Saquona Astwood
30/04/2026/Year 3/Music production
Research project (Location Recording)
Audio Files
Ensemble Recording 3 min
Found Sound Composition 3 min
Audio Documentary 10:30 min
Ensemble Recording
Synopsis
For this project, a live ensemble recording was captured in a non-studio setting. With limited equipment, the goal was to create a balanced mix while considering the acoustics of a small church. Both close microphones and ambient recording techniques were used to capture clarity and spatial depth, including a full band and choir.
Methodology
This project’s methodology integrates technical preparation, hands-on experimentation, and continuous problem-solving. By using a practice-led approach, recording skills were improved through prior ensemble recordings and rehearsals, which informed techniques applied during the live performance.
Pre-Production
An equipment list and Risk Assessment were completed prior to recording. (See Appendix 50 and 51), alongside a Stage layout plan. (See Appendix 52)
Participating in multiple settings and multiple rehearsal sessions allowed evaluation of the ensemble’s dynamic range, instruments and organisation. (See Appendix 1,2,3,4,5,6,36,37, and 38) This helped identify potentialproblems, such as maintaining vocal clarity in a dense arrangement and avoiding frequency masking.
I set up and rewired the church sound system with support from the in-house audio engineer. Although the church had a wide variety of equipment, much of it was unused due to a lack of knowledge. So, I had to work with what was available rather than choosing particular microphones. The arrangement included a five-piece choir, piano, keyboard, bass, guitar, and drum microphones. (See Appendix 7,8,9,10,11, and 12)
Levels were adjusted to prevent clipping and guarantee a high signal-to-noise ratio, especially for dynamic sources such as drums and vocals.
The first set up and testing occurred during a choir rehearsal on Saturday, January 10th, 2026, with the recording captured the following day during a live service. (See Appendix 14 and 15)
I positioned a Zoom H5 recorder at the back of the room to capture this atmosphere. Taking advantage of early reflections and the small room’s natural acoustics. (See Appendix 13)
Production (Recording)
Each instrument and vocal source was given its own channel in Logic Pro. A technical problem at the beginning of this session when audio signals were glitching and playback was delayed. Suggesting a sample rate or buffer size mismatch. I decided to restart a new project because even if the input level seemed normal.
Channels were appropriately assigned, all input and output routing was restored, buffer size was adjusted. I kept a close eye on the settings throughout the session to avoid clipping during the performance’s louder parts.
Post-Production
Instead of a single structured piece, the performance was a medley of praise and worship. To overcome this, I employed editing techniques and fader automation to produce a seamless three-minute piece that preserved musical continuity.
Waveform matching was used to align the Zoom H5 ambient recording with the multi-track session after it was imported into Logic Pro. To reduce frequency masking, especially in the low-mid range, equalisation was used. On non-bass elements, high-pass filtering was applied to eliminate unnecessary low-frequency content.
A bus send was used for the voice tracks and compressed the group to improve vocal presence and dynamic control, and reverb was employed sparingly.
Project Management
From the brief to the final submission, this project spanned seven months. Although the final ensemble recording took two weeks. During these collaborative sessions with two other production students.
I collaborated with the church’s in-house audio engineer, who also performed as a member of the ensemble.Limited equipment was one of the project’s main limitations. This required an adaptive approach to resource management, with a focus on signal flow and microphone placement optimisation rather than equipment selection.
The setup, recording, and post-production phases of the practical workflow were organised. Each of the setup and recording phases was dedicated to a day. A technical problem occurred during recording, causing buffering and playback issues with the DAW (Logic Pro). To guarantee recording stability, this required prompt troubleshooting and session restarting.
On the other hand, the post-production stage benefited from a longer time allotment. This made it possible to edit and mix thoroughly and iteratively. Time allowed for critical listening and improvement. Other technical problems were discovered, such as interference on the floor tom and overhead microphones, which was caused by a defective or broken XLR cable.
