Audio Files
Project 1
Synopsis
For this project I opted to explore a field of music I was unfamiliar with, which in my case was brass bands, a sector of classical music with instrumentation I had not captured before such as cornets and euphoniums as well as percussion such as vibraphone, glockenspiel and xylophone.
Research
Academic research:
Brass bands are traditionally made up of 25 brass performers and between 2-4 percussionists (Edinburgh Brass Band, n.d.):
(Pheonix Brass Band, 2026)
History of classical recording:
To understand how to capture this ensemble authentically, I needed to understand the context of the music and how it was historically captured. Brass bands roots’ date back to the 19th century, bands were formed to represent particular businesses or religious movements such as colliery or temperance bands that were subsidised by these organisations. Brass bands provided community, morale and a creative outlet for the working class. (Webb, 2021)
Initially while capturing large ensembles such as Leopold Strokowski and the Philadelphia Orchestra in 1925, a single mic was used due to a limitation of technology, developing into stereo arrays and beyond for reinforcement mics with the improvement of multitracking capability. However, the primary array is still used today as it provides a balanced capture of the whole ensemble with close mics being used to reinforce and allow more freedom in balance and depth.
Stereo Arrays:
Primary stereo arrays are usually configured in either XY or mid-side (Senior, 2015), both offer strong centre image, however mid-side allows adjustable width in post, leaving options when working in an unfamiliar room. This array is typically placed behind the conductor, whose role is to manage time and dynamics of the ensemble, which will achieve the most balanced capture physically mixed for the audience.
Wesley L. Dooley and Ronald D. Streicher documented the theory of how to optimise this technique in their paper “MS Stereo: A Powerful Technique For Working In Stereo” (L. Dooley and D. Streicher, 1981).
The paper explains how this technique works with different configurations of polar pattern for the mid microphone and how this alters the resulting output with different ratios of mid to side. In my case the rear of the array would point at a wall which would present unwanted reflections that could interact destructively with the intended forward signal, making a cardioid microphone the ideal choice.
Reinforcement mics:
Sectional mics are used to support the main array by allowing more direct signal to control the level and relative closeness of each instrument. While spill is important to manage in these microphones it is inevitable, the key to a natural sound is to leave adequate space and make use of directional microphones to reject non source instruments using the null pickup areas. Making it ideal for sectional capture where there are multiple performers.
Stereo bars in XY configuration allow for coverage of a given section because of its 195-degree recording angle (Sengpielaudio, n.d.) without overly emphasising the centre musician. This stereo technique is ideal because it relies on directionality of cardioid microphones rather than difference of arrival time, maintaining phase correlation and a strong centre image. This is necessary as these mics will be panned in conductor perspective, positioning these signals close in the stereo field.
Hyper-cardioid pickup has a greater side rejection making it suitable for soloists, having a slight pickup at the rear, The impact of this is mitigated by the pickup facing the conductor. This pickup pattern also exhibits the proximity effect when close miking (Brixen, 2024) giving a low end bump when positioned close to the microphone that will increase the soloists presence in the mix.
Gear Specs:
The monitoring position was set up in the kitchen using an Allen and Heath QU24 as a 24-channel interface paired with an AR2412 Stage box positioned by the conductor as a central hub for XLR’s and doing the analogue to digital conversion, using a single Cat5 cable to run the signals into the desk, mitigating the risk of a trip hazard from numerous XLR runs.
The desk has a fixed sample rate of 48kHz, and while some classical recordings go up to 96kHz, the Shannon Nyquist theorem states that doubling the highest audible frequency a human can hear of 20,000hz will provide an accurate playback of the recording with a full frequency response (Keim, 2020) meaning 44.1kHz would work equally as well as 48kHz. Excessive processing can create aliasing which higher sample rates can mitigate, however the goal of this recording is to do minimal processing during mixing so this is a non-issue.
32 Bit float is also an option on location where there isn’t time to set appropriate gain levels beforehand as it provides an unnecessarily large dynamic range at the cost of a 33% larger file size. Recording at 32 bit requires specialised interfaces to use and doesn’t seem necessary for this project, especially when when 24 bit would suffice with proper gain staging. 16 bit is the standard bit depth for streaming as well as CD releases (Blythe, 2024) so the benefits of recording at 32 bit are minimal.
