Audio Files
Project 1 – Ensemble Recording
Synopsis
This project is the first of a three-part location recording portfolio. It consists of a four-piece ensemble performing in the space of Leeds Conservatoire University’s stairwell. The location was specifically chosen for its prominent architectural reverberation and how this would shape the sound of a live group, as opposed to close miking or heavy studio processing.
The ensemble performing is made up of my own four-piece acoustic band. This group utilises a Martin LX1E Acoustic Guitar, Fender Stratocaster, light percussion from a cajon, and layered vocal harmonies performed by two members.
With minimal absorption as a result of concrete surfaces, the stairwell presented as an appropriate spectral space. With pronounced natural reverberation, the area responded well to a stripped-back ensemble.
The recording was conducted as a stereo ambient capture, moving away from close miking, to employ the acoustic signature of the stairwell as an intentional tool. From conducted research, it was observed that a spaced pair technique would be best suited to capture the musical details of the ensemble and the acoustic identity of the stairwell.
The project reflects my ability to combine research, planning, and creative decision-making to form a sonically coherent product.
Research
The research methodology for the project was extensive, taking both academic and practical forms. Although a heavy amount of focus was put on understanding how acoustic bands and reverberant spaces interact, microphone knowledge in selection and technique was equally important. Dedicating research into these areas ensured the interplay between ensemble and space was captured productively and successfully.
To conduct applied research into appropriate miking techniques, the role of sound engineer for a student-led, live performance session series called “The Red Phone Show” was undertaken. Over the course of three sessions, practical experience was gained using different microphone setups and polar patterns, as shown in Appendix 1. This included close miking techniques, spaced pairs, and ORTF.
Despite this series being conducted in a controlled, studio-like environment, knowledge was furthered in capturing diverse textures. This informed decisions on how microphone choices affect the overarching sound of the final product. To illustrate, the Schoeps CMC5U with omnidirectional MK2 capsules were found to provide a natural and transparent sound. The detail these microphones were able to capture made them a suitable choice for creating a tone that was colourful but not overly harsh. (SCHOEPS, no date)
To advance on the practical experience gained from “The Red Phone Show”, academic research was carried out in relation to stereo field recordings. A particular focus was put on spaced pair approaches and the effectiveness these have on capturing a compact group of musicians. Understanding the theoretical principles behind this method, such as stereo imaging and phase relationships, ensured that the project was conducted using established recording practices.
Bruce and Jenny Bartlett explain that a wide stereo image can be achieved through two identical omnidirectional microphones placed several feet apart. This strategy is beneficial when aiming to achieve a sound that is blended, as opposed to sharply focused. Spaced pairs utilise inter-channel time differences, creating a warm ambience within the final playback. (Bartlett and Bartlett, 2014, pp.140–146) With this in mind, two Schoeps CMC5U MK2 microphones were placed 6 feet apart and scaled to 6 feet in height (approximately 1.8 meters). This made sure to capture the width of the four-piece ensemble and the acoustics of the stairwell.
Displayed in Appendix 2, research and practice sessions on the staircase determined careful positioning of those within the ensemble. This allowed consideration of the stairwell’s geometry and sonic properties. For example, the cajon player could not physically be positioned on the stairs or block the centre vocals and was therefore informed to play more gently than usual.
Research into spaced pair techniques indicated that, when placed at a greater distance than one meter apart, two microphones pointed directly in front create a wide and more ambient stereo image. However, if the omnidirectional devices are placed too far apart, the centre image can become weak in the final recording. This is attributed to the channels becoming less correlated. When the desired outcome is a large ambient sound, this method can be useful. (Bartlett and Bartlett, 2014, pp.140–146) The stairwell session applied a 6-foot spacing to prioritise the capture of stereo width and the room’s sonic identity. Performers were adjusted in an attempt to make up for any loss of centre focus within the recording.
