Recording Systems and Landmark Recordings

A brief history of sound recording
Phonautograph - 1857 - The first recording device invented by Edouard-Leon Scott de Martinville. This recording device utilised a cone-shaped speaking horn to capture sound, with a flexible diaphragm on the small end with a point attached to it. The point would engrave a line into a revolving soot-covered bit of paper, altered by the varying levels of sound. This machine could record sound but it could not play it back. 

Phonograph - 1877 - Inspired by the phonautograph, Thomas Edison invented this recording device with the additional feature of playback. Similar to the phonautograph, this machine would engrave onto a revolving surface. However, this machine engraved onto tin foil that was attached to a metal cylinder as opposed to soot-covered paper. The sound could be played back by reversing the vibration through the diaphragm and amplifying it using the cone. This would be done by tracing the recorded line with the stylus, result in supposedly identical vibrations. However, many of the frequencies were omitted because of this primitive technology.

Electrical recording - 1925 - The same idea as the previous two machines but this time, the recording was engraved onto a wax disc. With the aid of electricity, more frequencies could be brought out, resulting in greatly improved audio quality. 

Tape recording - 1935 - This involves recording magnetically onto steel tape. This brought a further increase in quality and convenience. Tape recordings were initially only used for film and radio, before being popularised amongst the public. 

Multitrack recording - 1943

Digital recording - 1972 - Reel-to-reel tape decks used PCM. This is a method of representing analogue signals digitally. This type of recording has led to formats such as mp3 files and CDs.

MIDI recording - 1980s - MIDI stands for "Musical Instrument Digital Interface" and refers to the direct computerised input of sound. A MIDI instrument is a recreation of an acoustic or electric instrument and its original intention was to produce a sound that was as accurate as possible to the instrument it was imitating. However, since its popularisation in the 80s, producers have experimented with its possibilities and used it to transcend the sound possibilities of the imitated instrument.

Michael Jackson - Thriller

An early example of a record that uses MIDI recording is Michael Jackson's "Thriller" (released 1982). The prominent basslines in this song, created using MIDI, have distinct punchy sounds. By using MIDI, these sounds could be meticulously created and adjusted for a specific function. This punchy sound means that the track is suitable for dance music; the large bass rhythmic sound is perfect for dancing. Since the 80s, MIDI has adapted in a number of ways. It has influenced music producers to create sounds specifically for dancing. This has led to popular genres such as drum and bass, garage, house and dubstep. Each of these genres uses manipulated MIDI synth sounds to capture an individual mood. By enhancing the bass frequencies of these recordings, the genres have become well suited to dance scenarios such as clubs or raves.

Computer technology has affected genres in a number of ways, including the structure and tempo as well as the sound. For example, dance genres such as drum and bass tend to follow a similar structure: a build up followed by a drop, followed by another build up and another drop. This structure is common amongst dance music and when displayed on a screen, the structure can be seen in chunks. This has made it easier for DJs to combine songs whilst performing. By "slotting" the pieces together, they can line up drops and with the use of the cross-fader function on their decks they can choose exactly when to use the drop of a song. This has also led to the ends of these songs to be extended. The longer the piece plays at the end, the more time a DJ has to mix it into the next piece. This technique has found its way into much mainstream pop music, such as Kylie Minogue's "Can't Get You Out Of My Head."

Kylie Minogue - Can't Get You Out Of My Head

Much of mainstream pop music is popular within club scenes. This means that pop producers have adopted the features of dance music, such as house, in order to sell and popularise their record. This record may actually be define as a "club" record, because of its combination of the distinctive 4/4 house beat and its catchy vocal hooks that keep people coming to clubs.

The tempo remains fairly similar for each genre of dance music. This is because producers have decided that the easiest way their songs will be heard is through live events and by matching tempos to other songs, they are more likely to be played. This is because the sound of their piece will be severely distorted, and in some cases unrecognisable, if the DJ has to dramatically adjust the tempo in a live setting.

Les Paul's first multitrack recordings
Les Paul's idea for multitrack recording was to be able to either stack recordings one after another or to record multiple instruments simultaneously. Without this important milestone, the entire progression of the music industry would've played out entirely different. Most successful albums released today make use of multitrack recordings. Albums such as "Pet Sounds" by The Beach Boys (1966), "Sgt. Pepper's Lonely Hearts Club Band" by The Beatles (1967) and "Dark Side of the Moon" by Pink Floyd (1973) all demonstrate innovative uses of this technology - combining effects and loops with recorded sound. Les Paul's innovation developed during the 1930s whilst recording onto acetate discs. 

Les Paul - Lover (released 1948)

This song features Les Paul layering 8 different guitar tracks. This is referred to as "sound on sound overdubbing." It involves recording tracks separately on tape and stacking them to produce an ensemble sound.

