As a part of our collaborative strategies, we decided to set roles outside the usual strengths to broaden our production skills and give us a more versatile understanding of studio production. When looking into preparation of track 1 and 2 we planned using planning sheets on Teams. We discussed and researched the microphones and micing techniques we could use. This resulted in us learning about jazz recording and beneficial recording methods. For example, I learnt the benefits of having more focus on high-quality/expensive overhead microphones to capture a simpler jazz drum sound. However, with track 1 we had a much more in-depth capture of each single drum sound. The log for desk inputs was structured from instrument – microphone – input/output – phantom power (yes/no). This saved us time in the studio as we all had the same preparation plan and could easily route and label all microphones. This log will talk in order about the full band guitar-based project, jazz ensemble and vocal remix.  

Track 1 

Communication with the band for track 1 was simple as Ryan already knew the band. This meant the main communication was through him. This meant that I and the rest of the group were able to focus on room layout, instruments setup, mic lists and signal flow.  

Sound source – microphone – input box – patch bay – 1-14 on the desk 

Drum microphones & signal chain: 

Drum kit	Mic	Input
Kick In	D6	1
Kick Out	AKG 414 XLS	2
Kick Sub	Sub kick mic	3
Snare Top	MD441	4
Snare bottom	SM57 – AKG C451 B	5
Rack tom	421	6
Floor tom	421	7
OH L	AKG 414	8
OH R	AKG 414	9
Hat	KM184	10
Ride	KM184	11
Dirt mic	Soup can	12
Room L	Calrec 1050c	13
Room R	Calrec 1050c	14

Instrument mic list:  

Instrument	Mic/Other
Bass	DI
Fuzz guitar	DI
Fuzz guitar	SM57
Fuzz guitar	WA 251E
Guitar 1/2/3/4	DI
Guitar 1/2	Sontronics delta 2
Guitar 1/2	SM57
Guitar 1/2	AKG 414 L
Guitar 1/2	AKG 414 R
Piano	MIDI
Vocals	SM7B

When planning for this overdub project I set up the instrument, microphone, input and phantom power list which allowed us to get started on setting microphones, desk and the logic project as soon as we got into the studio. This planning later proved useful as we had extra time to be able to record even more guitar parts.  

Before we started to record, we insured as a group we were happy with mic placements and the overall sound (especially the drums), for example, we came across some problems with the Hi-tom microphone which was fixed by moving it slightly further away from the skin. When recording I was in control of logic whilst Ryan stayed on the mixing desk. We recorded drums, bass, guitar and guide vocals simultaneously into a comp so we could get the best parts of each take.  

When working on electric guitar overdubs, I suggested AKG414’s in a bloomlein pair to create a wider sound for the guitars and the other suggested a ribbon and a dynamic which gave us a lot to work with later when mixing the track. 

When mixing I used a vocal chain using serial compression using two famous compressors 1176 (fast attack/release) the CLA-2A (slow attack/release). When I equalised the guitar levels, I used the AKG414 microphone closest to the speaker cone to put guitar 1 and 2 on both Left and Right when panning.  

•  

Track 2  

When planning for track 2 we researched about jazz recording engineering and mixing. In doing so we learnt that the key to a successful jazz mix is simplicity mixed with high quality microphones, room layout and outboard gear. We chose our microphone selection accordingly. For authenticity of the genre used two CM6 52C microphones to capture a high quality OH sound. Mixing a jazz track was authentic as it emphasises natural dynamics and space. Meaning we do not have to use heavy bus or track compression.  

Instrument	Mic
Kick In	Audix D6
Kick out	DM1B
Snare Top	SM57
Snare Bottom	KM184
Rack Tom	MD421
Floor Tom	MD421
OH L	1960s Calrec CM652C
OH R	1960s Calrec CM652C
Room mic	Sontronics Orpheus

Instrument	Mic
Bass	DI
Bass Warmth	RE-20
Bass CONE	MD421
Guitar	AKG 414 XLS – Hyper cardioid
Guitar	SM 57
Saxophone	JZ-67
Vocals	K2

We used panels and the space in the room to manage spill, room acoustics and phase relationships.  

I helped set up the microphones as well as parts on the desk. We used a set of Drawmer compressors, one on the kick bus microphones and on the bass as well a Distressor on the vocals. We also used one reverb for most of the recording tracks using the sends on the desk.  

Considering the genre of this track I found recording in analogue to be useful as it created a sense of urgency. Furthermore, the process felt faster when mixing as the gear already sounds amazing which allowed for the EQ not to be overused and reverb to be mixed well. Having one reverb was suitable to create a singular sense of space to imamate a jazz room. However, recording and mixing in analogue can take time when having to recreate a mix compared to working in a digital audio workstation.  

Track 3  

When creatively reimagining track 3, I wanted to create an atmospheric house song. This is because of the vocals soft tone but also holds room for a dance groove. I wanted to keep the vocals relatively similar without having to chop it up too much to keep the atmospheric sound with reverbs and delays. 

For synthesis I decided to use a layer of two Serum synth. One which was bright and in the high frequencies and one which was the opposite. This sounds good as well as it comes useful to create a fuller sounding mix. The piano is the body of the sound and I used an 1176 to bring it all together with slow attack and release settings.  

When recording my live bass and electric guitar I recorded straight into my interface. I think a better sound could have been achieved with a DI box and a pre-amp. To add to I also think the performance of the bass guitar could be improved for a more consistent bass line. However, the style of the bass line and guitar suit what I created in an experimental way. Next time to improve I would much prefer to record the guitar parts through an AMP and outboard gear.  

Controlling the vocal dynamics was not hard due to how well recorded it was. This allowed me for me affects such as a wide slap back which I often use when I want to widen the sound of a vocal. To balance live instruments with electronic elements I made the piano and pads a lot wider compared to the guitars to let the guitar hold the groove in the middle and pads keep the large atmosphere. To achieve the loudness target and retain clarity when mastering I used saturation, stereo spread linear EQ, very light reverb, compression and limiting.  

Reflecting on each track I learnt that jazz is a dynamic genre of music that needs taming when mixing but not with harsh or extreme compression. Furthermore, I found mixing in analogue much more enjoyable. For the indie / rock track it was eye opening as it made me realise that experimenting is very important during the recording process as it almost always can create something interesting. Finally, when remixing track 3 I found it hard to get a mix between electronic and live instruments. This is something I think I will work on outside of assignments as when it is achieved it can have greater benefits than just using one or the other. 

This studio portfolio highlighted the importance of preparation, collaboration, and genre-specific production approaches within professional recording environments. By allocating roles outside of our usual strengths, I was able to develop new technical skills while contributing meaningfully to group sessions. The contrasting requirements of the full band and jazz ensemble recordings reinforced how microphone selection, placement, and room layout can shape a recording more effectively than excessive processing. Creating detailed planning sheets and input lists proved essential in maximising studio efficiency and creative output. Overall, this project strengthened my confidence in session planning, recording decision-making, and adapting production techniques to suit different musical contexts.