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Stream Never Too Late by Krista from desktop or your mobile device

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throughout this song i wanted to make sure that i could mix and master the vocals and drums, i used panning where i had the lower harmonies panning on the left and the higher harmonies on the right to add a full surround sound. i also wanted the drums to have a full sound and in dynamics. so i mixed the kick drum to a more bass tone so it had a punchy sound, the snare drum quite sharp and light. and the overheads bright in the mix. i personally think i did really well mixing this song as i haven't mixed drums before. i think if i was to do this again i would make sure that the vocal levels were equal.

-  guitar
- vocals
- harmonies
- drums

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Stream Memory by Krista from desktop or your mobile device

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For this song i wanted to make sure that the guitar melody picking pattern was strong in the mix, so i used EQ to cut off the the low end because you can't normally hear that and anything thats in that range can be picked up so i just cut if off completely to het a crisper sound. the easier part of mixing this song was the vocals, altho there could be room for improvement and i could of experimented with the pitch bends and auto tune, but overall i think that panning the harmonies left and right had a nice souround sound. i also added and mixed sound effects that you can get on logic. like the rain effect and the police loop to add a contrast in the break down with is based in the middle of the song. the drums were made up of multiple drum patterns from the logic pro drummer setting and i mixed the different styles and dynamics.

- vocals
- harmonies
- guitar
- drum patterns
- looping
-

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melodic solo

piano

drums

beatbox

click

shakers

strings

e piano

harmonies

gospel inspired lyrics

layered rhythmic harmonies

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- EQ
- Compressor
- mixing tracks

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EQ - mixing the backing vocals to add dynamics

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EQ - mixing the backing vocals to add dynamics

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Recording more acoustic guitar to the mix 

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Recording more acoustic guitar to the mix 

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instruments used in worst case scenario 

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instruments used in worst case scenario 

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Drums

2 guitars

Bass guitar

2 manin vocals

Harmonies

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meeting with the tech students to discuss future recording sessions

used facebook messenger for communication and booking arrangements

recording sessions

EM recording sessions ones a week for roughly 4 - 5 cures each time

videos

audio

pictures

home recording

DAW project recording stage

documenting recording sessions

on pebblepad

videos

audio

pictures

session data track sheets

audio files

Worst case scenario

Never too late

Life worth living

DAW project mixing stage

in-progress/ final mixes

contextual research

for instruments used

mic positioning

mixing and mastering music

videos

pictures

google

youtube

diagrams

evaluation/ critical reflection

what was the plan for each session

what have you done well

what needs improving

what are you doing next session

how will you improve for next time

what are your personal views of the recordings

did you work well with the other students

were you organised/planning

Songs

Worst Case Scenario - Marty/ produces and mixed with the tech students

Never too late - Marty

Everyday Reality - Marty

Holding On - solo

Havana (cover)

Das (Mae’s song)

instruments used in Never too late

Drums

Guitar

Piano

2 main vocals

Harmonies

instruments used in Everyday Reality

Acoustic guitar

Piano

Bass Guitar

Synths

main vocals

harmonies

instruments used in Havana (cover)

Acoustic guitar

cajon

Main vocals

harmonies

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This song mixing process was

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Piano (MIDI) - the piano was used to take the first stages of this recording
one electric guitars - one that was plugged into the DI box and one that was miked up with the guitar amp.
full drum kit - miked up on the hi-hat, lower and upper snare drum, the toms, the kick drum and a L overhead and a R overhead.
Vocals - using condenser mics, recorded last in the mix as well as harmonies.

Vocals: AKG C 414. Drums: AKG D112 (Kick), Shure SM57 (Snare top, Rack toms, Floor Tom), AKG SE300B (Snare bottom, Hi Hats), AKG C 414 (Overheads)

The guitars used just a DI, and the Bass used DI but went through a SansAmp(effects pedal)
EQ

bring up the eq

roll of the bottom end to 20hz to 30hz

Compressing

compress but not too much because you will squash the track

its going to kill too much of the dynamics

3b

1.4 ratio limiter - maximum gain

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getting the right dynamics

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adjusting levels for each track

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Everyday Reality process of recording EM26/04/18  

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Everyday Reality process of recording EM26/04/18  