The use of rehearsal sessions as a preparatory tool was one of the main advantages from the standpoint of project management. Before the final recording, these sessions served as unofficial testing grounds where technological methods could be assessed and refined. This demonstrates a successful application of experiential learning and adaptive workflow. Future improvements include a more comprehensive pre-production checklist particularly the DAW instability and defective cables and carrying spares to minimise risk.
This project exemplifies efficient time, process, and resource management in a live recording setting. It also emphasises how crucial technical planning and risk management are, especially when using pre-existing equipment in a non-studio setting. Future work will use these insights to guide a more systematic and proactive approach to project planning.
Evaluation
This project shows that I can use recording and mixing methods in a limited, real-world setting. A key goal was to balance technical control with the unpredictable nature of a live ensemble. By combining ambient capture with close-mic recording, clarity and spatial reality was preserved in the final blend. This method is consistent with soundscape theory and spatial recording techniques, which hold that the listener’s impression of space is influenced by the interaction of direct and ambient sound (Schafer, 1977).
The incorporation of the ambient track recorded with the Zoom H5 is one of the recording’s main advantages.Placed in the back of the room, early reflections and audience presence may be captured, adding to the mix’s authenticity and depth. This demonstrates knowledge of spatial recording methods and how to use them in real-world situations.
Additionally, successful was the vocal group’s usage of bus compression. I was able to keep steady dynamic control and enhance the vocals’ presence within a thick musical backdrop by treating them collectively. This indicatesknowledge of well-established mixing techniques for improving vocal intelligibility.
Apparent bleed between sources because of the inability to choose microphones, which decreased control over tonal qualities and polar patterns. Improved positioning techniques or the use of more focused microphones would enhance isolation in subsequent research. More control over the choice of microphones would have enhanced tone accuracy and isolation.
The acoustic setting presented further difficulties. The mix’s clarity was diminished by the accumulation of low-mid frequencies caused by the small reflecting area. Repositioning performers to better control reflections is one potential future strategy.
Editing a continuous medley into a three-minute section. Recording a well-defined piece would minimise the necessity for drastic editing in future projects.
Found Sound Composition
Synopsis
This piece uses field recordings of human and natural activities to explore my return to the Turks and Caicos Islands, turning well-known sounds into a musical story. By transforming environmental and cultural recordings into structured musical pieces, I created solely from found sounds recorded during my visit. (See Appendix 16) The work presents a compact picture of the island environment, reflecting the relationship between location, memory, and individual experience.
Methodology
Field Recording
A comprehensive field recording process was carried out in the Turks and Caicos Islands using a Zoom H5 recorder. Sounds captured in the field, concentrating on both human and natural activity. Wave movement, wind, ambient noise, splashing water, coconuts, footsteps, and signs of human presence were all recorded. To capture both transient and textural information, a variety of recording viewpoints and durations were employed.
Selection and Preservation of Sound
The content was imported into Logic Pro for organisation and review. Sounds, such as ambient, percussive, textural, and human elements, were categorised.
A small core group of sounds was selected based on their representational value, clarity, and transformative potential.
Sound Design and Modification
Coconut recordings were turned into a full drum kit. Pitch shifting and filtering were used to transform lower-frequency hits into kick elements, while transient augmentation and mid-range emphasis were used to transform sharper shell strikes into snare-like sounds. Hi-hats were made from high-frequency textures produced by mild tapping and scraping, while extra fragments served as additional percussion. Transforming a single sound source into a coherent rhythmic pattern.
Paul Stretch was used to create harmonic content from wave recordings, converting brief ambient sounds into long-lasting tonal patterns. The sound was then used as tuned material.
The audio was re-imported into Logic Pro, where tonal focus was improved using EQ and pitch modification. Plugins for guitar and bass amplifiers were used to provide saturation and harmonic colouration. (See Appendix 56) Wave recordings were introduced as synth-like pads, bass tones, and guitar-inspired textures using this method, supporting the idea that sound carries meaning through perception and context (Truax, 2001).
