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In this session, we recorded all external sounds we planned to incorporate into our song, Learn To Fly. We used the Rhode NTG-2 Condenser microphone to capture our audio, and used the Zoom H4N to give the mic power. Our aim was to recreate the plane sound from the start of the original track, and we achieved this by recording the sound of a skateboard rolling down a hill. We captured the audio from floor height, and waited for the skateboard to pass us by, in order to give the sound a natural crescendo, as a plane takeoff would possess. We edited the sound by pitch-shifting the audio down an octave, and by adding a hall reverb with a long decay, to ensure the sound lingers.

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In this session, we tracked the vocals for our song Learn To Fly. We used 2 Condenser Microphones and 1 Dynamic Mic. The Condensers were the AT 4047 and the SE Z3300; both of which were also large diaphragm so as to capture the full range of frequencies. The Dynamic we used was the SM7, a highly rated microphone for vocal tracking, which is interesting considering its design. We used 3 microphones to experiment with tone, and also so we could blend between them. All 3 were placed at an equal distance from the vocalist, and all had pop-shields attached. We decided on the SM7 and the SE Z3300 tones, and progressed to do the final takes with them. In the end we used 3 vocalists: two male vocalists and a single female vocalist for tonal differences.

The mic inputs were as follows:
SE Z3300 - 3
SM7 - 4

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(Bottom to top)

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In this session, we tracked all the guitar parts for our song Learn To Fly. We used 5 microphones across 2 amps, 3 of which were Dynamic, and the other 2 were large diaphragm condensers. On the first amp we used an SM57, an EV RE320 and an AKG C214. Both Dynamic microphones (SM57 & RE320) were positioned in-front of the speaker cone, making sure the microphone diaphragms were at equal distance from the amp. Whilst still considered close-miccing, we placed the AKG C214 a few centimetres further away from the the speaker, so as to compensate for the microphone's fragility and sensitivity. We repeated this process on the second amp with a single Dynamic microphone (an SM57) and a single condenser (an SE Z3300). Using two amps offered us a blend of two different timbres to choose from, and instantly gave us the opportunity to explore with panning and separate effect chains. We recorded multiple takes of the guitar, so as to allow us to double track the guitar track where needed.

The mic inputs were as follows:
Amp 1:
SM57 - 2
EV RE320 - 4
AKG C214 - 5

Amp 2:
SM57 - 3
SE Z3300 - 6

For simplicity's sake, we kept the two SM57's next to each other on the stagebox, and once again we chose not to use input 1 as it was faulty.

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In the first session, we attempted to track the bass guitar for our song Learn To Fly, and in the second session we completed the recording  We used 4 microphones plus a DI track. 3 of the microphones were Dynamics; an SM57, an EV RE320 and an AKG D112, and the final mic - the Superlux E303 B - was a condenser. We lined the 3 Dynamic microphones up against the speaker cone, ensuring the microphone's diaphragms were all at the same distance from the amp, so as to avoid phase shift problems. We placed the E303 inside a kickdrum aimed at the amp, so as to experiment with timbre. Whilst this experiment did indeed prove successful, we failed to capture an adequate recording of the bass in this session due to the performer being unable to attend. However, we had now fully figured out our mic placement. Returning on week 4, we successfully tracked multiple takes of the bass-line, and were happy with the results.

The mic inputs were as follows:
AKG D112 - 2
SM57 - 3
EV RE320 - 4
DI - 5
E303 - 6

We did not use input 1 as we found it was not functional. Due to a difference in recording priorities, our control room had full command over the recording in the second attempt, so we did not have to take other stagebox situations.

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In this session, we tracked drums on our song Learn To Fly. We used 7 Microphones in total, of which 5 were Dynamic and the remaining 2 were small diaphragm condensers. We used two SM57 Dynamic microphones on the snare drum; one on each skin to capture the full snare tone. This caused issues with phase shift however, which we rectified by phase inverting the bottom SM57 in post. For the rack and snare toms we used an SM57 (rack) and an SM58 (floor) dynamic microphone, as we ran out of SM57s and the SM58 was almost as good. For the kick drum we used an AKG D3500 Dynamic microphone, and placed it inside the kickport to maximise the frequency response. Finally, for the overheads we used AKG C1000 small diaphragm Xondenser microphones. We placed these to the left and right of the kit, to better capture the cymbals. We also found that our left overhead was more responsive than the right overhead, which left it unbalanced in the live-mix. To combat this, we switched on the -10dB pad on the left overhead.

The mic inputs were as follows:
Kick - input 2
Snare Top - 3
Snare Bottom- 4
Rack Tom - 5
Floor Tom - 6
Left Overhead - 7
Right Overhead - 8

The reasoning behind this arrangement is because initially we had started at input 3, which proved problematic. For example, input 1 on the stage-box proved unresponsive for our control room, as did input 9 for the other control room.