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In week 6 we finalised the song by recording the vocals. For this, we set up some sound blockage in the live room and positioned 3 microphones for the singer to sing into. We placed these roughly around 6 inches from his mouth and allowed room for the pop shield. This microphones we used are as follows.
AT 4047 (Condenser) - We used this Audio-Technica microphone as it has a rich, warm sound, with a wide dynamic range, and high SPL capability.
SM7 (Dynamic) - We chose this as it has a smooth, flat, wide-range frequency response which is perfect for recording vocals cleanly.
SE Z3300 (Condenser) - We used this microphone as it features a wide frequency response and includes a high-frequency lift, as stated when recording guitar.

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Vocals

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In week 5 we simply recorded the bass again as we felt that we didn't achieve a high enough standard of sound the first time around.
The procedure was the same as the previous session but we achieved a better recording due to a higher performance on the bass.

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Bass

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In week four we did location recording at some sites around confetti. We did this to add another different texture to the mix of the final recording. To achieve this we used a Rode NTG2 Shotgun microphone combined with a Zoom H4N recording device. We recorded sounds from both a skateboard and a tambourine to add a layer of percussion into the track.

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Location Recording

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On week 3 we recorded the guitar. We did this as it was the final part to record except the vocals. We got two amps and used 5 microphones to record the sound. The microphones are as follows.
AKG C214 (Condenser) We used this microphone as it can cope with loud sources of up to 156dB SPL, and has a switchable bass-cut filter allows close-up recording with almost no proximity effect.
SE Z3300 (Condenser) We used this as it features a wide frequency response, specified as 20Hz-20kHz, and includes a high-frequency lift.
Electro-Voice RE320 (Dynamic) We used this as it has a higher output with faster transient response and greater high-frequency detail.
SM57 x 2 (Dynamic) We used these as they are a standard when it comes to recording guitars, and they are sort of a benchmark for the rest.

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Guitar

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We the decided to record the bass second as it gives a good foundation for the guitar to build on, and is the next in the logical order of recording. We used one amp coupled with 4 microphones and a DI.
The microphones we used were:
SM57 (Dynamic)
AKG D3500 (Dynamic)
AKG D112 (Dynamic)
Electro-Voice RE-320 (Dynamic)
Superlux E303B (Boundary)
DI BOX
We used these microphones to produce a range of sounds to which we could pick and choose which sound we wanted and then mix between the desired ones.

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Bass

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We then wired all of the microphones into the stage box and then set the gain stages on the Tascam DM3200 mixing desk and had them going directly into our DAW (Logic). We then made sure that the levels coming into the DAW were correct and then started recording the drum track.

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Kick Drum AKG D3500

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Snare - Double Miked SM57

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High Tom SM57

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We started off the recording project by recording the drums first. We did this as the drums are what forms the backbone of the track. We did this by creating a logic track with the same BPM as Learn to Fly and creating a click track for the drummer to drum along to. We then miked up the drum kit. We used the following mics.

SM57 (Dynamic) We used Shure's SM57's on the top and bottom of the snare. We did this to achieve a more dynamic timbre from the snare, which would allow us to increase the depth and texture of the snare track. This allowed us to create an original sound with a blend from both microphones. We placed the microphones about 2 inches from the skin of the drum, this positioning allowed us to capture the best sound quality and reduced the bleed from the other drums.
We also used an SM57 on the High Tom and placed it the same as the others facing the skin.

SM58  (Dynamic) - We used an SM58 on the low tom to capture the low frequencies. Again we placed it about 2 inches from the skin of the tom.

AKG C1000 (Condenser) - We used the AKG C1000's for the overheads, placing them pointing downwards towards the cymbals around 6 inches from the peak of the cymbal swing. This allows for a clean capture and avoids any collisions between the cymbal and microphone. This is a condenser microphone which is tailored for higher frequencies and has a higher frequency response.

AKG D3500 (Dynamic) - We used this AKG for the kick drum. We placed it inside the drum to ensure the best sound capture. This dynamic microphone is very good at capturing the low frequencies and has a very good SPL for capturing the strong low wavelengths.

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Drums