This production log documents my individual contribution and reflective evaluation of the production processes involved in creating a three-track studio portfolio. This project aimed to develop my production practice in a studio environment, building upon the technical skills acquired in 1st year while strengthening my time-management abilities.
Across the portfolio, I worked both collaboratively and independently, engaging with live recording, outboard mixing, post‑production, and full individual production. The three tracks varied in genre and workflow, allowing me to explore different production approaches while maintaining professional audio standards, particularly around perceived loudness and audio quality.
Collaboration was important for making both the rock production and the jazz recording. As a production group, we established clear communication before each session, allocating responsibilities such as setting up the session, placing microphones, operating the DAW, and organising with musicians. I took an active role in planning the jazz recording session and assisted with setting up for the other session, focusing on signal flow, mic placement and ensuring the efficient use of studio time.
During recording sessions, I contributed to decision‑making related to mic choice, positioning, and balance between instruments. I also supported musicians by maintaining a calm studio environment, offering clear direction when needed, and adapting quickly to performance-based challenges, especially during jazz recordings. This approach helped ensure productive sessions and reinforced the importance of interpersonal skills in studio practice.
Track 1 – Rock Production
The goal for the rock production was to capture the energy of a guitar-rock-based performance. Pre‑production focused on understanding the band’s arrangement, tempo changes, and dynamic structure. We were very lucky to receive a high-quality demo that was already a great standard. Therefore, we could base all the recording around it, and it served as a great reference track as well. We discussed other reference tracks just to have a variety, but we relied on the great demo to serve as a main reference.
We began by first recording the guitars in a 4-hour studio session, going through each section. We Mic’d up a Fender amp with an SM57 and an MD441 on both amps’ cones whilst also using the guitarist’s pedal board, experimenting with different tones. After some discussion, we decided a light acoustic guitar would bring some high-end and crispness to the rhythm section. We picked up a 12-string and used the KM184’s as an XY pair aimed around the 12th fret for the harmonics to be picked up.
It then came to the drums, which were an integral part of the recording and where most of our energy went. There was a consistent groove throughout the whole song, and the drummer came in enthusiastic and ready.
The main point I recommended was to play with energy and consistency, and we got some great takes of the whole song. We then went through each section, refining and recording any extra parts we were unsure of. This could help with compiling if we wanted to. There was a point in the final build-up on pre-chorus that we had to hone in on a specific drum fill to make sure it was on time. I contributed to planning microphone setups for drums, bass, and guitar, taking phase into account and bleed, while trying to maintain a natural sound. A guide vocal from the demo was included to help each performance, but not used as a final take. No global quantisation or time‑stretching was applied, maintaining the natural timing of the band.
We made sure to get a full setup and mic list before the recording so we could come prepared to the session. Halfway through the session, we ended up having to switch the hi-hat and overhead mics for more directional and we instantly heard a bigger difference. There was more clarity in the hi hat, and the overheads were warmer. It was closer to the demo track as well.
Individually, I helped with running the session on logic for recording both drums and guitar, whilst trying to focus on capturing the best sound possible. I also carried out post‑production on the rock-based production. This included some mixing, gain staging, balancing the levels, and experimenting with FX. I focused on maintaining the character of a great indie rock song while trying to ensure clarity and translation across playback systems.
Track 2 – Jazz Recording
Track 2 required a different approach, as no overdubs and limited mixing were allowed. The focus shifted to performance capture, microphone placement, and acoustic control. Before the session, I contributed to discussions about room layout, musician positioning, and mic selection for the jazz style. A bigger issue was musicianscancellingg or rescheduling, but after some effort, I was able to get a reliable, enthusiastic group.
The quartet consisted of: Drums, Bass, Piano, and Saxophone, all recorded simultaneously. The group’s main focus was on understanding where to put each musician so we would be able to get the best isolated recording of each instrument. The consensus between the group was to put the saxophonist in the vocal booth alone, the drums in one side of the room, DI the bass, and Stereo DI the keys.
My role was to run the session. I asked my group to help with setting up the mics and recording into Logic. I put my energy into communicating with the musicians about headphone mixes, consistency of takes, and much more. Due to the fact that editing options were limited, capturing a strong performance at source was important. This reinforced the importance of preparation and decisive action during live sessions.
We encountered trouble early in the session when the pianist used the Nord keyboard with a preset that was out of key with the standard tuning. This was only discovered after a playback break. The group spent 15 minutes fixing the patch, frustrated because we lost some great recordings. Once resolved, the band returned more motivated and determined to give an energetic performance.
Finally, we used some of the desk and outboard gear to mix. Initially, we chose the favoured and most energetic recording. From there, we sat down and tried to capture a good reverb for the whole track, while also compressing the drums, bass, and recording all of it back into Logic. We went through each group of instruments, tweaking the sound using group mixes on the desk, eventually making a master for the whole session.
This track opened my eyes to minimalist production approaches and the role of the producer as a facilitator rather than a fixer. It highlighted how mic choice, positioning, and room acoustics can have a greater impact than post‑production tools.
Above is the eq setup we decided to create regarding the jazz mix. Using outboard gear such as an eq, compressor, reverb and gate, we were able to capture the best-sounding recording and made sure to record it all back into Logic for a final bounce.
Track 3 – Remix
My remix was produced entirely independently, using the a cappella vocal that was given as the foundation for a new composition. I approached this track as a full re‑imagining of a song rather than a simple remix, designing a new structure, harmonic context, and rhythmic framework.
I recorded both guitar and bass into the track. I was inspired by the smooth vocals and catchy melody to go down a neo-soul, J-Dilla type production style, and I managed all aspects of recording, performance direction, and mixing. These recordings were integrated to complement the vocal rather than compete with it.
My main task was chopping and placing the vocals in ways that held the attention of the listener, using either the chorus or verse lyrics to connect between the sections. The keys section I played in used both a grand piano and a Rhodes preset, creating some nice neo-soul chords.
I programmed drums using some one-shots and different plugins to try to create a live sound drum break that was consistent throughout the whole song. When I went to record bass, I attempted to fit in the groove alongside the drums. The key to playing with groove in programmed drums is to experiment with automation and the velocity of each note. For example, I made sure to keep the hi-hat volume inconsistent, as to sound a real drummer was playing.
I mixed the track to best represent the vocals and genre, paying close attention to clarity and low‑end control due to the genre path I chose to go down. I attempted to prioritise how the bass sounded as it contrasted well with the high end and clear vocal track, making the song more diverse and dynamically varied.
This studio portfolio allowed me to apply creative, technical, and practical skills across a range of production contexts. By working collaboratively on both the rock and jazz recording and independently on Track 3, I demonstrated both teamwork and responsibility. The process demonstrated the importance of preparation, communication, and capturing a high-quality audio, all of which are essential to professional studio practice. Overall, this project represents a significant step forward in developing my production voice and readiness for more advanced studio work.
ROCK RECORDING
JAZZ RECORDING
ACAPELLA REMIX
