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MPR5C001R~001 Studio Portfolio 1 & Log Book TEMPLATE

1500 words

Please use the sections below to evidence your personal contribution to the production for the portfolio. Please include details for all the tracks produced as a part of this portfolio.

Provide rationale for any of the production decisions that you made as a group. Include any multimedia (pictures, videos, audio recordings etc) evidence to the relevant sections.

Consider the following:

Pre-Production

• Rehearsals
• Track development
• Demo recording
• Arrangement decisions
• Session planning

Recording

• Microphone choices
• Room setup
• Musician management

Mixing

• Mix plan/concept
• Balance
• Pan
• Tone
• FX

Project Management

• Time management
• Planning
• Roles and responsibilities
• Structure and organisation

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Track 1 (Guitar-based band production)

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[Overwrite this with the text pertaining to Track 1 (Guitar-based band production). Use the file block below to upload your uncompressed audio.]

Track 2 Live in the studio (jazz/folk ensemble)

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[Overwrite this with the text pertaining to Track 2 live in the studio (jazz/folk ensemble). Use the file block below to upload your uncompressed audio.]

Track 3 Remix track

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[Overwrite this with the text pertaining to Track 3 remix track. Use the file block below to upload your uncompressed audio.]

Production Log

(Tracks 1–3)

Track 2 – Live (In-Studio) Jazz Ensemble

Pre-Production

Rehearsals
The ensemble selected for this recording was an established jazz band who had already rehearsed the chosen piece prior to entering the studio. This was particularly beneficial, as jazz performance relies heavily on communication, interaction, and an existing musical chemistry between performers. Because the band had already developed this relationship, rehearsal time within the studio could be focused on adapting to the recording environment rather than learning the material.

Additional rehearsal time was allowed within the session so the musicians could familiarise themselves with the studio layout, sightlines, and proximity to one another. This was important in maintaining confidence and ensuring that the live performance felt natural rather than constrained by the recording environment. The band’s familiarity with the material also allowed them to identify and correct any performance issues before recording began, reducing reliance on post-production editing, which was restricted under the brief.

Track Development
The track followed a traditional jazz structure, featuring defined thematic material alongside improvised sections. These improvised passages informed several production decisions, particularly regarding microphone placement and dynamic control. As improvisation naturally introduces variation in intensity and articulation, the production approach needed to accommodate these changes without compromising clarity or balance.

The emphasis throughout development was on capturing a performance that felt authentic and cohesive rather than technically perfect, aligning with both genre conventions and the assessment requirements.

Demo Recording
Prior to the final recording, a short demo recording was captured. This demo was used to identify potential technical issues such as microphone placement errors, phase relationships, and balance concerns between instruments. Addressing these issues in advance ensured that the final recording session could proceed efficiently and without unnecessary interruptions.

Arrangement Decisions
All arrangement decisions were finalised before the final recording session to minimise disruption. This included confirming the solo order and section lengths so that attention could be given to enhancing the performance of the soloist where necessary. Finalising these details in advance was essential in maintaining the authenticity of the jazz performance and avoiding excessive intervention during recording.

Session Planning
Session planning involved coordination between the production group and the musicians. One group member liaised directly with the band to arrange arrival times, while the rest of the group prepared the studio in advance. I contributed to setting up the room and gathering microphones before the musicians arrived, allowing the session to begin promptly and maximising productive studio time.

Recording

Microphone Placement
A considered microphone setup was used to capture a natural ensemble sound while managing bleed and phase relationships.

• Kick Drum – Sontronics DM1B: Positioned to capture low-frequency body while minimising spill from other drum elements.
  
• Snare Drum – Shure SM57 (Top & Bottom): Used to capture attack, presence, and snare wire detail.
  
• Overheads – AKG C414 (Left & Right): Spaced pair capturing cymbals and overall kit image while contributing to the stereo field.
  
• Guitar Amplifier – Beyerdynamic M160: Selected for its smooth high-frequency response, positioned off-axis to reduce harsh transients.
  
• Bass – Direct Input: Provided a clean and controlled low-frequency signal with minimal bleed.
  
• Piano – AKG C414 (High & Low Strings): Allowed tonal balance across the piano’s range while preserving resonance.
  

Room Set-Up
The room was arranged so musicians could clearly see and communicate with each other. Due to room constraints, the grand piano and drum kit could not be repositioned and were placed at opposite sides of the room, with other musicians positioned between them. This layout maintained ensemble interaction while managing spatial balance and acoustic spill.

Musician Management
Musician management focused on maintaining a calm and professional environment. Feedback was delivered between takes to avoid interrupting performance flow, allowing musicians to remain focused and relaxed throughout the session.