Structure of Composition
An introduction, a transformation section, a rhythmic core, and an outro comprised the composition’s three-minute structure. The beginning segment, which progressively shifts into more abstracted and rhythmic content, uses minimally processed field recordings to create a sense of place.
Practitioners like Yosi Horikawa, whose work shows how environmental sounds may be recontextualised into rhythmic and textural aspects, influenced this method of field recording and sound alteration. (Dmy.co, 2026) Like this, Jakob Kierkegaard’s 4 Rooms emphasises the active function of location in sound generation by examining the resonance of actual spaces. (Touch33.net, 2022) My knowledge of location recording as a creative has grown because of these pieces. But my work deviates by altering recordings outside of their original context, emphasising a conflict between authenticity and personal perception of location.
Pre-Production
Creating a storyline and getting an understanding of what I am going to record to bring this to life. Locations were selected based on their ability to produce clear recordings with limited interference, ensuring high-quality source material.
Production (Recording)
Recordings were done over several days in a few locations across the Turks and Caicos Islands. (See Appendix 17,18, 19,20, 21,39,40,41, and 42)
To prevent distortion while maintaining information, recording settings and location were carefully considered. To allow for versatility in post-production, both close and ambient perspectives were recorded.
Post-Production
Organising and editing the recordings into a structured composition was part of post-production.
By blending ambient sounds with rhythmic components taken from the same recordings, layering was used to create depth and automation by controlling dynamics and transitions.
In order to improve spatial qualities without overpowering the original sounds, effects like reverb and delay were utilised.
Project Management
This project was not initially intended to be a part of a special recording trip. The project was modified around my trip to the Turks and Caicos Islands for my sister’s burial. The goal was to record sounds that convey a feeling of location and offer a natural representation of island life.
Audio was recorded every day for a total of two weeks. While some recordings happened impulsive during regular activities, others were prepared using a checklist of human and natural sounds. A diverse and genuine sonic palette was made possible by this balance.
There were several difficulties, especially because of the surroundings. The Zoom H5’s sensitivity allowed it to record undesirable sounds, including wind, distant conversations, music, and construction. Particularly apparentwhen recording faint sounds like footsteps or water movement. The Zoom H5 recorder was the only tool used in the endeavour. This made it possible to record effectively and adaptively.
Making decisions was a crucial step in the procedure. Certain records, such wave recordings impacted by vacationers in the area, were rejected because of interference. On the other hand, some recordings—such as a boat motor starting and a change from outside to indoor space—exceeded expectations. This illustrates how crucial assessment and reactivity are while conducting field recording.
Every day, recordings were examined and arranged, with files properly labelled and kept in folders. This was especially crucial because I was also recording for an audio documentary, which called for precise documentation.
There is room for improvement, though. It would have been possible to investigate other places and recording variances, especially regarding length and distance. Since several recordings were impacted by problems like cable interference and insufficient wind protection, technical awareness might potentially be enhanced.
Future work would benefit from a more thorough recording strategy that includes better equipment preparation and a wider diversity of locations to increase quality and consistency.
Evaluation
When the Turks and Caicos Islands are represented using real-world recordings. The project gains more coherence by restricting the sound palette, which enables more in-depth material creation. Through composing practice, familiar sounds are heard, altered, and reinterpreted, reflecting an embodied approach to hearing.
The choice to use a small number of sounds allowed for more concentrated development. Through creative practice, familiar sounds are heard, altered, and reinterpreted in this process, which also reflects and embodied approach to listening.
The recording procedure also made clear how crucial flexibility is to field recording techniques. Unpredictable sound sources, human interference, and wind noise are some of the difficulties that come with working in uncontrolled surroundings. These problems became more noticeable due to the Zoom H5’s sensitivity, highlighting the benefits and drawbacks of utilising a sensitive portable recorder.
