The recording process for Track 1 focused on capturing a stable live band foundation while leaving sufficient flexibility for post-production. The rhythm section, consisting of drums, bass, and electric guitar, was recorded simultaneously. This approach was chosen by the group to preserve musical interaction, groove, and dynamic response between performers, reflecting the natural performance character of a guitar-led band rather than constThe drum kit was recorded using a combination of close microphones, overhead microphones, and room microphones to achieve both clarity and spatial depth. A three-microphone setup was used on the kick drum, including a Shure Beta 91A inside the drum for transient attack, a Rode K2 outside the resonant head for low-frequency body, and a Lofteq sub-mic to reinforce sub-low energy. Snare top was captured with a Shure Classic 545SD for midrange presence, while a Beyerdynamic M201 was used on the bottom head for additional clarity and high-frequency detail. Toms were close-miked using Sennheiser E604 microphones. Cymbal detail was captured with AKG 451E microphones on hi-hat and ride, while a pair of Schoeps CMC6U omnidirectional microphones were used as overheads.The decision to use omnidirectional overhead microphones was made collectively by the group, aiming for a more open and natural drum image that allowed cymbals, shells, and room sound to blend organically. Room ambience was recorded using an XAudio Beeb stereo microphone in an XY configuration placed in the corner of the studio to emphasise early reflections while maintaining phase coherence. In addition, a WA-251 microphone was placed near the drummer’s shoulder height to capture an intermediate sound between close and room microphones, adding focused spatial depth.Electric guitar was recorded by close-miking the amplifier, with physical separation from the drum kit to control bleed. Lead vocals were recorded after the band session using a dual-microphone configuration with a Warm Audio WA-87 and a JZ Vintage V67 placed vertically. Acoustic guitar was recorded separately using a pair of Schoeps CMC5U omnidirectional microphones to achieve a natural and balanced tone.During the recording stage of Track 1, I was responsible for microphone placement support, cable routing, signal connection checks, and microphone organisation. This included ensuring that all microphones were correctly connected, signal paths were stable, and inputs were properly assigned before recording. By maintaining an organised and reliable signal flow, I helped ensure that the session progressed smoothly without technical interruptions.Overall, the group aimed to achieve strong tonal balance and musical cohesion at the source. Instrument bleed was not completely eliminated, but instead treated as a controlled element that contributed to realism and live performance energy.The mixing of Track 1 was completed in FL Studio. Each group member produced their own individual mix of the track, allowing different interpretations of balance, dynamics, and tone. My mix focused on enhancing groove, warmth, and cohesion rather than achieving a highly polished or modern sound. Drum channels were routed to a dedicated drum bus with multiband compression applied to control dynamics across frequency ranges without flattening transients. EQ adjustments were generally subtle, with most changes kept within a 1–2 dB range.Guitars were layered to build texture and density, with spatial processing used to create width while avoiding frequency masking with the rhythm section. Vocals were mixed to sit naturally within the band, supported by volume automation between verse and chorus sections. Subtle tube-style saturation was applied to introduce harmonic warmth and help the vocal blend into the ensemble. Overall, the mix prioritised musical continuity and live performance energy rather than heavy processing.

Track 2 was recorded in the studio as a live performance by a three-piece ensemble consisting of double bass, internally recorded keyboard, and drums. The group’s objective was to capture natural interaction and dynamic expression while maintaining clarity and consistent spatial imaging.The drum kit was recorded using a multi-microphone setup. Toms were captured with AKG C414 microphones, hi-hat with a Neumann KM184, and overheads with a Beyerdynamic M160. Kick drum microphones included an Audix D6 inside and a Sontronics DM-1B outside. Snare top was recorded with a Shure Classic 545SD, and snare bottom with an XAUDIA GRX. A Sontronics Orpheus stereo microphone was placed in the centre of the room at waist height in an XY configuration to capture natural stereo ambience. Acoustic panels were placed between instruments to reduce excessive bleed while maintaining separation.The double bass was recorded using three signal paths: a Warm Audio WA-251 for overall tone, Km184 microphone for detail and articulation, and a DI signal for clean low-frequency stability. The keyboard signal was processed through a Drawmer 1968 MKII using parallel compression to add warmth and presence, with reverb added via an aux send to a PCM92. During recording, drum overheads were processed through a Drawmer 1960 compressor, while kick and snare passed through a Drawmer DL241 and DS201 gate. The bass signal was routed through a Neve 1073 preamp and a Warm Audio 2A compressor to add harmonic richness and gentle colouration.As with Track 1, I was responsible for microphone placement assistance, cable management, signal routing, and connection checks during the recording session, ensuring that all inputs and hardware connections functioned correctly.Track 2 was mixed on an ASP8024 analogue console. Overall EQ balance, routing, and bus processing decisions were made collaboratively by the group. During the hardware mixing stage, I was specifically responsible for adjusting the piano and bass channels. For the piano, I applied EQ shaping to ensure it sat clearly in the midrange without masking drums or bass. For the bass, I handled both EQ and compression using the EL8-X and Drawmer DL241, controlling dynamic range while enhancing warmth and presence.The remaining mix elements, including drum processing, bus compression, and overall balance, were adjusted collectively. Light compression was applied to the stereo bus using the ASP8024 VCA Bus Compressor to improve cohesion. The Retro Iron function on the console was engaged to add subtle saturation and high-frequency lift, enhancing depth and energy while preserving the live trio feel.

Track 3 was a remix completed entirely by me using FL Studio, based on an original House track. To maintain the groove of the original, I recorded piano loops and applied gating and tonal adjustments to enhance rhythmic clarity. Stereo automation was used to introduce movement and depth across the stereo field.I recorded multiple guitar riffs to add new melodic and expressive elements to the House framework. In the drop section, the a cappella vocal was processed into layered vocal chops across low, mid, and high registers, creating new melodic material that integrated with the rhythmic structure. In the intro, a sampled vocal phrase was processed using flanger and chorus effects for variation. In the bridge section, a repeated vocal sample was used as both a bridge and build-up element, combined with a new guitar melody to increase tension.Mixing focused on frequency balance and spatial clarity. Piano and guitar parts were positioned carefully in the stereo field, with EQ and light compression used to prevent masking. Vocal chops were processed with moderate compression and reverb to maintain clarity while enhancing space. During final bus processing, an SSL bus compressor was used to improve cohesion, followed by a FabFilter L2 limiter to control loudness, keeping short-term LUFS below -10 while preserving dynamic detail.

Throughout the project, decisions regarding recording approach, microphone selection, signal chains, and overall sonic direction were made collaboratively within the group. My primary responsibilities focused on technical preparation during recording and specific elements of hardware mixing. For Track 1 and Track 2, I handled microphone placement support, cable routing, signal connection checks, and session organisation to ensure stable and efficient recording workflows. During the hardware mixing of Track 2, I was responsible for shaping the piano and bass using EQ and compression.Track 3 was produced entirely by me, covering arrangement, recording, mixing, and final loudness control.This project strengthened my understanding of recording signal flow, microphone management, and analogue mixing, while also reinforcing the importance of clear role distribution and collaboration in group-based music production. By taking responsibility for recording setup and key mixing elements, I helped reduce technical interruptions and supported a smoother session workflow, allowing the group to focus more effectively on performance and creative decisions. By combining individual responsibility with collective decision-making, the group achieved consistent technical quality while preserving musical expression and live performance energy.