Month: May 2024

For this project we decided to write something emulating early 70s folk music. Isaac wrote a fairly complex but simple sounding chord progression in an open D tuning and we all decided to build off that. We used 2 microphones, allowing us to capture different aspects of the acoustic guitar’s sound as well as widen the stereo image.

Using the stereo micing technique on the guitars greatly enhanced the overall sound providing natural width and depth to the tone, accompanied by a room mic 2 metres from the guitar creating a full natural reverberated sound without the use of external plugins. Which in turn helped with emulating the studio recordings of Nick Drake whos album ‘Pink Moon’ was one of my chosen mix references.

As the track varied in tempo, we used teamwork to change the speed of the metronome as Isaac played through the song so we could overdub instruments easily, improving our problem solving skills and increasing our collaborative creativity It helped to keep the song interesting to the listener providing a segue into a new faster upbeat section.

We didn’t do anything new with the bass, using micing techniques that we had used multiple times already in previous sessions. Why change something that works? We recorded him playing and produced a dark sound that suited the vibe of the track we were going for.

During reflection of the final rough mix we realised we weren’t overly happy with the main vocals and decided to head back to the studio once more to re-record Isaac’s main vocal using an sm7b which provided a much warmer tone that emphasised his baritone vocal range and aided in bringing the vocals to the forefront of the song as well as tightening up the quantisation of the take.

For the mixing side of the project I aimed to keep things simple, using little plugins and keeping the mix fairly dry worked well in keeping with the 70s aesthetic. I initially had more vocal takes and reverb in the mix but after listening back a few times and consulting my mix references

I cut back to better suit the tone I was going for and add a slight build to the track that would engage with the listener. Cutting and pasting Hojis vocal takes to create a seamless sound that emphasises the harmony with Isaac. Along with this i used echo and reverb sends to enhance the stereo image and depth of their mellow singing voices.

After sending a first draft to my tutor, He gave me some constructive feedback on what I could do to improve my mix. This was highly useful for me as when you’ve been working on a mix for a few hours or a couple days it can be easy to become biased to my creation. Fresh ears can provide a different perspective and identify areas that can spark new ideas and creative approaches.

I incorporated Matt’s feedback into my work accordingly and as a whole, I felt the mix was just that little bit more cohesive.

On top of my stereo mix, I also completed a 7:1 surround mix. As I had never used surround sound to mix ever, it took me a while to get used to and learn to effectively utilise it. It was like opening a whole new can of worms with mixing. I could pan tracks in a complete 360 degree image. I used this new playback system to greatly enhance the subtleties of my mix, for example I had automated the tape echo samples pan and swirl around the listeners head.

Collaborating with my peers has provided a supportive environment where I’ve been able to explore and express my musical ideas with great success, providing me with newfound knowledge on recording, mastering and most importantly, teamwork. It also helped to refine my technical skills and obtain higher levels of precision in my mixes. Learning about mew techniques such as mic placement or surround mixing will prove a great skill for me to utilise down the line, opening up new possibilities in the world of creative mixing.

Reverb is an intergral part of music production. Its roots trace back to the early days of sound recording where natural reverb was a byproduct of recording in large areas such as churches and concert halls. As technology evolved, so did the methods for creating and manipulating reverb, leading to its essential role in modern music.

In the 40s and 50s, studio engineers began to experiment with artificial reverb. The echo chambers at Abbey Road Studios are a big example. These chambers were rooms with highly reflective surfaces, where sound from a speaker would bounce around before being picked up by a microphone. This technique created a lush, natural reverb that could be added to recordings.

Later on in the 60s plate reverb was invented. A mechanical method where sound waves would reverberate across a large, suspended metal plate. The EMT 140 plate reverb (which was the first of its kind), offered a more controllable and consistent reverb effect compared to echo chambers. Plate reverb is used widely today in studios, providing the shimmering, dense wash that I personally have used on almost all of my compositions.

In the 1980s, reverb technology took another leap forward by creating digital reverb units. The Lexicon 224 allowed for precise control over various reverb parameters and introduced the ability to create entirely new reverb sounds that weren’t possible before.