Decision-making while recording was a major asset. While some recordings surpassed expectations, such as the capturing of a boat engine and transitions between locations, others were rejected because of undesired noise. This demonstrates the capacity to assess information critically and react imaginatively to unforeseen consequences. This supports the idea that sound is not only heard but interpreted through context and experience (Truax, 2001)
Nevertheless, the project has its limitations. The composition’s clarity was periodically impacted by the elements’ lack of control and precision due to the use of natural recordings. Furthermore, it was challenging to isolate soundsdue to the environment’s acoustic unpredictability, highlighting the difficulties in obtaining “pure” natural audio in real-world settings. Although this unpredictability adds to authenticity, it also draws attention to a conflict between compositional control and environmental realism.
From a project management standpoint, there were several areas that could be improved even though the workflow was efficiently managed through daily file management and planning. The overall sound palette would have been strengthened with more variance in recording locations, distance, and length. Additionally, there is room for improvement in technical knowledge during recording, especially when it comes to handling noise and wind interference.
A more thorough recording plan and better equipment setup would increase quality and consistency in future work. The composition would also be strengthened by expanding the range of recorded material and investigating greater variety in texture and structure.
In summary, this project effectively turns field recordings into a musical form while exhibiting a critical understanding of both technical and artistic processes. It identifies specific areas for continued improvement while highlighting strengths in flexibility, organisation, and conceptual development.
Audio Documentary
The Songbird of the Turks and Caicos Islands
Synopsis
This project was influenced by modern audio documentary techniques, where voice and sound layers are used to create a story. (See Appendix 54) Examining Barbara Aretha Johnson’s biography, musical career, and cultural influence. (See Appendix 53) The documentary offers a personal and cultural insight of her contribution to the Turks & Caicos Islands through interviews, archival materials, and environmental recordings.
The piece uses sound to convey a sense of location, identity, and tradition while preserving cultural heritage.
Methodology
1. Research Methods and Design
A qualitative, narrative-based approach is used in this project. focusing on her artistic career, and cultural achievements through first-person testimony and oral history and cultural documentation. The documentary emphasises community memory and firsthand experience as primary sources.
In order to place Barbara Johnson’s story within broader institutional and cultural contexts, a multi-perspectival framework was used.
2. Data collection
Examination of current musical compositions, interviews, and archive recordings
Analysing historical and cultural documents pertaining to the Turks and Caicos Islands’ performing arts development
creation of an organised theme outline in keeping with the narrative sections of the documentary
With a focus on reflective and experiential answers, interview instruments (question guides) are made to extract rich qualitative data. (See Appendix 53)
3. Selection of Participants
Purposive sampling is used to choose participants based on their direct connection to Barbara and relevance to my intended goals.
Among the participants are
- Barbara Aretha Johnson herself
- Sons Donovian Dunbar and James Parker III, immediate family, offering domestic and personal viewpoints
- Local artists, reflecting perspectives from peers and generations
- Former coworkers and managers at the Department of Culture and Heritage, providing an institutional perspective
A balanced representation of cultural, professional, and personal narratives is guaranteed by this sample technique.
4. Interview
Interviews will be semi-structured to ensure uniformity across participants and flexibility for themes that arise.
- Using open-ended enquiries
- Little assistance from the interviewer
- Follow-up questions to promote clarification and reflection
- To promote authenticity and clarity of speech, interviews will be held in settings that are comfortable for participants and have excellent audio recording.
5. Sound Design and Audio Recording
The documentary includes spoken interviews as well as:
- Musical samples from the past
- Live music recorded at gigs
- Natural and cultural soundscapes are examples of ambient environmental sound.
Sound design will serve as a narrative tool, improving the feeling of location and emotional consistency.
6. Editing and Analysing Data
Narration, interview clips, and audio components will all be incorporated into the chronologically organised editing process.