Appendix 1
Appendix 2
Project Management
The project began with identifying concise objectives and pinpointing any constraints. The main goal was to successfully capture a live performance from a 4-piece ensemble and the natural reverberation of the room. Early stages of the project involved the acoustic mapping of the stairwell and considering logistics involving aspects such as foot traffic.
Access to the stairwell was addressed through communicating with university staff, such as security, to inform them of plans and how long the session would take. The project was purposefully set to take place from 3 pm to 4 pm on a Sunday, during a period of low footfall from students. Another recording date was additionally organised as a contingency plan to accommodate any unforeseen circumstances, or if the measures put in place required change.
To ensure the ensemble was fully informed and equipped for the session, project documentation was created and distributed ahead of time. As show in Appendix 3, a shared calendar pinpointed key milestones and dates to accomplish tasks by, while outlining contingency windows for the failure of completion of said tasks. Session briefs, shown in Appendix 4, made clear how the day would go forth, allocating times for warm-up procedures, breaks, collection of gear, and technical set-ups. Documents such as these were shared with all participating members prior to recording day. The goal of this was to reduce any wasted time with on-the-day decision-making and to comply with the planned schedule. Furthermore, the session brief included time for multiple complete takes to ensure any issues could be corrected and addressed accordingly.
Within the management phase of the project, conducting risk assessments, shown in Appendix 5, was integral to the planning process. Covering a range of key considerations such as site-specific dangers, wire safety, and environmental factors. Through consulting the Musicians’ Union guide to risk assessments, practical health and safety measures were considered following the provided format. (musiciansunion.org.uk, 2022)
Appendix 3
Appendix 4
Appendix 5
Evaluation
This project and its process of production demonstrated the importance of practice and academic research, alongside deliberate planning. Through conducting singing/clap tests, the sonic identity of the reverberant space was translated into tactical decisions such as microphone and ensemble placement.
Prior experience gained through ‘The Red Phone Show’ influenced the decision-making of technical elements and proved useful on the day of recording with monitoring techniques.
Practical aspects of the production were well reinforced by documentation such as session briefs, Gantt charts, and diagrams. This was found to reduce any uncertainty on the day of recording, allowing any technical issues, such as a lack of gear or practice, to be avoided. Incorporating around three hours of rehearsal time into the recording day schedule ensured all members of the ensemble were well prepared and were able to accomplish 3 completed recordings.
The planned time of the day and specific stair location worked well, as there was minimal disturbance from foot traffic. Back-up equipment, such as spare cables and a hand-held field recorder, also proved to be beneficial to mitigate any unforeseen issues.
There could have been more consideration given to the low-frequency buildup caused by the stairwell’s reverberation. Though the high-pass filter placed on the recording within mixing attempted to take away some of this rumble, further modified performer distance could have occurred to reduce corrective processing. Overall, the project objectives were met through the ability to translate academic research into hands-on practice and strategic planning/decision making.
The final recorded product presents the outcome of two omnidirectional Schoeps microphones in a spaced pair, capturing a wide stereo field. In terms of areas for improvement, re-arranging the ensemble would be beneficial and would result in less post-production corrective mixing. Though the geometry of the staircase was restrictive, pushing percussion back would be ideal to prevent it from overpowering other instruments and to sit more in the centre of the mix. More comparative testing of other stereo techniques/microphone placements would also have been beneficial and would provide a stronger base for microphone selection.
The goal of the mix within the ensemble recording was to keep the recording natural and to act as a corrective chain, improving clarity. Shown in Appendix 6, EQ was first applied to subtract unnecessary rumble or low end, reducing any muddiness. Compression then ensured that dynamics were even and that aspects of the recording sat at a consistent level within the mix. Pro-Q was employed to target specific frequencies that caused clutter and harshness. Finally, a Limiter was put in place to catch any peaks, creating balance.
The goal of the mix within the ensemble recording was to keep the recording natural and to act as a corrective chain, improving clarity. EQ was first applied to subtract unnecessary rumble or low end, reducing any muddiness. Compression then ensured that dynamics were even and that aspects of the recording sat at a consistent level within the mix. Pro-Q was employed to target specific frequencies that caused clutter and harshness. Finally, a Limiter was put in place to catch any peaks, creating balance.