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instruments used

vocals/main

bass

bass drum and snare

guitar main

rhythmic guitar

rapping/bridge

little trill piano

song style R&B

dubb step

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https://youtu.be/n_ylro6nD0k

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Getting set up for the min guitar tracking

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Getting set up for the min guitar tracking

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the overall setup for the drum recordings 

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the overall setup for the drum recordings 

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Sorting out the final stages of the track at confetti

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Sorting out the final stages of the track at confetti

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Two electric guitars - one that was plugged into the DI box and one that was miked up with the guitar amp.
full drum kit - miked up on the hi-hat, lower and upper snare drum, the toms, the kick drum and a L overhead and a R overhead.
Vocals - using condenser mics, recorded last in the mix as well as harmonies.

Vocals: AKG C 414. Drums: AKG D112 (Kick), Shure SM57 (Snare top, Rack toms, Floor Tom), AKG SE300B (Snare bottom, Hi Hats), AKG C 414 (Overheads)

The guitars used just a DI, and the Bass used DI but went through a SansAmp

(effects pedal)

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This song proved to be very challenging to make, obviously it was our first time in the studio with the tech students so we had a meeting the Monday before our actually recording session, we had our discussion about our plans for this assignment and they needed artist to record and mix, so we combined our music and thought together to form outa plan to help us out for this term. our main goal for this assignment was to record, mix and master our first ever song "Worst case scenario" our advantaged were... that we already knew the song, arrangement, song structure, chords etc... all we really needed was to record it to a professional standard. so with I the first month of recording we managed to book out 4 hour time slots for each week and in the evening on a Monday or Thursday we would record each section at a time, starting with the drums, at first I found it quite challenging to set up the recording equipment especially the different techniques the tech student did for us, like measuring out the overheads form the snare with string to get an even surround sound. however, I managed to understand different levels for recording the drums, how different mics can change the overall ambients of the song. as this was a group mixing the tech student mixed this song and me, Rhianne and Aimee did the music part of it. when I came to mixing the tech student mastered most of the recording the music I found it very difficult to know where to start, but through youtube tutorials and web pages on the internet I managed to start working with the drum levels first and worked my way to the instruments, the only thing I personally did well was the mixing of the vocals.

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Stream Life Worth Living - Marty by Krista from desktop or your mobile device

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using logic pro x

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Marty - Worst Case Scenario Demo Mix by Krista

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Stream Marty - Worst Case Scenario Demo Mix by Krista from desktop or your mobile device

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Our recording stages

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Marty - Worst Case Scenario (Original Recording) by Krista

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Stream Marty - Worst Case Scenario (Original Recording) by Krista from desktop or your mobile device

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Discussions in the mixing room with tech students 

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Discussions in the mixing room with tech students 

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discussing levels, using different mic and setups

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Using condenser mics
- main vocals
- harmonies

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Song 1 - Worst Case Scenario (EM Studio)  Wix website - https://kristamjford.wixsite.com/kmjfmusic

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Song 1 - Worst Case Scenario (EM Studio)  Wix website - https://kristamjford.wixsite.com/kmjfmusic

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Today we worked on a group recording of mae's song "Dad"

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setting up to add vocals/harmonies

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Worst Case Scenario - Full Band DEMO by Marty

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This is our first ever song 'Worst case scenario'! We really hope you like this rough live demo, soon we will be releasing the full complete track so keep your eyes peeled! x

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each session we discuss out plans for each recording sessions

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setting up drums and the mics for recording our second song

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We also booked our EM to start recording on another song, throughout this recording session we got different recordings of the drums, and we are now adjusting the piano arrangement towards the end of the song. Hopefully tomorrow, we've organized to get our music producers to come into our recording session to add vocals, guitar, and bass

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our set up of EM

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The star of the actual Worst case scenario recording session

tracking...
- two guitars
- vocals
- drums - overheads, top and bottom snare, kick drum, high hat and miking up toms.

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Starting to record Worst Case Scenario (live demo version).
to get used to the equipment and the whole scenario of recording in a actual studio we had a meeting beforehand with the tech students about what we could do throughout this time slot, they said that we should do a live lounge session like you would see on BBC extra to get the whole sound checks and settings.