- Coherence of narrative
- Representing participant voices in an ethical manner
- Emotional relevance and analytical structure should be balanced.
7. Ethical Aspects
A key component of the project was ethical behaviour. Each participant gave their informed consent after being informed of the intended use of the data.
Accurate and respectful representation was ensured by the sensitive handling of cultural and personal elements.
8. Desired Results and Distribution
The finished product will be a 9-minute audio documentary that will be distributed via:
- University hand in
And one day also:
- Institutions of higher learning
- Archives of culture
- Digital platforms and radio broadcasts
The initiative intends to assist knowledge transfer between generations, aid in the documentation of Caribbean cultural legacy, and function as a cultural and academic resource.
This submission shows the first 10 minutes and 30 seconds of a longer professional documentary currently under development.
Shine a Light: Field recordings from the Great American Railroad by Billy Bragg and Joe Henry takes a documentary style, recording concerts live to main environmental context. (Americana UK, 2016) This had a direct impact on how I approached the audio documentary, highlighting how crucial it is to record in realistic settings to preserve authenticity and a strong feeling of place. Although this approach improves realism, my project also required layering and selective editing, emphasising the need to strike a balance between creating a cohesive story and maintaining realistic sound.
Pre-Production
To get authorisation to base the documentary on Ms. Johnson’s life and work, pre-production started by contactingher. Her musical career and firsthand experiences were taken into consideration when crafting the interview questions. Other sound concepts were found, including cultural and natural components like waves, church choirs, Youth culture group and daily activities. (See Appendix 24, 29 and 30)
Test recordings were made to guide strategy and methodology, reference material—including already-published audio documentaries—was also examined. (Piers Plowright, Sound smith and BBC Sounds, Logan, 2020). (See Appendix 22)
Production (Recording)
At first, I tried recording Ms Johnson over a WhatsApp call. (See Appendix 25). Then I ended up travelling to Turks and Caicos and was able to interview her in person, using a Zoom H5 recorder. This primary interview was in her living room. (See Appendix 26,27, 28, and 43)
All the main recordings were made in various locations over several days. I kept documentation of all the recordinglogs. (See Appendix 35)
By accompanying her to live gigs, more recordings were made, capturing crowd interaction, applause, and surrounding settings like pubs and restaurants. (See Appendix 31,32, 33, 44, 45, 46, 47,48 and 49)
Voice notes sent over the phone were used by all other participants in the documentary to respond to interview questions. To guarantee consistent audio quality and seamless integration with the other content, these recordings were subsequently re-recorded and played back using the Zoom H5. While upholding professional norms, this method made it possible to include individuals who were unavailable for in-person interviews.
To enhance context and organisation, visual documentation was also recorded during the recording process. (See Appendix 43) To guarantee vocal tone consistency, the narration was re-recorded at the end of the process. (See Appendix 23)
Post-Production
After each day of recording, I labelled and saved the files in different folders. (See Appendix 58) The goal of the post-production process was to transform the recorded content into an understandable and captivating story. EQ and minimal compression were used to improve the clarity of dialogue recordings while maintaining each speaker’s natural tone. Some background noises were purposefully kept. (See Appendix 57)
Although Paulstretch was initially explored as a creative audio approach, the processed audio was removed from the finished product because it did not yield the desired outcome in this documentary.
The documentary’s construction relied heavily on layering. To strengthen the listener’s immersion, ambient recordings were used to contextualise and support spoken content. To ensure that narrative clarity remained the first focus, careful consideration was paid to levels and spatial placement of masking conversation.
From a phenomenological standpoint, post-production was both a technical and a subjective process. Choices about what to highlight, eliminate, or include had a direct impact on how the audience perceived the setting and understood the story. This is consistent with the theory that context and listening shape sound’s meaning (Chion, 1994).