The project met its overall objectives by producing a clear ambient recording, utilising the stairwell’s natural reverberation to enhance the feel of the performance. Technical, practical, and researched choices were demonstrated throughout the duration of production through strategic planning and clear documentation/media examples.
Appendix 6
Project 2 – Track/Composition
Synopsis
This project is the second of a three-part location recording portfolio. The composition was created as an expressive response to the emotional and physical exhaustion of balancing a life between two cities, Glasgow and Leeds. This track is made entirely of found sounds, recorded using a Zoom H1essential Handy Recorder and manipulated with an array of creative processing techniques. The composition is built exclusively from sounds that have been drawn from my everyday life, using various processing methods to shape them into a specific soundscape. Captured using both Mono and Stereo methods, the piece contains an array of textures and spatial perspectives.
The structure follows an emotional trajectory, guiding the listener through the sonic representation of internal turmoil. The opening section of the track symbolises a state of sensory overload, partnered with panic. This is particularly in relation to symptoms of ADHD, where senses are heightened, and all sounds are processed at once to an overwhelming degree. With the abrupt interruption of a car engine starting, this section represents the drive back and forth between two cities. The soundscape becomes darker with heavy bass notes, creating a feeling of tension and internal unrest. Within the final section, there is a shift towards grounding, making use of familiar sounds to suggest comfort and a calmer emotional state.
Within the first two sections of the track, harsher urban city textures from Glasgow and Leeds were purposefully sought to create a sense of unease within the listener. The final section was created using a combination of sources that are personally sonically related to feelings of grounding and happiness. These include excerpts of friends laughing, moments of social connection, books, and music events. These sounds have been used as compositional tools to support the emotional narrative of the track. The piece demonstrates how, when paired with an array of creative processing, found sound and field recordings can be used to convey internal experiences, without the reliance on acoustic instrumentation.
Research
The research for this piece of music was conducted with field recording practices, found sound composition, and the use of audio to convey internal emotions in mind. Due to the foundations of the track being made entirely from raw, naturally occurring audio, it was vital to understand how they could be used as compositional tools. Using these found sounds to symbolise a metaphorical and physical journey from two cities also required research into methods of audio manipulation. This ensured that edits made to the raw audio were intentional and fit within the context of the composition.
The creation of the composition involved choices to use both Mono and Stereo recordings using the Zoom field recorder. (ZOOM, 2024) Methods such as this allow for various levels of special depth, attributing to different emotional peaks. For instance, ambiences such as park noises and city hustle were recorded in Stereo, allowing the listener to be sonically surrounded by those textures. Using stereo mode on the Zoom recorder created a sense of width and was incredibly useful in capturing one-dimensional motions. (Fumo, 2023) Sounds such as voices, footsteps, and direct urban city clatters were recorded in Mono, panned to varying degrees in the mixing process. The distinctions between Mono and Stereo assisted in creating emotional contrast between sections.
The first two sections within the project were constructed to represent emotional unrest, using shrill and grating noises to emphasise the concept. Drawing inspiration from environments with constant movement and intensity, these layered soundscapes can evoke intense feelings from the listener when also mixed with processing. To give an example, raw sounds of car engines were combined with a high-pass filter, a fast-acting compressor, a Tremolo effect, and rising automated volume. This gave the introduction a feeling of rapidly accelerating panic, mimicking the emotions associated with overstimulation. In Martin Russ’ third edition of ‘Sound Synthesis and Sampling”, varying techniques such as looping, octaving, and intervals are discussed to shape sound sources. For instance, looping is said to provide variation in the overall sound when held for an extended time. This research was taken into consideration, particularly in regard to Intervals, when moving parts up or down to create parallel pairs of notes, helping mold the evolving sonic structure. (Russ, 2013, pp.417–423)
Research into Daw-based compositions supports the use of Logic as a creative environment and tool. Mark Marrington in ‘Composing with the Digital Audio Workstation’ suggests that looping, editing and experimentation on recorded sounds through DAW software can encourage the reshaping of recorded sounds. (Marrington, 2017, p.77-89) This was highly relevant to the project as it encouraged the process of repeated listening and reconstruction of raw audio, as opposed to using it as it was.
