This portfolio explores three contrasting production contexts: a commercial pop track, an acoustic recording, and a live location recording. Each project required a different technical and creative approach, particularly in relation to capture techniques, arrangement decisions, and mixing strategies.
My role within the group focused on microphone/input sheets, managing Logic and assisting with microphone setups, where I contributed to both the development of ideas and the technical execution of recordings. Attention was given to achieving clarity, balance, and stylistic relevance for each track, ensuring recordings were captured as cleanly as possible to support an effective mixing process.
This log evaluates the production processes undertaken across each track, reflecting on key decisions, challenges, and outcomes in relation to our group’s professional studio practice.
Commercial Pop Track
Planning & pre-production
The commercial pop track was designed to reflect current chart trends, taking influence from artists such as Dua Lipa / Sabrina Carpenter. The intention was to create a polished and stylistically coherent production featuring strong rhythmic elements, layered instrumentation, a clear, bright, vocal-focused song.
The group planned the structure using a typical pop format, consisting of intro, verse, chorus, and bridge sections to create dynamic contrast. My contribution during this stage involved sound design and drum programming. However, we all collaborated and shared ideas for example, Josiah and I helped score the MIDI in preparation for working with synthesis. Before that we had already recorded a simple vocal and guitar take. We then re-recorded the acoustic guitar for a higher-quality stereo recording.
Recording / Production Process
The track was primarily constructed using MIDI sequencing and virtual instruments within Logic Pro; however, we did record an acoustic guitar as well. Drum patterns, basslines, and synth layers were programmed to build the instrumental, while vocals and acoustic guitar were saved for later to be recorded. For the vocals, we used an AKG 414 and a JZ Vintage 67. For the acoustic guitar, we used two AT2020 microphones, one facing the sound hole and one towards the neck; this was recorded through Ryan’s home interface.
Layering was used extensively to create texture and depth, particularly within the chorus where additional harmonic and rhythmic elements were introduced. A key challenge during production was the synths being too bright and clashing with the vocals, making it hard to achieve balance. This was resolved by using low-pass filters, stereo spreading, increased reverb and adjusting levels to help the vocal sit correctly.
This image shows the stereo width tool I used in the top right.
DAW Arrangement
The structure demonstrates a clear pop arrangement, with distinct sections that build in intensity. Layering is used effectively to increase energy in the chorus. This reflects an understanding of arrangement and genre-specific production techniques.
Mixing / Plugin Chain
This image shows the processing and effects applied to the lead vocal.
EQ was used to remove unwanted frequencies, while de-essing was applied to control sibilance, and compression was applied to control dynamics and maintain consistency. Reverb and delay were used to add depth, create a sense of space and make the vocal brighter using smaller reverbs to create vocal reflections. These choices demonstrate an understanding of mixing techniques and industry standard signal processing.
Mixing & Mastering
The mixing process focused on achieving clarity, balance and sense of space across all elements. EQ was applied to reduce frequency masking, particularly between the bass and kick drum. Compression was used to control dynamic range and ensure a consistent level throughout the track.
Creative processing techniques such as sidechain compression were applied to allow the kick drum to remain prominent in the mix. Stereo imaging was also considered, with elements panned to create width and separation.
LUFS Meter
Dynamic range is maintained, and limiting is applied carefully to prevent clipping. I used YouLean Loudness Meter to ensure the correct LUFS were achieved during the mastering stage. This demonstrates an understanding of professional mastering practices.
Evaluation
The final track successfully reflects commercial pop conventions through its structure, production, and overall sound. A key strength was the vocal mix, particularly in the clarity and balance of the mix. However, an area for improvement would be synthesis and sound design as we could have improved the synths to create a better starting point before having to mix the song.
Acoustic Track
Planning & Pre-Production
For this track we used an overdubbing approach. We started by recording a simple vocal and acoustic guitar guide recording before using the session musicians for the drums and double bass.
A key consideration during pre-production was avoiding overcrowding within the arrangement. Instruments such as piano and guitars were planned to occupy different stereo spaces and frequency ranges to prevent masking and maintain clarity. Sections were also arranged to allow elements to enter and drop out, creating dynamic variation.
Microphone selection and placement were considered in advance. This ensured studio time was used efficiently. My role during this stage involved microphone and input list preparation, contributing to session organisation and planning the recording process to ensure an efficient workflow.
This image shows microphone list I made for the group.
Recording / Capture
These images show the microphone setup used to create a coherent double bass recording.
These images show the close microphone technique used with Calrec microphones set up in an XY configuration as well as the Orpheus used as a room microphone. Later during mixing I found the room microphone captured a lot of ambiences and I used it to control how close the piano felt in the mix.
These images show the drum microphone setup. When recording the drums we came across a problem with the kick drum. It kept moving slightly and we wanted a consistent recording. To ensure the kick drum stayed in place we had to improvise and use a guitar amp to hold it in place.
Mixing & Mastering
The mixing process aimed to preserve the natural quality of the performance. I used a minimalistic approach by using only one plugin for most tracks the SSL EV2 channel strip. This helped me apply small dynamic and frequency changes before applying more processing onto the bus of instruments which had been recording with multiple microphones.
These images show the waveform of the final mix and master.
The waveform demonstrates a balanced dynamic range, with natural peaks and variation. This contrasts with the more compressed pop track and reflects the acoustic nature of the performance.
Evaluation
The acoustic track effectively captures a natural and authentic sound. A key strength was the simplistic mixing approach, as this allowed my mixing to be consistent in each instrument.
An area for improvement would be microphoning, such as refining microphone placement to allow for more complex techniques.
Location Recording
Planning & Pre-Production
For this track, we chose to record in a bar. We wanted to capture the natural ambience and acoustic qualities of a folk band playing in their local pub. We planned a list of microphones and Josiah spoke to the folk group to get a time for when the recording would take place.
We took two attempts at recording the group. The first time we built the setup around them and captured the ambience of the room but were unable to capture the closer qualities of each instrument. When we listened to it back, we quickly realised we had to record it again and use a mixture of both room and close microphones.
Recording / Capture
The environment contributed significantly to the overall sound, adding depth and atmosphere. A challenge encountered was room noise due to the placement of the first recording. We fixed this by moving the instrumentalists to a more central part of the room, improving both close and room microphone capture.
This image shows the recording location and microphone set up.
The space contributes natural reverb and ambience, enhancing the overall sound. The acoustic properties of the room play a key role in shaping the recording.
Mixing & Mastering
The mix aimed to preserve the authenticity of the live performance. EQ and compression were applied carefully to enhance clarity without removing the natural ambience.
Stereo imaging was used to recreate the spatial characteristics of the performance. Mastering ensured the track reached approximately -10 LUFS while maintaining dynamic range.
Stereo Mix View
This image shows the stereo mix within the DAW. Panning and level balance create a sense of space and separation between elements, helping to recreate the live performance environment.
Evaluation
The location recording successfully captures the atmosphere of the performance. A key strength was the use of panning to recreate the spatial environment of the room, particularly in the realism of the recording.
An improvement could be the room microphone being mono. To improve this, we could have used two microphones to create a Blumlein pair to create even more depth of the room.
Conclusion
Overall, this project developed my understanding of recording, mixing, and adapting production techniques across different contexts. Each track required a different approach, from MIDI-based production to acoustic recording and live location capture.
Through this process, I improved my ability to make technical decisions relating to microphone placement, arrangement, and mixing, while also developing my understanding of how to resolve practical issues during recording. The project also highlighted the importance of preparation and adaptability when working in both studio and real-world environments.