Today reverb is available in several formats from hardware units to software plugins. Modern digital audio workstations (DAWs) like Ableton or Pro Tools come stocked with reverb plugins that emulate classic hardware and offer increased parameters for customisation.

Producers often use techniques such as pre-delay to separate the reverb onset from the dry signal to enhance clarity in the signal. Additionally, using EQ on reverb tails helps avoid frequency buildup and ensures the reverb complements the mix rather than overwhelming it.

For this blog week we are tasked with researching a producer of our choice, I chose to study Nigel Godrich.

In the industry of music production, there are few names that carry such admiration as Nigel Godrich. Being a world renowned producer for his work with incredibly iconic artists such as Radiohead, Pavement, Beck and R.E.M. He has left a huge mark on the world of audio engineering.

His discography spans multiple genres and multiple generations. His collaborations with Radiohead on albums like “OK Computer” and “Kid A” have completely redefined the boundaries of experimental rock while his work with Beck on “Sea Change” and “Morning Phase” showcases his versatility and ability to capture a diverse array of sounds in music and genres.

One of his defining characteristics is his ability to create and manage immersive audio landscapes that draw listeners into a world of depth and texture. For example, when recording Radiohead’s magnum opus “OK Computer” at St. Catherines Court, many of the songs were recorded in separate areas of the house to add a certain atmosphere. The acoustic guitar part for the song ‘Exit Music’ was recorded in a stone stairwell, while Let Down’ was recorded in a ballroom at 3 o’clock in the morning with most of the overdubs being tracked live in the same room, adding to the overall open vibe of the album.

His mixes are known for their clarity, warmth, and ability to evoke emotion, whether it’s the haunting melancholy of a Radiohead ballad or the ethereal beauty of a Beck composition. Studying Nigel Godrich’s approach to mixing has provided insights that will for sure shape my future work as a music producer.

His fearless experimentation and intuitive understanding of the bridge between art and technology serves as a big inspiration to push the boundaries of my creativity. By incorporating elements of his production and mixing techniques into my own workflow, I will be able to elevate the quality of my productions and create more immersive listening experiences that will surely resonate with the listeners on a deeper level.

Hi-Fi News. (2021). Radiohead: OK Computer Production Notes. [online] Available at: https://www.hifinews.com/content/radiohead-ok-computer-production-notes [Accessed 1 May 2024].

nigelgodrichproducer (n.d.). Nigel Godrich and the Studio. [online] A blog dedicated to the work of Nigel Godrich., A blog dedicated to the work of Nigel Godrich. Available at: https://nigelgodrichproducer.tumblr.com/.

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Within last week’s blog, i went into detail about the history of surround sound, its inception, uses and its benefits. For this week I will continue my journey with research on audio immersion.

The newest of the new technology in surround sound, Dolby Atmos is a leading multichannel audio technology that was introduced in 2012. It revolutionised cinema audio by adding height channels to the mix which created a three-dimensional soundstage, unlike traditional channel based audio systems where sounds are assigned to specific speakers. With Dolby Atmos, sounds are treated as objects that can move freely around the listener. This revolutionary approach unlocks a new level of immersion for the audience as sounds can originate from above, below, and all around, creating a lifelike audio environment that mirrors real life perception.

Immersive audio like this is not just limited to cinemas, Dolby Atmos has rapidly expanded across various entertainment services. Today, it is not uncommon to find Dolby Atmos in your home cinema systems, headphones and if you are a producer, in your DAW’s which brings the experience into the comfort of our own homes.

On top of Dolby Atmos there are multiple other multichannel systems including DTS:X, Auro-3D, Sony 360 Reality Audio and THX Spatial Audio. All of these multichannel audio solutions cater to different applications, and offer varying levels of immersion and spatial accuracy. Each technology has its unique features and benefits, providing options for consumers and professionals seeking high-quality audio experiences.

As technology continues to evolve, the possibilities for immersive audio are endless. From live concerts streamed in Dolby Atmos to personalised audio experiences tailored to individual preferences, the future holds lots of opportunities to utilise this incredible sound system.

 Morrison, Geoffrey. “Surrounded by Woods all around: Dolby Atmos explained”. CNET. Archived from the original on 2020-01-21. Retrieved 2020-01-21.