MPR4C001R-003 Portfolio: Production & Log 2 Template
Task 1 – WAV Mixes
Please add your uncompressed audio files to the block below
Track 1 (Genre Specific Emulation)
For this part of my studio group’s portfolio, we decided to recreate a song called; “Traingazing”. We chose this song due to the fact that for our last recreation project we recreated a guns and roses song “Its So Easy”. The differences between these two pieces are the key to why we wanted to recreate a slow, calm and complex song with a completely different vibe in order to work on our craft.
In order to plan our process we started by stem splitting all of the instruments for the song in order to figure out the production and recording techniques used to create the original song. We planned to record and form together the song in this order: Drums, Bass, Vocals, Guitar, Keys/Synth and mixing last.
We started off by recording different one shots of the entire drum kit, we captured hard, medium and soft hits in order to create a variation of dynamics when the drums were programmed together. During post production we then programmed and mixed the drums together. We also found a one shot snare from a sound pack and manipulated it by changing the pitch and harmonics in order to replicate the original snare stack.
Once the drums were complete, my studio group and I moved on to recording bass. For this recording we booked out studio 420 as it has a different array of bass amps that we wanted to use. In the end we used a line 6 hx stomp connected to an ashdown engineering cab. We miced up the amp using a mv 441 and RE 20 along with a di box. These 3 inputs for bass created a thick bassline that was needed to carry the song and fit with the drums.
For Guitar we booked one of the 116 studios as it had good room treatment and mixing capability. The Guitar was pretty much DI’d but instead of using a DI box we used a Nurul DSP which simulates a Guitar Amp. The next step that we took was patching the Nurul DSP into the Neve Preamp to give the instrument character and clarity. We recorded the chords for the song first, then one strummed chord for a pause in the song and finally we recorded the Guitar solo. The Guitar solo was meant to be Sliding Guitar but the Guitarist thought he could make a better performance from playing normally.
For vocals we started by using the Sontronics Orpheus but couldn’t seem to replicate the original song. We then moved onto using a Warm Audio WA-251 as it had more character and a clearer sound. Using the EQ charts we evaluated that this mic would be best for the clear, airy vocals that we were trying to achieve. We recorded full takes and then punched in at every line that needed work to ensure we had a wide variety of takes to choose from. Using analogue compression (Distressor) we compressed the main vocal to give it a saturated/compressed feeling to emulate the original song. We used the same strategy to record female vocals although these had harmonies. We used a piano to figure out each note of each harmony and sang it back to the singer. These were double tracked so we recorded 2 takes of each and panned them 50% each way along with adding a reverb bus with little dry to give an airy floating effect to the harmonies.
During the post production process we added 2 synths stacked on top of each other, one was an attack synth and the other a sustain synth. Using Juno and Alchemy, we recreated a very similar sound to the original.
We then used multiple compression and EQ to mix and fine tune the project as well as adding fresh air and widener as a master chain.
Track 2 (Live In the Studio Stereo Recording)
Stereo Recording,
During our search to find a good band/ group to perform our stereo recording, we stumbled across a string quartet. After recording and evaluating the quartet’s capture, my studio group and I decided that the performance wasn’t up to standard due to the performance not fully being in tune. Therefore we decided to record a jazz duo (Piano and Electric Guitar).
To capture the stereo sound on these two instruments we decided to use an array of microphones and stereo recording techniques that would create the best capture for what our group was trying to achieve. We recorded this stereo recording in room 104 as it has a grand piano and a multitude of amps to pick from. We started by setting up a Midside pair with 2 AKG 414s. This was placed near the strings and hammers of the piano and was used to capture solely the piano’s sound and tonality. We then changed the polar pattern on the top mic to a figure of eight pattern, this is so that this microphone picks up the stereo image of the piano. The bottom AKG 414 is used to capture the main signal of the piano, to do this we set the polar pattern to the cardioid setting. This creates the stereo shape, the mono microphone is only to make the sound fuller and gives clarity to the mix.
The Amp that we used to capture the guitar is the Fender Hot Rod Deluxe, this is a 40-watt 1×12 tube combo amp which means it’s ideal for genres such as Jazz, Blues and Rock. We attached 2 WA-87 microphones to the amp, one on the left and one on the right to create the stereo image. During the recording we had to keep adjusting the placement of the right hand WA-87 to pick up the most sound coming from the speaker cabinet.
The third and final stereo recording technique that was used by my studio group and I was a simple XY mic crossover. For this we used two schoeps CMC5U’s. This was used as a two room microphones to pick up and fill out any other spaces to create a more in depth and complex sound. We placed these microphones equal distance away from each instrument in order to make sure there wasn’t an imbalance within the capture of the pencil condenser mics
We used patch cables to patch in the neve preamp for the pencil condenser microphones which gave the room and overall capture of the piece a fuller, more saturated sound. I then sent the preamped microphones to a separate bus on the mixing desk using the patch bay. I then patched in the lexicon reverb analogue plugin. This filled in any empty spaces and added a subtle but noticeable reverb that helped both instruments co-exist and bounce off of each other.
During this stereo recording, we faced some issues; One of these issues was that a chair in the live room kept creaking. It was noticeable when listening back in the mixing room so we decided to swap one of the chairs that a performer was sitting on. This made the piece more immersive and eliminated any background noise. Another problem was the snare drum in the live room. The Amp was loud so kept reflecting off of the snare drum chain, creating a washy sound. To eliminate this we moved the snare drum into the vocal booth where it couldn’t be heard at all.
A problem that we also came across was the time of the piece. We did a couple of takes where we went over the desired length for the project, to counter this issue we got two pairs of headphones and let them know through the talk back microphone when to start finishing the piece.
This way we could record for the correct amount of time to make all of our projects hit the 10 minute mark overall.
During the post production process there was slight mixing used such as compression and eq, other than these effects we wanted to keep the track raw and give it the feeling of a live performance.
Track 3 Remix track
The first thing that I did to start this remix was placing some Rhoades chords, I then added 2 counter melodies using synth one shots. After these steps I added a bass line. Once I gathered a basic idea of what I wanted to achieve I booked studio 116c and recorded myself playing Guitar. Although I am not skilled using this instrument, comping takes together gave the song a nice Guitar part. Using the guitar for rhythm, I decided to record piano in one of the practice rooms. For this I used an SM 57 and connected it to my laptop using a Focusrite Interface.
The next thing that I did was record foley sounds such as: tapping, stomping and clicking to create an array of sounds that I could use for my remix. I added these sounds and used them to create a drum beat. I also added reverb to the snare sound and mixed the drums accordingly using EQ and slight compression.
BEFORE
AFTER
During the mixing and post production process I added different versions of filters to create variation and hold the listeners interest. I added a multitude of effects such as sidechain reverb bus with chorus to the vocals, Phaser to the piano and guitar along with pitch shifters for the synth sounds. I used VST’s such as Sytrus and Harmless to create synth sounds. Overall my aim was to create an ambient contemporary piece of music which I have achieved using a mix of virtual and physical instruments .
