This production log documents my contribution to the studio portfolio, consisting of a commercial pop production, an acoustic recording, and a location-based live recording. The project required both collaborative and independent working practices, combining group-based pre-production and recording with individual responsibility for post-production, such as mixing and mastering.
Within the group, my role focused primarily on the organisational and creative aspects of production. This included contributing to arrangement decisions during pre-production, organising the musicians and sessions, helping with the execution of recording sessions, and taking my own responsibility for mixing and mastering each track.
POP SONG
27/01
To establish a suitable direction, we analysed current UK chart releases and identified production features such as:
- tight drum programming
- layered synth textures
- strong vocal-centred arrangement
- minimal but effective harmonic movement
Chord progressions were developed collaboratively, influenced by established artists such as The Police and U2, which helped ground the track in familiar harmonics.
The main reference track was ‘End of Beginning – DJO’
10/02
Using stem-splitting, we isolated the drums from the reference track to create a temporary rhythmic foundation while the song was still being written.
Over the next few weeks, I expanded the arrangement and added more sonically interesting parts to the song. I mainly:
- wrote harmonic guitar layers
- developed the middle 8 section
I kept referring to the Djo track and other commercial releases to ensure I was hitting the brief in terms of arrangement and musicality. Mike Senior states that analysing commercial releases in this way helped establish a clearer understanding of current production standards within the genre (Senior, 2011).
INTRO + VERSE BEFORE ARRANGEMENT –
INTRO + VERSE AFTER ARRANGEMENT –
17/02
During the recording stage, we worked with session musicians to replace the programmed elements with live performances, allowing for greater musicality and detail, particularly through added fills and variations.
To support this process, I created a detailed session sheet for the musicians, clearly outlining the structure of the track and chord changes, which helped streamline communication and ensure efficient recording sessions.
Its said that effective preparation can improve communication and allow performers to focus on musical interpretation rather than technical instruction (Burgess, 2013).
The drums were recorded using a multi-microphone setup to provide greater control during the mixing stage, as close microphone placement can improve separation and clarity within a dense arrangement (Huber and Runstein, 2018).
The drums were recorded using a multi-microphone setup, including an SM57 on the snare (top and bottom), AKG C414 overheads, Sennheiser MD421s on toms, and an Audix D6 on the kick, ensuring both clarity and low-end presence.
Bass was captured using a combination of DI and microphone techniques to achieve a balanced tone.
Microphones used : Audix D6 + Sonitronics Delta 2
17/03
Additional guitar parts were recorded using a Sennheiser MD441 and a Warm Audio WA-87, alongside a Sontronics Orpheus as a room microphone to capture spatial character.
Throughout this process, we maintained the use of the reference vocals as a guide, allowing us to shape the production in preparation for the final vocal recording.
22/04
The final vocal session for the commercial pop track was recorded to replace the temporary reference vocal that had been used throughout the earlier production stages. This session was important because it enabled the song to transition from a guided arrangement to a more complete final production.
Multiple takes were recorded to capture both technical accuracy and emotional delivery, after which I reviewed the performances and selected the strongest sections to build a final composite vocal.
The strongest aspect of this track was translating an initially programmed idea into a more convincing live production. My main contribution was shaping the arrangement before recording and preparing the session so the musicians could enhance the song rather than simply copy the demo.
ACOUSTIC TRACK
The acoustic track began with a pre-existing demo that I had previously helped to record with a friend, which provided a foundation for the group to develop into a fully realised acoustic production and fleshed-out arrangement
Over time, I developed the final arrangement by adding:
- sustained piano chords
- piano embellishments
- subtle percussion
- live strings
These additions helped the song feel more complete while keeping the original atmosphere intact.
10/02
During pre-production, our focus was on expanding the arrangement while maintaining the original idea’s organic quality.
ORIGINAL FINAL CHORUS
17/02
A session drummer initially recorded a light drum part to establish a sense of groove and dynamic direction, which informed the following instrumental layers.
10/03
I recorded myself playing the piano and used the audio to define the harmonic movement of the track.
I recorded piano using both a KM184 pair and a Schoeps MK2S stereo pair to capture a balanced stereo image and a more realistic sense of space, as stereo microphone techniques can help retain the depth of acoustic instruments (Massy, 2016).
The two pairs captured:
- Close detail
- Natural stereo image
- Room depth
My piano parts included:
- Held chords
- Melodic fills
- Supportive harmonic movement
27/03
Building on this, I worked collaboratively to layer further acoustic elements, including re-recording subtle guitar strumming parts with the original artist to add texture and continuity.