Primary Research – Phil Hardman Session (Black Dyke):
In my outreach for bands in the Yorkshire area who were actively performing. I received a response from the Black Dyke Band who stated they could not fit in a session with me over the Christmas period, but had a professional session booked in the following week that I was welcome to attend.
The session was run by Phil Hardman, founder of Northern Audio Productions. This session was capturing Black Dyke, a historic 170-year-old band with an “unparalleled record of competition success”. Phil is a career location recorder with a number of awards and working with high profile orchestras such as the Scottish National Orchestra, BBC National Orchestra of Wales and numerous army bands (Hardman, n.d.).
Their rehearsal space in Bradford is “cramped” and “dead” acoustically which isn’t optimal sound conditions for a band traditionally heard in large halls. Denshaw village hall was hired out, giving plenty of space for audio equipment with smooth walls providing reflections that provide more ambience akin to a concert hall to be captured in the main array. Phil adds reverb in post to further enhance the sense of space, tracking with a hardware lexicon unit to monitor as closely to the finalised mix as possible, giving a mix of room reverb and a longer sound emulating a larger space.
Phil’s session organisation:
Phil made use of spot mics between 2-3 performers of the same section leaving enough space for a natural sound of the instrument. Where a soloist was present, they were given their own mic to capture the nuance in the performance. A backup Tascam field recorder was also utilised to still capture in the event of gear failure.
The microphones were run into a digital snake positioned by the conductor run into a makeshift control room in an offshoot room provided isolation to monitor the recording within SEQEL.
Phil uses the same microphones for each instrument in similar positions for each session to allow him to create a mix template which contains fader balance, EQ and a master chain which brings the mix to 90% completion, requiring minor automation and tweaks to reflect the dynamics of a given piece, while monitoring off an external controller which doesn’t change the daw and leaves the mix template unaltered.
The track recorded is not one continuous take, instead allowing the band to perform while reading the score to ensure each part is represented dynamically and tonally. Where it doesn’t, he will switch a light to indicate to the conductor to pause and communicate through a talkback wedge where the issue was and how to resolve it. The bars performed were scribed by Phil’s assistant to reference in the comping stage which would occur after the session, always picking up a number of bars before the error for the band to pick up from and leave space to comp.
This is not performed to a metronome as Phil trusts the conductor to maintain consistent time, however he stated metronomes are often referenced especially with conductors inexperienced in recording to ensure comps don’t vary too dramatically in time.
Phil’s approach was still liable to compromise such is the nature of recording, settling for slight imperfections in takes and microphone placement for the sake of keeping the pace of the recording high.
Although diagrams show the percussion as being in the rear right it is a much larger section in practice, wrapping all the way around the rear which is important to have enough mics to capture fully and in considering position to minimise spill from other mics.
Primary research through practice:
As well as this I made use of primary lived experience recording large ensembles on location such as:
- West Yorkshire Symphony Orchestra in Chapel Allerton church
- Arrangement Project – 15 piece orchestra in the venue – Leeds Conservatoire
- Bezalel Orchestra – 60 piece jazz orchestra in the venue – Leeds Conservatoire
- Capture from live gigs as an engineer around Leeds
Small diaphragm condensers on stereo bars are ideal for ease of positioning, being lightweight with a small profile, requiring fewer stands and mitigating the risk of blocking sightlines to the conductor(Xinyue, 2026) which was a problem in previous recordings such as for WYSO and Bezalel orchestra that frustrated performers and audience members where applicable. A few small diaphragm microphones were available to me that fit this criteria:
- KM184
- C451B
- Schoeps Cardioid
- Calrec CM1050C
I typically work on non-classical music so the tendency for me is to mic very closely on the drums, typically having a mic for each shell. In this case it’s not suitable as it would result in an unrealistically close sound that is not reflective of what an audience would experience, especially when classical performances operate from the natural acoustics with no PA augmentation. I opted to use one mic on the kit for control and definition within the mix.
Project Management
I reached out to many bands, however calendars were full around the Christmas period. Eventually Rothwell Temperance band replied and I went on call with the manager to set a date and time and communicate key details such as where this recording will end up and the configuration of this band.
