2. Planning
• The band used was Harry’s band
• Had a demo recorded and mixed from the band
which
• Made a note of aesthetic use of effects
• We planned on how to recorded each part (drum
mic’ing and what rooms to use etc) but did not
plan on doing a mix at the session.
• We set out to create a version of the song that
sounded similar to the demo provided but in a
clearer and better quality.
3. Recording techniques
• Drums: subkick, blumlein overheads, room
mic
• Guitar: C451 pair parallel on/off axis, mic
behind amp cone
• Bass: amp mic/DI blend, recorded with bassist
in room for comfort
• Vox: FLEA vox mic/ Stereo room mics, 3
acoustic shields around singer
4.
5.
6. Beneficial techniques
• Bass – DI and amp allowed for better tone.
• Sub kick and blumein allowed for more
presence and a more defined rhythm section
• Vocals – 3 walls of acoustic panels, vocal mic
and room mic allows for control of sonic space
and tone blending.
• Overbubs allowed use some more creative
space when mixing.
7. Problematic techniques
• Trouble mounting stereo overheads lead to
loss of time.
• Additional overdubs on vocals needed.
• Pre production scheme, mic research.
• Not enough time for creativity.
• Guitar through wall caused time issues.
8.
9. Research
• Harry being in the Band (FUR) we had an idea on how
we wanted it to sound, Stylistically and aesthetically.
• We planned our guitars to fit the genre of which we
were aiming for (Clean Tone, ¾ guitar ballad, Sit under
reverb vocal. Similar to Bands like Peace, Mac Demarco
and the Magic Gang)
• We wanted to sound that didn't’t sound too over
produced and had a more natural feel to it. This
allowed the band to co-exist in the same sonic space
with no one over powering nor floundering in the mix.