11/04
I also recorded string parts, using both close and stereo microphone techniques, drawing from the original MIDI arrangement as a reference while making creative decisions to expand the part across the full track.
The strings were captured using an AKG C414 positioned above the player and a matched pair of Neumann KM184s in an XY configuration, allowing for both detail and spatial depth.
The strings were captured using an AKG C414 positioned above the player and a matched pair of Neumann KM184s using the XY technique, allowing for both detail and spatial depth (ZoomCorp, 2025)
Further textural elements were added through percussion, including shaker and other subtle layers, as we thought it would contribute to the overall depth and cohesion of the track.
After completing the final mix of the acoustic track, I listened back across different speakers to assess the balance and overall feel of the production.
I made small adjustments to the EQ of the main guitar and drums, softened the strings slightly, and refined the reverb to keep the mix cohesive while maintaining the intimacy of the arrangement.
I also used volume automation to preserve the natural dynamics of the performance and ensure the track remained emotionally consistent throughout. After completing the mix, I listened back across different playback systems to make final balance adjustments, as checking mixes on multiple systems can improve translation outside the studio environment (Katz, 2015).
LOCATION RECORDING
27/04
For the location recording, the aim was to capture a live performance in a random space rather than a controlled studio environment. The group chose to record in a living room using a minimal arrangement consisting of acoustic guitar, electric guitar with a delay pedal, lead vocal, harmony vocal and light shaker. This approach was intended to create a more intimate performance and preserve the natural interaction between the musicians in the room. My role during the session was to help plan the microphone layout and ensure the room was captured as part of the overall sound rather than treated as a separate effect added later.
https://leedsconservatoire.cloud.panopto.eu/Panopto/Pages/Viewer.aspx?id=7ac51332-440e-44f6-9a0a-b4420153fc44
The acoustic guitar was recorded using a stereo XY pair of Neumann KM184 microphones to achieve a focused stereo image, while an AKG C414 was used to capture the lead vocal. The electric guitar amplifier was close-miked with a Shure SM57 to retain clarity from the delayed guitar tone, and a Sontronics Orpheus was placed centrally in the room to capture the natural ambience of the performance. The backing vocals and shaker were also allowed to bleed into the room microphone, which helped create a more cohesive and realistic sense of space that connected this recording to the acoustic production methods used in the previous track.
The strongest aspect of the session was the quality of the performance itself, as the musicians responded well to the relaxed environment and delivered a convincing live take. However, reviewing the recording afterwards revealed that the room itself was less acoustically controlled than expected, which necessitated more corrective mixing to shape the final sound. In hindsight, selecting a more acoustically suitable space with a stronger natural reverb would have reduced the amount of post-production needed while improving the authenticity of the final recording.
To conclude, this project developed my ability to work across commercial, acoustic and location recording projects. I improved my skills in arrangement, session organisation and recording, and making more intentional creative and technical decisions. My main contribution was shaping the arrangement and creative parts of the project and ensuring sessions were efficient. The project also highlighted the importance of capturing sound effectively at the source, particularly in less controlled environments. Overall, this experience has strengthened my approach to planning, collaboration and production for future work.
BIBLIOGRAPHY
Senior, Mike. Mixing Secrets for the Small Studio. Amsterdam; Boston; Heidelberg …, Elsevier/Focal, Cop, 2011.
David Miles Huber and Robert E Runstein. Modern Recording Techniques. New York; London, Routledge, 2018.
Owsinski, B. (2017). The Mixing Engineer’s Handbook. 4th edn. Boston: Cengage Learning.
Richard James Burgess. The Art of Music Production. Oxford University Press, 2 Sept. 2013.
Massy, Sylvia. Recording Unhinged: Creative and Unconventional Music Recording Techniques. Milwaukee, Hal Leonard Books, 1 May 2016.
Learn Audio Engineering. “3 Sylvia Massy Snare Drum Recording Tricks | LearnAudioEngineering.com.” YouTube, 9 Dec. 2018, www.youtube.com/watch?v=K115xc8b3DU. Accessed 29 Apr. 2026.
Djo. “Djo – End of Beginning (Official Audio).” Www.youtube.com, 23 Jan. 2023, www.youtube.com/watch?v=xy3AcmW0lrQ.
Zoomcorp. “ZOOM Corporation.” Zoomcorp, 15 Aug. 2025, zoomcorp.com/en/us/news/xy-stereo-recording/.
FINAL RECORDINGS
POP SONG
ACOUSTIC SONG
LOCATION RECORDING