Planning:
I used this primary research I had gathered to inform my own recording, I first checked the venue licence then underwent a risk assessment to inform what I could safely do in this space, requiring management of cable runs and fire exits to mitigate risk as seen in my risk assessment to comply with safety regulations (HSE, n.d.)
Recording plan:
I used my research to inform my production, using it to create a plan:
From my research I found the mics Phil used are industry standard so I opted to mic similarly where possible such as with C414’s and KM184’s. Other mics commonly found in broadcast such as Calrec 1050c and C451b’s were also used. I booked out equipment from Leeds Conservatoire in good time to ensure I could get the equipment I needed to undertake this recording.
The recording:
I had an assistant to help on the day, so that we could optimise time I setup the desk, laptop and cat5 connection while he began to setup mics according to the plan. All seats and percussion were left in place from a previous rehearsal which allowed us to place microphones and line check before the musicians arrived. It was unrealistic to move things once musicians were seated for risk of damage to instruments and performers. The setup remained the same as planned, the percussion wrapped round the ensemble a lot more than expected but we had enough microphones to get full coverage.
Our monitoring position was setup in the kitchen space which isolated us from the noise of the room allowed me to monitor what the microphones were hearing using closed back headphones which further reduced room noise in our monitoring position.
Recording consisted of the band running pieces for an upcoming performance which allowed us to capture a breadth of repertoire. After pack away was a lot swifter than setting up with band members eager to leave.
Piece selection:
I captured a variety of pieces to select from, mostly being Christmas repertoire due to recording in December just before Christmas performances. I opted for a piece named Mahalageasca they affectionately dubbed the “Romanian party” composed by Mahala Rai Banda. This piece makes use of all instruments available to the ensemble with 4 percussion players where other pieces such as the cornet duet did not use percussion or low register instrumentation which doesn’t effectively display my capture. The quieter pieces also suffered from coughs and seat creaks with louder pieces mitigating this the signal to noise ratio being above perceivable levels negligible in the recording.
This is not a traditional brass band piece being written by a Romanian Gypsy band. The piece was arranged for full brass and was performed with great passion by this band featuring solo’s from drums and glockenspiel.
Mixing:
I approached mixing by first balancing and panning signals around the primary mid side inputs to give definition to instruments. I used minimal EQ to reduce the phase shift this imparts, consisting of gentle filters of 6-12dB to remove unnecessary rumble or high end information which granted extra clarity. I flipped phases of close mics to check for cancellation using a correlation meter, finally adding a hall IR reverb to give the impression of a larger space. I automated soloist’s to increase presence in key moments to ensure they cut above the rest of the band.
Mastering:
During mastering I referenced bands in the Leeds area as well as top level bands, using EQ to achieve a similar tonal profile then increasing the overall volume until the peak of the track just about reached the threshold of the limiter, leaving 1dB of headroom to prevent clipping on consumer playback systems. I ensured high dynamic range was maintained in this process through using minimal compression. This created a master of -14LUFS integrated suitable for both CD and streaming which is the medium these recordings are typically released on.
I sent off all the tracks to the band for their own use for their time with a pleasant response and the potential to record again with them in the future.
Evaluation
Overall, my project is of a high quality applicable for release. Recordings are also used as test pieces for competitions which can earn a band cash prizes which can be used to finance recordings. This enables professional location recording engineers like Phil to continue, who charge rates of around £1500–£2000 for 3 x 3 hour recording sessions, varying on the scale of the recording.
Although the clubhouse setting worked surprisingly well, this recording could have been improved by use of a space with a longer reverb. Managing noise from 30 performers is difficult but can be addressed so the performers are aware of the issue. Expecting the full band to play perfectly through an extended piece is also unlikely, to remedy this I would record through the piece a section at a time and create a seamless comp.
This recording holds up alongside others however the piece is different stylistically than traditional brass band pieces and is more reminiscent of big band jazz. However, I don’t deem this an issue as it is a unique sound that maintains the essence of the ensemble. The mix reflects the nature of the piece with a more roomy sound.
Project 2
Synopsis
Composition that derives from experimental pieces exploring perceptions of sounds in an emotional context, exploring themes of nostalgia and identity.
