit with a Spinz 808 in a similar way to ‘Party At My Place’. I then added some Surge XT synths, with both of these being common choices for underground rap producers. A sampled snare sound is also a feature in the second half of the beat as a sound variation technique [See Appendix 10].
I exported the beat and rapped on it in Bandlab, recording some sung vocals from a friend as well. The recording used a punch-in method, which is the standard method of recording the genre due to the ability to rap line by line instead of writing whole verses. It also allows for more creative ad lib usage, which I used to say “Come in” thrice in a row, with each take clearly sounding like it has been recorded on a different track and adding to the angular flow pattern. I added autotune and a bandlab vocal preset to all vocal tracks, again a must-have for jerk music. The lyrics intentionally mention niche subjects such as “I see ghosts / Mr Perkins” referencing an underground producer and friend of mine named ThereAreGhosts. There are also numerous lyrics such as “I’m in an X-Wing” which are obviously fabricated but represent the feeling of greatness / intoxication. These are both key elements to the lyrics of jerk music and I used them throughout.
My structure of the beat is very similar to ‘Iphone 16’, with an initial idea, a bridge section and then a second verse over a different beat. However, instead of repeating the same verse, I performed a different verse, before reinstating the first section at a faster tempo [See Appendix 11]. This is similar to ‘Patchmade’ (Xaviersobased, 2022) and ‘Throw it in’ (Blimeydog, 2025), in which their own verses are sampled and sped up as an intro, which is also something I include. Additionally, my bridge establishes a vocal melody which I sampled, added delay to, and used as a harmonic component for the second verse, not as a rhythmic element as is usually seen in jerk music.
Evaluation
If my aim had solely been to produce a danceable and fun jerk song, I would have achieved this perfectly. The track does have a catchy rhythm, evolving melodic and harmonic ideas throughout and a smooth flow between sections. It abides by a lot of typical underground rap rules such as bandlab recording, FL Studio mixing and 808/synth choices. However, the song sounds authentic and original and definitely fits the ‘experimental’ aspect of my aims.
On the other hand, the quality of the sounds recorded was not ideal. The processing ensured the sounds were shaped as I wanted them but the actual sounds were not exactly what I wanted. It became impossible to find any sounds which satisfied me for the ‘clicking’ sound within the time constraints of the assignment, despite much experimentation with plastic tubs, bottles and more. I settled for a sub-optimal sound which, had there been more time to work with by beginning this part of the assignment earlier, I would have changed for a better sound.
Despite the issues faced, the song remains a danceable jerk song, which achieves my main aim for the project.
Appendices
Appendix 1:
Appendix 2:
Appendix 3:
Appendix 4: Visual timeline of the guests’ appearances on the documentary
Appendix 5: Microphone setup (During C414 and Orpheus testing not all members of the choir were present and the C414 was moved centrally after it was chosen)
Appendix 6: C for choir, B for Benedict, P for optional piano mics. (c) and (o) for cardioid and omni.
Appendix 7: Full equipment booking list
Appendix 8: Trip planning
Appendix 9: Wardrobe setup
Appendix 10: Track arrangement
Appendix 11: Track then sped up section
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xaviersobased (2026) Party At My Place. Available at: https://open.spotify.com/track/6CtUVW0IkBCejttSw9Bgdi (Accessed: 25 April 2026).