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Introduction action plan - session planning

End of Jan 24th - Meet with engineers/producers

Mid Feb 12th - Begin recording process (Starting with Worst Case Scenario)

Mid/End of March - Have recordings finished, mixed and mastered

Beginning of April - At this stage, our songs should be well-prepared, just adding finishing touches and preparing any covers that we could use should we get the Bodega headline

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Band songs/ material

Selection of material

Preparation of material

Rehearse

Scheduling (timekeeping, planning, aims)

Deadlines for performance/ composition

Crew preparation

Technical requirements of repertoire selection

Technical practice

Required meetings

Preparing and maintenance of instruments e.g. PA requirements

Deadlines

Personal responsibility

Working to strengths

Assigning appropriate roles

Understanding all roles within all the groups

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Questions to write about

evaluate what did you do today

was there genre, band/artist or storyline that you were inspired by?

who did you work with and with want instruments did you use

was there any progerss

strengths/ weaknesses

what you wanted to do

what you want to do next time

what things do you want to change/ edit

Overall music performance strategy

The aim of this music performance course is to create my own original music with the help of peer musicians, by collaborating with different people will come with different approaches of writing music. Also by working with other people will inspire alternative genres for me to include in my music.

The plan for time management will be organised into 1 hour rehearsals slots, this will encourage my flow of professionalism by engaging with many musicians. I feel like an hour with different musicians will be enough time to express what music/style/genre and lyrical subjects we want to work with.

Another main outcome of this course will be documenting on our hourly progress this will include written work of evaluation, pictures/video/audio for backing up the written work and uploading our documents on to NOW from the Nottingham Trent University.

Reflection/evaluation

Performance skills

Organising

Videos

Pictures

Audio

Original material

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Drums -https://www.musicradar.com/tuition/drums/13-correct-ways-to-mic-up-a-drum-kit-209119

Guitars -  http://www.mxlmics.com/blog/?p=1230

Vocals -

Bass guitar -

Piano -

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9. Hi-hat miking: hi-hats should be miked using a small condenser mic placed 2"-3" away

If we have channels left, the next part of the kit we would mic would probably be the hi-hats. These would usually be miked using a small condenser mic from above, 2"-3" away and sometimes pointing away from the kit. The proximity effect has to be taken into consideration here - get too close to the cymbals and they will take on a gong-like quality. This can be EQed out but is best avoided. Another thing to avoid is placing the mic so that it faces the point where the air escapes from the hi-hats (also a good reason not to have a fan pointing right at the kit on hot gigs).

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8. Tom miking: you can get a more defined tom sound by bringing the mics lower

With a four-mic set-up, neither of our overhead options, although giving a natural representation of the kit and clear cymbal sound, will give much definition from the toms. So one final overhead option is to bring the mics down low. This approach is more effective on smaller set-ups such as four- or five-piece kits which, with a mic

looking at the kit between the hi-hats and first tom and another looking over floor tom towards the ride cymbal, both set equidistant from the snare and bass drum, will give a fuller sound than with the mics above the kit.

In the case of the toms, you'll also hear their sympathetic overtones ringing away as other drums are hit. When miking the toms, the choices are varied - the most popular being dynamic mics or small condensers. However, depending upon the budget, large diaphragm condensers can sometimes be used.

12. Room miking front: a large condenser mic in front of your kit is a logical place to start

If you are recording in a smaller, not so nice sounding room, a single ambient or room mic set a few feet away from the kit can also be used to create artificial ambience using reverb, but more of that later.

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1. Choose the right mic: dynamic

First is the dynamic mic, which will often be used on the snare, bass drum and sometimes on the toms. A dynamic mic functions just like a speaker, only in reverse, with the movement of the diaphragm in turn moving a coil in relation to a magnet, creating an electrical signal.

This mic is good for picking up mid-range and is sturdy enough to take the occasional miss-hit. Most dynamic mics use a cardioid pattern, which means they reject sounds coming from behind them while also boosting bottom-end when placed close to the subject.

2. Choose the right mic: condenser

The other type of mic that is frequently used is a condenser mic which, unlike the dynamic mic, needs power sent to it from the desk or pre-amp. This 'phantom power' is sometimes available on individual channels of a desk, though it can be sent globally to all mics without affecting other dynamic mics.