Research
Sitting in a room – Alvin Lucier:
This seminal piece from 1969 explores the phenomenology of how spaces impact sound by iteratively recording a vocal through the space. The voice gradually loses intelligibility and becomes smoothed to the characteristics of the room forcing the listener to “dissolve the voice as a fixed identity and lets the sounds and resonances of the room take over the sonic expression” (Hasse, 2025). I aim to include themes of identity in my composition deriving from this work in my own style.
Everywhere at the end of time – The Caretaker:
This body of work is a six hour representation of the cognitive decline of dementia consisting of 6 stages:
- Stage 1 – Nostalgia invoking 1940’s ballroom music with warm accompanying vinyl crackle
- Stage 2 – Same ballroom music is still present although with a slight unnerving tone with more distant music, noise and cuts
- Stage 3 – Memory is slipping with songs blurring or cutting out completely or the sound is warped to a slow speed
- Stage 4 – Initial music is now almost completely lost being background to the noise “feeling like a blur from beginning to end” (Shahid, 2021)
- Stage 5 – Music and familiarity is completely gone being replaced by violent sounds with peace fleetingly coming back for only a few seconds at a time
- Stage 6 – Noise but more serene with no horror, more an absence of anything before a sudden regain of clarity before a powerful silence to denote it is over
This work is especially meaningful, with music being one of the last memories a person with dementia recall, being retained after verbal and memory skills decline (Rao et al., 2021). Its use of noise and nostalgic sounds that gradually devolve invoke feelings of joy, horror and acceptance in the listener while portraying a sensitive topic in a tasteful way, which I aim to derive from in my own work.
4.33 – John Cage
This silent piece is designed to force listeners to perceive their surroundings in a new way, the expectation of music makes a listener painfully aware of background noise in their listening environment and transform that into the music itself (Pritchett, 2025). I can use silence within my work to grab listeners attention by juxtaposing loud and quiet sections.
Project Management
Poem recording:
I first recorded a reading of Flanders Field by John McCrea in dry studio style, using an SM7B extremely close, minimising ambience in the capture. I chose this piece because of its themes of identity and remembrance of the fallen, the work is also in the public domain being 70 years after the death of the author (Intellectual Property Office, 2021).
In a similar style to “Sitting in a room” I used the room to re-contextualisation this work into an unrecognisable texture closely ties to themes of the nameless soldier, with the poem no longer being that of a single voice but of the room which removes individual identity from the piece.
I did this through using an AB stereo pair of C414’s positioned around 2 metres back from a floor monitor at a reasonable level to excite the room with around 15 iterations being undertaken. I chose these microphones due to its flat frequency response that wouldn’t overly emphasise any frequency which would induce certain resonances within the recordings. C414’s also have an extremely low equivalent noise rating of -6dB-A (AKG, 2017), meaning the noise the microphone generates itself is almost negligible especially on loud sound sources (DPA, 2024), which is especially important in an iterative process to not bring the noise floor up throughout.
Recording found sounds:
In finding audio for this I went outside with a zoom H5 and located sounds I found interesting across Leeds intentionally and by chance:
- Fan from building that produced tonal qualities
- Percussion from Hyde Park jams / shop opening and Leeds City Centre jam’s
- Clock ticking
- Stadium chants
- Ambient walking sounds
- Distant conversation
The main issue I faced doing this was the zoom’s handling noise which requires being stationary to remove from recordings and required trial and error to get the intended capture.
Editing / Arranging:
After recording the sounds the bulk of this project was arranging and mixing them to create a dynamic experience that morphs throughout. I did this through use of multiple IR’s that are automated throughout the piece to change the perception of space, keeping a consistent sound and changing the context around it.
With the percussive elements I aimed to convey instability within the time and give the experience of the time falling apart which juxtapose typical function and provides an interesting timbre within the composition.
I mastered this project to -14 LUFS in line with streaming requirements.
Evaluation
Overall this composition resulted in a collage of sounds that derive from previous avant-garde works, while it is experimental and non applicable for commercial viability it explores unique timbres and concepts while leaving room for less conventional recording approaches than other projects. This piece could have benefitted from a higher lead instrument although this may take away from the ambience of the piece.
Project 3
Synopsis
Audio documentary exploring musical practice and related topics in a manner that is accessible to musicians and non-musicians in a format suitable for commercial release.
