Lost

Client and Project information

Clients - A Cat And Backflip

Project – Ska/Punk track.

Track name/Details – Lost – 149.5bpm - 4/4 Time Signature

Creative Intent

For this project, I plan to bring in a 2 piece band to record, mix and master an original punk/ska track ready for release via streaming apps.  The primary artistic goals I am seeking to achieve are to capture as raw and authentic a sound as possible in order to replicate a live performance and setting.   In order to reach this goal, I will be targeting to utilise the outboard equipment in the studios for out-the-box mixing to produce, as well as implementing a binaural recording of a busy bar or venue.  This project will be of benefit to my development in professional studio practice given I have yet to completely produce a track without the extensive use of plugins and corrective effects within DAW.  Gaining extensive experience and expanding my knowledge with outboard equipment about their intricacies and benefits will be the main goal I intend to achieve. I plan to only use plugins at the mastering stage where I will be aspiring to adhere to loudness standards for streaming platforms such as Soundcloud and YouTube.

I will continue to add sections to this webpage following the production process, maintaining a logbook for reference to which processes are taken and any creative decisions or  which may be made in regard to improving the initial track overall.

Client Information

Stefan Whitehurst

Stefan is a talented guitarist, vocalist, and composer who has performed live on several occasions over the years.  He also plays a Melodica which could potentially be a great substitute for a brass instrument in his genre of choice.  Furthermore, he has recorded and produced his own music.  His genre of music is primarily punk rock and ska.  He previously played in a band called Global Disorder who played hardcore punk rock, although he has most recently been the front man for the ska/punk band Skabby Queen where he composed and produced several of his own tracks, later released on YouTube and Soundcloud.  The quality of these tracks, given his lack of experience in music production, was low.  He has never released any of his music to a professional standard so this project will be his first opportunity to do so.   I have included a link to reference some of Stefans composition and performance work below.

https://soundcloud.com/skabby-queen/weed-song

 Scott Petty

Scott is a ‘jack of all trades’ type of musician when it comes to music performance and production.  He plays with a mainly Punk Rock style, has been a member of several bands and currently plays as a drummer for an underground Scottish punk band called Anti-Social Media who perform live at numerous local venues.  Other bands he has played with include Tripwire DC, Always Waiting On Lynn and The Arousals.  Scott was also in a band called Deadbeat Heroes where he was the frontman, performing main vocals and guitar.  Together, the band wrote and produced several tracks, however their most popular YouTube release was a cover of the Operation Ivy track, Take Warning which recieved 3.9k views.  Below I Have included a link to this track

https://youtu.be/HYTld7tDbh4?feature=shared

As for original material, their most popular tracks are ‘Scabby Lassie’ and ‘Ugly People’.  Both of which music videos were created for.  Scabby Lassie has over 2k views on YouTube and in my opinion epitomises the band for their general style.

Scott also plays solo under the title of Budgie McGubligan and attended Rebellion music festival in 2015 where he performed an acoustic set which could be considered the height of his success as a live musician.

Communication and Correspondence

In the opening days of the project, I spoke to both Scott and Stefan individually.  I explained the project and asked if they would be interested in coming into the studios to record a track.  They were both eager to take part in the project, so this prompted me to create a group chat on Facebook messenger.  It was here where all project plans and thoughts were to discussed going forward.  Stefan had two tracks already prepared for demonstration which he sent over for us to decide on personal preferences as to which one we would produce and after listening to both, Scott had many ideas on how to progress regarding bass and drum recordings whilst I input my professional studio opinion on recording and production techniques regarding the genre. 

Supplementary Pre-Production notes

Tracking Approach

In the process of production for this project, I plan to employ several recording and production techniques which I haven’t in the past.  These include complete out-the-box mixing, amp micing and recording a Melodica.  After researching effective methods of recording the Melodica, I learned each method is completely subjective so I have decided the best option and would be to record it in the Audient live room with a Shure SM57 placed fairly close to the performer to avoid as much reflective capture as possible for a clean and crisp recording, any further processing is yet to be determined and will be applied as seen fit.

Since I will be looking to replicate a live performance, I will book out a good quality binaural microphone to be taken off campus to take some recordings inside a busy bar or venue to appropriately place in the session at the end of production to provide the listener with the sense of being within the room whilst the performance takes place.

For the project session it will be my intentions to employ a traditional multitrack recording session with the addition of any extra material which would assist in reaching my overall goal of replicating a live performance.

• Initial Recording – The initial recording session will consist of capturing an accurate drum track played along to a click and a guide track.  I will be aiming to utilise Distressors patched into the kick out and snare top microphones to have much more control over the dynamic signals.
• Overdub 1 - The next session will be focused on getting the acoustic guitar recorded.   I will be looking use SSL Desk EQ to curb the lower end, removing unnecessary bass frequencies to prevent interference with the drums and bass.
• Overdub 2 - This session will be to capture a bubbly baseline for the track.  I intend to put the bass through The Rooster and The Culture Vulture to provide warm harmonics to the instrument.
• Overdub 3 - Session 4 will be used to capture rhythm guitar, using the presets on the Eventide Eclipse Effects processor to add reverb.  As well as taking a recording with a MD421 microphone just off axis of the diaphragm of Fender Hotrod Deville guitar amp
• Overdub 4 - The next recording session will be to capture Vocals and backing Vocals.  Again using an appropriate preset on the Eventide Eclipse Effects processor to add that sense of depth to both the main vocals and the harmonies.
• Overdub 5 - Capturing the recording of the melodica will likely be the hardest process given I have yet to experience recording this instrument at all, so I will be using a Shure SM57 in the Audient Live room for as little reflection to the capture as possible.  SSL Desk EQ will be utilised as seen fit.
• Field Recording - I will be taking a binaural Zoom H1n microphone to either a bar or a live venue to capture a densely populated setting to provide the listener with the sense of attendance at the performance.  This will be added appropriately to the project session as seen fit.

Channel Breakdown

Please click the link below to access the production logbook for the project.