Although preserving realism was a top concern, this occasionally led to slight variations in audio quality between recordings. More regulated recording circumstances or the use of extra processing to get higher consistency without sacrificing authenticity could be future enhancements.
Project Management
Because this documentary project combined in-person and remote recording, it needed a flexible and adaptable approach. The original plan was only to interview Barbara Johnson. My tutor’s feedback made it evident that other viewpoints were required. But because my two-week visit to the Turks and Caicos Islands was over, follow-up interviews had to be done virtually using voice notes.
The primary interview with Barbara Johnson was planned to take place at her house over a day. Her live recordings of her performances were made with greater flexibility since I attended shows on an as-needed basis to capture ambient sounds and crowd interaction.
To ensure consistent audio quality throughout the Logic Pro project, about eight more volunteers provided voice comments, which were subsequently recorded with the Zoom H5. The phone recordings’ location within the documentary made sure they integrated well with the other content, even though their accuracy was lower.
Organization and workflow were important assets. At the conclusion of each day, all recordings—both in-person and remote—were examined, labelled, and saved. Since the in-person and remote recordings were managed in separate stages, effective material tracking was made possible without the need for a separate checklist.
All recordings, including voice notes from phones, were made with the Zoom H5. Voice notes and in-person interviews had to be rerecorded since certain recordings needed to be adjusted, especially when the levels were too high. These modifications show proactive problem-solving and attention to detail.
Over the course of the project, decision-making changed. The documentary, which at first only featured Barbara Johnson’s interview and narration, grew to include more people to guarantee a variety of viewpoints and a coherent story. This modification shows a dedication to creating a comprehensive cultural documentary and an openness to feedback.
Due to scheduling issues and other academic obligations, the recording process took several months. Because ofearly planning and organised organisation. To ensure continuous integration into the final story, flexibility was maintained to accommodate participant availability, especially for the remote interviews.
Overall, the project shows how to manage a complicated, real-world recording environment with organised workflow management, adaptive problem-solving, and effective coordination of various participants.
Evaluation
This project illustrates how audio production techniques can be successfully integrated with documentary narrative, especially when different views and layered sound are used. The incorporation of interviews and ambient sound, which produces a keen sense of place and authenticity, is a major strength. Aligning with radio documentary practices that emphasise authenticity and narrative through sound (Plowright, 2010).
A balanced story that offers both cultural and personal insights into Barbara Johnson’s life and work is made possible using many points of view.
Because voice, memory, and ambient sound all work together to place the listener in a lived and culturally entrenched experience, where meaning is shaped through the interaction between sound and perception (Chion, 1994). Instead of relying solely on structured narration, the combination of ambient sound and oral testimony enables meaning to develop through perception and personal narrative. The necessity to strike a balance between documentary realism and technical control is highlighted by the fact that, although realism increases authenticity.
Although recording in real-world settings offered dimension, there were drawbacks as well, like background noise and inconsistent recording conditions. Although these components enhanced realism, they occasionally compromised clarity.
Although voice delivery consistency needed to be carefully considered, narration was crucial in tying portions together. Coherence was enhanced by recording the narration in a single session.
Organisation and planning worked well from a project management standpoint, especially when it came to file management and interview preparation. On the other hand, more control over scheduling and recording conditions might enhance overall quality.
Clarity and impact would be strengthened in subsequent work with improved sound design and more control over recording situations. Storytelling could also be improved by using more audio layering and transitions.
The project effectively conveys a cultural narrative through sound, highlighting opportunities for improvement while highlighting strengths in technical application, organisation, and storytelling.
Bibliography
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Appendices
Appendix 36
Appendix 37
Appendix 38
Appendix 39
Appendix 40
Appendix 41
Appendix 42
Appendix 43
Appendix 44
Appendix 45
Appendix 46
Appendix 47
Appendix 48
Appendix 49
Appendix 5
Appendix 51
Appendix 52
Appendix 53
Appendix 54:Documentary layout and Interview questions
Appendix 55