Mixing

Panning decisions reflected a natural stage perspective based on the physical positioning of the musicians. EQ was applied subtly to manage frequency masking while preserving the natural tonal characteristics of each instrument. Effects were used sparingly, with light reverb applied only where necessary to enhance spatial cohesion without replacing the room sound.

Project Management

Effective time management was essential due to the live recording constraints. Thorough planning and rehearsal reduced the need for repeated takes. My contribution included session setup, microphone preparation, and supporting communication between musicians and the production team. All files were clearly labelled and organised, ensuring an efficient workflow and professional working practice.

Track 1 – Guitar-Based Full Band Production

Pre-Production

Rehearsals & Track Development
Pre-production focused on ensuring the rhythm section could perform tightly together in a live tracking context. Rehearsals prioritised tempo consistency, arrangement clarity, and transitions between sections. The track was an original composition with a clear verse–chorus structure, allowing musicians to perform confidently while preserving the energy and feel of a live band performance.

From a production perspective, rehearsals reduced the need for corrective editing during post-production and ensured the live performance could serve as a strong and reliable foundation for additional overdubs.

Demo Recording & Arrangement Decisions
A demo recording was created to establish tempo, arrangement, and overall feel. This demo informed decisions regarding click usage and tracking order. Arrangement decisions, including dynamic contrasts and planned overdubs such as guitar layering and vocals, were finalised before recording to maintain session efficiency and focus.

Session Planning
The session was planned around capturing the rhythm section live before moving on to overdubs. Time was allocated for setup, soundchecks, and multiple takes. I contributed to session organisation and setup, ensuring technical preparation was completed efficiently and without unnecessary delays.

Recording

Microphone Placement
A multi-microphone setup was used to achieve clarity, punch, and separation while retaining live performance cohesion.

• Kick – Audix D6 (In) / Sontronics DM1B (Out)
  
• Snare – Shure SM57 (Top & Bottom)
  
• Toms – Sennheiser MD421
  
• Hi-Hat – Neumann KM184
  
• Overheads – AKG C414 (L/R)
  
• Guitar – Amplifier (Delta 2) & DI
  
• Bass – DI
  
• Vocals – Shure SM58 (Guide Vocal)
  

Room Set-Up & Musician Management
The studio layout balanced separation with communication. Musicians were managed through clear, concise feedback between takes to maintain performance energy, consistency, and confidence throughout the session.

Mixing

Post-production mixing was carried out individually in Ableton Live. The mix aimed to balance live performance energy with clarity and impact. Drums and bass formed the foundation, guitars were panned for width, and EQ was used to manage frequency masking. 1176-style compression was applied to vocals for dynamic control, while Ableton’s stock reverb was used subtly to add depth without overwhelming the mix.

Project Management

Effective planning ensured that recording, overdubs, and post-production were completed within the allocated schedule. I contributed to session setup and carried out post-production mixing independently, clearly evidencing my individual contribution. File organisation and consistent naming conventions supported an efficient and professional workflow.

Track 3 – Remix Production

Pre-Production

The remix was produced individually in Ableton Live and treated as a new composition built around the provided vocal a cappella. Creative direction was informed by a remix walkthrough by David Guetta, used as stylistic reference for structure, workflow, and energy rather than direct imitation. A rough demo established tempo, groove, and vocal placement before developing a full arrangement using electronic remix conventions such as build-ups, drops, and breakdowns.

Recording / Live Electronic Instrumentation

Live instrumentation requirements were met through performance-based electronic production. One main bass sound was created using live processing with Ableton’s Glue Compressor, informed by techniques developed in Electronic Performance sessions. This allowed the bass to be shaped dynamically rather than relying on static presets. A Roland TR-8 was also used to create the core drum groove, with custom samples loaded to maintain originality. These elements were recorded as audio into Ableton Live.

Vocal Processing & Sound Design

The vocal was cut, rearranged, and re-triggered to function both melodically and rhythmically. Antares Auto-Tune was used creatively, with more aggressive retuning applied in selected sections to create a stylised electronic texture, contrasting with more natural processing elsewhere. Filters, delays, and reverbs were automated to create transitions, build tension, and establish different moods across the track.

Mixing & Project Management

The mix prioritised low-end clarity, vocal presence, and stereo width. Kick and bass were kept central, with wider elements supporting the arrangement. Clear session organisation, colour-coding, and a structured workflow supported efficient project management. As this was an individual task, I was responsible for all aspects of production, mixing, and organisation.

Conclusion

Across all three tracks, this portfolio demonstrates a broad and developing understanding of genre-specific production practices. The contrasting workflows required for live jazz recording, guitar-based band production, and electronic remix creation highlight an ability to adapt recording techniques, mixing approaches, and project management strategies to different musical contexts. Overall, the project evidences confident technical decision-making, effective collaboration, and clear individual contribution across all stages of production.