The DAW software itself was found to act as a valuable research tool. As shown in Appendix 6, the composition was colour coordinated and organised into specific sections. Each section contained different layers of raw sound that were individually processed before being brought into the full mix. Through experimentation with plugin chains and automation visible in Appendix 7 and Appendix 8, research was undertaken as to what effects specific processing would have on the audio. To illustrate this, the track components began with a sustained drone from the second section onwards, acting as a sonic thread and tying each portion of the composition together. Stretched, pitch-shifted, and doubled to create harmonising notes, as seen in Appendix 9, the original source material was a lift button beep. This aspect adds to coherence through the track and provided a path for additional tones to be added on. EQ and processing assisted in removing harsh frequencies from time stretched audio files. (Johncy, 2026)
In summary, research for this project combined academic study into Mono and Stereo recording techniques, field recording practices, and DAW-based experimentation. The conducted research assisted in how the track should be built and how the recorded sounds can influence the intended provoked emotions. The final product shows how, when shaped purposefully and with intention, the sonic material can be used to design and reflect an array of emotional states.
Appendix 6
Appendix 7
Appendix 8
Appendix 9
Project Management
Through a structured workflow, the project was managed in depth from research to field recording and the final mixing process. Main goals were achieved by breaking down the process of creating the track into clear stages, making the work manageable. This also ensured that each stage was well thought through, making a significant contribution to the final outcome.
Due to the track requiring the gathering and organising of raw audio files, time management played a vital role. Shown in Appendix 10, recording sessions were planned alongside trips back and forth from Glasgow to Leeds. Audio files captured from these trips were promptly sorted and reviewed efficiently afterwards.
Throughout the recording stage, sounds were collected within different locations and environments on varying dates. Displayed in Appendix 11, arranging said audio files into coordinated folders ensured each recording could be linked back to where and when it came from. This created a more efficient editing and mixing stage when allocating sounds to specific sections of the track.
Tracks within the project were colour coordinated, clearly labelled, and arranged into three evident sections. Implementing this made navigation straightforward when more layers were added throughout the process of the composition.
Within mixing, the project management mainly revolved around experimentation and revision, with trial and error being the foundation of the final product. Exampled in Appendix 12 and 13, a variety of plug-in chains were tested on sounds such as EQ, pitch shifting, tape delay, tremolo, and time stretching. Employing these processing techniques maintained clarity within the track, providing each sound with a distinct role and texture within the composition and established a steady workflow.
Appendix 10
Appendix 11
Appendix 12
Appendix 13
Evaluation
As a whole, the outcome of this project was successful and met the objectives set out in the beginning stages. The track effectively conveys the intended emotions, such as overstimulation, tension, and final clarity. Conceptually, the piece met its aims of portraying internal emotions entirely through found sound sources. As a result of the composition making use of recorded real-world audio, the overall track successfully delivers an authentic and expressive feel.
Using both Mono and Stereo recording techniques and combining them with EQ, compression, looping, panning, time stretching, automation, and various other sampling skills, a space was able to be carved for each piece of audio. With the three section of the track expressing a different emotion, this built contrast and created a clear arc.
Shown in Appendix 14, automation established flow within the track, using volume changes to create movement between sounds and gradual transitions. Introducing different layers and drawing them back at the right moments, the tool allowed for support in the emotional arc of the project. Where textures were found to be thicker or denser, automation assisted in project management through the technical organisation of sections.
Music theory played a vital role in the cohesion of the composition. Shown in Appendix 15 and 16, sampling time stretched audio successfully demonstrated an understanding of music theory and pitch relationships. Through the layering and manipulation of different samples, structured melodic and harmonising textures were created, showcasing an application of creative and theoretical thinking.