Research
Eva Brookes – Made in China:
This audio documentary is a narrative experience with focus on the narrator explores themes of identity and history, with frequent supporting interviews supporting the point the narrator is trying to convey. The narrator is also present in the interviews which ties everything together with the interview being undertaken being regularly acknowledged. The documentary lets the speaker describe the events themselves without the narrator needing to explain the meaning.
Sound FX, and use of music and ambience to convey the emotion and space for example:
- uplifting, playful music to indicate the jokey light hearted nature of the section that could be unclear without
- Baby crying to create a stress response within the listener
Long format of 5 30 minute episodes focusing on different aspects, which allows time to really delve into one topic and leave space.
Interview technique:
I researched how to make the most of interviews and get the most usable responses I could work around in my documentary, needing to “Prompt to let interviewee answer in own way” (ChatCut, 2025). Instead of “Do you practice your instrument” which invites a binary yes, no answer instead I would ask “Do you practice your instrument as much as you’d like and what’s stopping you if so” which prompts a more personalised and open answer.
Overall, I have found too much info kills curiosity and instead letting the interviewee speak is much more powerful than overly explaining each concept.
Project Management
The intent of the medium is to be listenable to anybody, and while the subject matter of instrumental practice could be alien to a large percentage of listeners, everybody has an emotional experience with music I can leverage to be of interest to musicians and non-musicians alike. I achieved this through interview segments that don’t contain technical jargon that alienate non-musicians and put an emphasis on sounds and interviews to convey meaning.
Interviews:
Interviewed a breadth of practicing musicians within Leeds Conservatoire, captured with the zoom H5 ideally placed on a surface to eliminate handling noise.
Voiceover:
I wrote the voiceover reacting to my findings from interviews keeping it central and at a consistent level with moderate compression, this is also completely dry to separate it from interviews and additional sounds.
Extra sounds
I took recordings from gigs I have worked on to provide soundcheck audio as well as inducing feedback (with a warning to the band). I also took samples of instrumental practice around the conservatoire as well as walking / shop closing and ambient samples to include as background noise within the documentary.
Editing
I collected many potentially usable sounds that I dragged into logic to choose between and compile together to form my documentary.
I made use of panning to separate voices, and make it obvious to the listener a new person is speaking, I also tried to use voices that juxtaposed each other such as male and female voices next to each other, with my voice being centrally panned and being a lot closer.
I wanted to give the impression of walking away from a sound source, which I achieved through damping of high frequency with distance (Davis and Jones, 1989) volume and reverb automation. This was in an effort to Immerse the listener in the space and make it feel true to life.
The fade in and out using another sections from the same song recontextualised mirrors the cyclic nature of musicianship ending near where it began.
I overall edited to try and maintain the pace of the documentary throughout while leaving space so the point is conveyed effectively.
Sidechain compress and automation was used when sample is played under voices to maintain clarity while keeping the music within the context of the arrangement.
I mastered this project to BBC sounds specification of EBU R128, used for European radio broadcast (EBU, 2014) requiring an integrated value of -23LUFS.
Evaluation
Overall, this project is suitable for commercial platforms such as BBC sounds due to its stylistic use of narration, interviews and effects characteristic of this style of media. This piece is under 10 minutes long while typically they are around 30 minutes which allows time for significant development that is slightly rushed in this shorter format. If I were to do this again I would gather more interviews and ask more targeted questions to receive more open answers.
Project Gantt chart
Appendices and Bibliography
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Rao, C.B., Peatfield, J.C., McAdam, K.P., Nunn, A.J. and Georgieva, D.P. (2021). A Focus on the Reminiscence Bump to Personalize Music Playlists for Dementia. Journal of Multidisciplinary Healthcare, Volume 14, pp.2195–2204. doi:https://doi.org/10.2147/jmdh.s312725.
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Xinyue (2026). How Does a Conductor Work in a Symphony Orchestra? [online] The London Piano Institute. Available at: https://www.londonpianoinstitute.co.uk/how-does-a-conductor-work-in-a-symphony-orchestra/ [Accessed 22 Apr. 2026].
Zero Hour Studio (2023). What is Audio Bit Depth and How Does It Affect My Recording? [online] ZeroHour Studio. Available at: https://zerohour.uk.com/blog/what-is-audio-bit-depth [Accessed 22 Apr. 2026].