This power supplies a small amplifier inside the mic that increases the signal picked up by the movement of a diaphragm, this time a capacitor. Condenser mics also tend to be more sensitive than dynamic mics because of the low mass of their moving parts but usually have built-in pad switches (10 and 20 decibel increments) to enable them to handle the levels us drummers are capable of delivering.

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- Full DAW project for at least one recording

- Finished mix of at least on additional recording

- Annotated photos of key process

- Showing mic placements

- Instrument positions

- Key documents from tracking

- Mixing session

- track sheets

- Session notes

- Equipment

- Booking details

- Research carried out to help the process

- Instrument design

- Recording techniques

- Production tips

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- Documenting recording sessions

- DAW project (Mixing stage)

- In-progress/ final mixes

- Contextual research

- Evaluation/ critical reflection

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- Session planning/ pre - production

- Recording sessions

- DAW project (Recording stage)

- Documenting recording session

- Session data (Track sheets)

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Logic pro recording/mixing
Using DI box
Miked up guitar amp
- rhythmic strumming patterns
- small guitar solos

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3. Bass drum miked inside: miking the bass drum from the inside has the advantage of isolation, weight and definition

One problem often encountered when miking the bass drum comes if the drum is fitted with a full front head. In this case, placing a mic in front of the drum will work, but it can lack the definition and isolation of placing a mic inside the drum

4. Bass drum miked outside: using two out-of-phase mics in front of the bass drum will capture the ambient sound of the front head

Firstly, miking the batter side of the drum will have more definition, while adding a second mic in front of the drum 'out of phase' (more on this shortly) will capture the ambient sound of the front head. However, the pay off for having the mic outside of the drum is more bleed from the rest of the kit and less attack than if it were placed inside.

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7. Snare miking position #1: a snare is miked from the top, with the mic pointed to the centre

If given another mic and channel, the next drum we would want control over would be the snare. The snare would usually be miked like the toms, from the top, three fingers away and at the edge of the drum and pointing at the centre. The three-finger rule can help keep the mic away from unwanted harmonics from the edge of the head and hoop, while aiming it at the center helps capture the stick sound at its point of impact.

Moving the mic away from this point will introduce more 'air' or ambience into the sound and moving it closer, if using a dynamic mic, will introduce low-end as a result of what's called the 'proximity effect'. This can be useful to a point, however if you get too close, the proximity effect will render sound unnatural or unusable.

A dynamic mic is usually the mic of choice here and, surprisingly, the relatively cheap Shure SM57 wins over more expensive alternatives thanks to its ability to capture the mid-range and handle the high SPLs (sound pressure levels) a loud 'two and four' backbeat is capable of delivering. On the subject of miking the snare, if you are playing a cross-stick part, as well as turning the stick around to play with the butt end, pointing the mic at the point where the stick hits the rim can help capture a stronger sound.

10. Snare miking position #2: A second mic below the snare will capture the sizzle of snare wires

Some people like to also mic the bottom of the snare. This can work well when blended in with the top snare mic, as it helps to capture some of the sizzle and pop of the snare wires. To do this, one of the mics should have its phase reversed.

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5. X/Y overhead miking: two mics placed directly above the kit captures the stereo image with no phasing problems

There are really two main options here, an X/Y (or coincident) pair or a spaced pair. The X/Y configuration involves placing the two overheads directly above the kit with their capsules next to each other. This is a good way of capturing a stereo image of the kit with no phasing problems, as the sound of the kit reaches both mics simultaneously.

6. Spaced pair overhead miking: spreading the overhead mics further apart captures a wider stereo image of the kit

For a wider stereo image, spreading the mics apart as a spaced pair is more effective. However there is now a risk of phase cancellation - where the signal from the source reaches each mic at different times, thereby cancelling itself out. We can check for phase cancellation by taking two channels and using the pan control to sum them to mono. With one fader up as the other is blended in, the sound should remain full

with good bottom-end. If out of phase, the two channels will sound hollow when heard together. The solution is to either move one of the mics until this improves, or reverse the polarity of one mic. In the digital domain the waveform can be inverted after it is recorded for the same effect.