An area of development may include more careful consideration of dense layers competing with one another. This could be adjusted through simplifying certain sections or being more meticulous in EQ-ing particular frequencies.
Development of recording stages may have also improved the variety and quality of source material, leading to more sonically interesting results within the mix. Further experimentation with more advanced processing techniques would also be worth exploring in order to create a more immersive listening experience.
In summary, the overall project combined various levels of field recording, organisation of audio files, processing techniques/manipulation, successfully meeting its aims to produce a track that conveys a clear emotional idea. The research aspect further improved skills and knowledge in mixing and compositional creativity, leading to an expressive final product.
Appendix 14
Appendix 15
Appendix 16
Project 3 – Audio Documentary
Synopsis
This audio documentary explores the role that queer creatives play within contemporary artistic practices. The documentary follows two interviews from two sets of queer artists, each one identifying differently and emerging from various backgrounds. A particular aim of the project was to capture personal insights and opinions from those navigating discrimination and particular outlooks within their fields. Another aim was to leave the listener with a layered understanding of queerness, grounding the documentary through lived experiences. Themes of community, safety, and representation present themselves within the documentary and reflect a the broad perspectives on which queer people bring to the arts.
Through location recordings, clean narration, and spoken word interviews, this documentary balances commentary with personal experiences. Skills within musicianship helped to develop strong instrumental tracks to support dialogue. These aid in reinforcing spatial dimensions and the contributions of each interviewee.
Mix and mastered within Logic Pro, the audio documentary combines technical production skills and practice-based research. Recording the entire documentary with a Zoom H1essential, I was able to develop multiple practice skills through hands on experience, aiming to capture the atmosphere created through the dialogue.
Research
Research conducted for this project was conducted through various means, directing a particular focus on exploring audio documentary techniques and knowledge queer identity shaping the arts world.
The project began with the initial idea of the documentary, which aimed to explore how important queer artists are to music and how they navigate creative spaces. Interviewing a range of people with varying identities required appropriate research and the creation of thoughtful prompt questions, as seen in Appendix 17. The inclusion of Sophie, a queer music producer who identifies as a transgender woman, was incredibly important in driving home the message behind the documentary, as she offered a wider perspective on queerness in art. An interview conducted by Creative Access supports this, in which one interviewee stated, “For me, a large element of my creativity is about the making process – which I feel draws parallels to the way being trans is about making yourself.” (Rafal Majdan, 2022) This perspective was valuable to the development of the project as it supported the idea that queer art forms are not only about the final product, but about expression through one’s identity. Research surrounding this topic allowed for extra intentionality to be placed within the asked questions.
Within research for the technical elements of the project, it was important to focus on creating a clear and intelligible main narration vocal to create a comparison between this and the stereo field recordings. Research showed that key vocal techniques, such as inflexions, are crucial in maintaining audience attention. Microphone choice also indicated that a pop-filter of some sort was required to minimise hard consonants such as “p” and “b.” (Knott, 2019)
Conducting research on audio documentary forms heavily shaped the making of this project. Findings suggested that audio documentaries should aim for “roughly a one-third split between script, interviews, and sound effects (including music and natural sound).” (Journalsim.University, 2025) When a documentary is informative, this method is particularly useful. With the narration providing context within the project, the interviews create a sense of intimacy and humanity. Furthermore, the added music reinforces the atmosphere and emotions being portrayed.
Appendix 17
Project Management
Through using a structured work flow, the project began with developing the initial idea, gathering interviews from queer artists, and conducting appropriate location recordings. To achieve these aspects, careful planning tactics were utilised to collect audio snippets at key times. Scheduling was focused around the artist schedule, recording on dates of real life performances or social gatherings with the intention of capturing authentic location captures, as opposed to manufactured ones. To give an example, as seen in Appendix 18, events such as Cabaret performances and social occasions were logged into a digital calendar to keep track of what authentic events were possible to attend and record.
Furthermore, shown in Appendix 19, intentional spaces were utilised for recording sessions, such as back gardens, with the intent on making the interviewees feel most comfortable. This also made sure that they were placed within spaces that they experienced the most community and acceptance amongst peers, drawing a personal aspect into the audio.
Organised folders were used to maintain a steady workflow throughout the mixing and production process, as shown in Appendix 20. This allowed for quick and easy access to materials, especially due to the fact that all audio files were labeled descriptively.
Appendix 18
Appendix 19
Appendix 20
Evaluation
Completed within Logic Pro, the audio documentary was mixed and mastered to create a captivating and educational listening experience.
Throughout the mixing process, focus was placed on creating a clear narration voice-over. This was achieved through a range of processing techniques, shown in Appendix 21. These included EQ, compression, a noise limiter to catch peaks, and a DeEsser. Using these techniques supported the projects aim of creating a coherent narration vocal, even when placed over the top of layered ambient textures.
The inclusion of location recordings reinforced the feeling of authenticity throughout the documentary. This was found to be particularly successful in live performance recordings, allowing the listener to feel connected to the environment being portrayed.
Research into different type of queer communities and artists assisted in creating successful, simple yet thought provoking questions to ask interviewees. This style of preparation ensured that answers felt conversational and authentic within the recordings, capturing the authenticity behind the dialogue.
As a whole, the audio documentary was successful with its intention of exploring queer artistry through clear narration, location recordings, and conversational interview question answers. The project also displayed a strong sense of musicianship through additional ambient instrumentals that contextually fit each section and interviewee.
The project also proved successful as it allowed for development in technical skills such as independent recording, editing, and mixing. Certain noises proved more challenging to manage than others due to external noises, but this aspect encouraged critical thinking and solutions.
Overall the documentary presents its findings of queer artistry and how community/identity are represented within it successfully.
Appendix 21
Bibliography
Bartlett, B. and Bartlett, J. (2014). Recording Music on Location. Second ed. Taylor & Francis, pp.140–146.
Fumo, D. (2023). When (and How) to Use Mono, Stereo, Surround, & Spatial Sound Effects. [online] Prosoundeffects.com. Available at: https://blog.prosoundeffects.com/when-and-how-to-use-sound-effects.
Johncy, J. (2026). The Basics of Time Stretching and Pitch Shifting . [online] Plus. Available at: https://www.pointblankmusicschool.com/blog/the-basics-of-time-stretching-and-pitch-shifting/.
Journalsim.University (2025). A Guide to Informative and Investigative Audio Documentaries • Journalism University. [online] Journalism & Mass Communication Hub. Available at: https://journalism.university/audio-podcast/guide-informative-investigative-audio-documentaries/#structure-and-sound-in-informative-documentaries [Accessed 28 May 2026].
Knott, R. (2019). The Complete Guide to Doing Voice Overs Like a Pro | Blog | TechSmith. [online] Welcome to the TechSmith Blog. Available at: https://www.techsmith.com/blog/voice-over/.
Mark Marrington, ‘Composing with the Digital Audio Workstation’, in J. Williams and K. Williams (eds), The Singer-Songwriter Handbook (New York: Bloomsbury Academic, 2017), pp. 77-89
musiciansunion.org.uk. (2022). Risk Assessment Guide For Musicians & Music Venues | Musicians’ Union. [online] Available at: https://musiciansunion.org.uk/health-safety-wellbeing/health-and-safety/risk-assessment-guide-for-musicians.
Rafal Majdan (2022). Being trans in the creative industries – Creative Access. [online] Creative Access. Available at: https://creativeaccess.org.uk/being-trans-in-the-creative-industries/.
Rayburn, R.A. (2017). EARGLE’S THE MICROPHONE BOOK : from mono to stereo to surround – a guide to microphone design and … application. pp.224–229.
Russ, M. (2013). Sound synthesis and sampling. New York, N.Y.: Focal Press, pp.417–423.
ZOOM (2024). H1essentialOperation Manual. [online] Zoomcorp.com. Available at: https://zoomcorp.com/manuals/h1essential-en/.