Another innovative technique used in this piece is recording at half speed. Les Paul recorded sections of the piece on a tape that was revolving at half speed. He then reverted it to the original speed, resulting in a guitar sound that was double the speed.

Les Paul's adaptation and demonstration of the possibilities of multitrack recording has influenced countless musicians. His invention allows much more creative freedom, as opposed to recording everything in one take on two tracks on tape.

Pink Floyd - Dark Side of The Moon

Pink Floyd - Money (released 1973)

This album was recorded and mixed by Pink Floyd at Abbey Road studios between 1972 and 1973. At the time the studio was capable of producing 16-track mixes. This album is known for its powerful sound and innovative effects. These effects included Gilmour's wide range of pedals including delay, chorus, reverb and distortion.

On The Run - Roger Waters entered an 8-note sequence into a Synthi AKS synth, manipulating its speed and adding other effects such as a white noise generator. He then reversed guitar parts that he created using a mic stand as a guitar slide by reversing the tape and recording it. 

Money - In the intro of this track, Roger Waters recorded different money-related objects in order to create loops. These included coins being thrown into a bowl to produce the sound of coins being thrown into a till. These effects were panned left and right to make full use of the stereo recording.

The band decided to later record a quadraphonic mix of the album. This means that the production would allow listening through 4 sets of speakers, giving a much wider stereo field.

Other equipment and effects used during the album's production include:
Solid State TG12345 mixing desk
Struder A80 tape machine
EMT plate reverb
Fairchild limiters
Curvebender EQ
Neumann U47, 67 and 87 microphones

The Streets - Original Pirate Material

The Streets - Don't Mug Yourself (released 2002)

This majority of this album was recorded in Mike Skinner's rented apartment using his IBM ThinkPad laptop. It is an effective demonstration of what can be achieved with bedroom recordings. This album has inspired other musicians to do the same, such as Jamie T's "Panic Prevention" which was all recorded in his room.

Skinner recorded the vocal tracks in a wardrobe and used sheets and mattresses to absorb sound and reduce echo. The overall success of this album proves that it is possible to create a widely popular record using limited equipment. 

Not only has computer technology affected different genres, particularly dance music, it has also allowed more options whilst recording. Entire albums can now be recorded at home, which may be seen as a benefit or a problem. The rise of bedroom recordings will no doubt impact the future of professional studios. This means that some possibilities in terms of recording will be reduced, such as the availability of high standard equipment. Home recordings will no doubt become easier to produce as technology continues to grow exponentially but this may also lead to people taking short-cuts an refusing to take risks or experiment.  

Gain Staging

Gain refers to the increasing or decreasing of the volume level. It is the amount of volume added or subtracted to a 0dB signal. It can be adjusted on anything that has a volume control. This includes instruments, mixing desks, digital workstations etc.

Peaking - Peaking occurs when the signal is too loud, causing the signal to clip. This can cause noise such as distortion and can also be unpleasant for the listener. Gain staging is essential for preventing peaking signals and requires a thorough awareness in order to avoid it.

Noise - The term "noise" refers to any unwanted sound present in a signal. The signal to noise ratio simply refers to the the level of desired sound compared to the level of background noise. Noise can be heard from equipment and can be emphasised by poor mixing. It often sounds like crackling, hissing or humming and can often be heard if the level of gain applied isn't high enough. If it is too quiet, the noise will be heard above the desired sound. In the early stages of adding gain, noise can be exaggerated if the gain is turned up too high. 

Gain staging is important in live performances as well as in the studio. A sound engineer tends to aim for the perfect level of gain. If the gain is too high, the signal will peak, causing it to clip and become distorted. If the gain levels are too low, the noise will be audible above the desired signal. Gain can be controlled directly on guitar amplifiers by boosting or reducing a signal. 

Gain staging refers to the different instances within the recording, mixing and mastering stages that involve altering the level of gain. This can include adjusting the levels on the instrument itself (volume pots/dials on guitars/keyboards etc.) During the mastering stage it is used for combination of all the tracks in order to reach the optimum sound level. This level often being the loudest the signal can possibly reach without peaking.

The most effective use of gain is to achieve the highest possible volume without it peaking. If this is achieved throughout the entire mixing stage then the overall sound will be greatly improved.

Mix Analyses

Dani California Remix
I recorded the guitar and bass in this track both using DI. I used preset tones for each; both being a clean tone. The guitar had spring reverb and very slight overdrive. However this was more due to how hard I strummed the strings with a pick. The sound levels on the guitar track peaked in places but I left them in for the slight distorted effect. For the bass I set the EQ to bass heavy but the way I played it (plucking quite hard) meant that the sharpness came through. 

I used an a cappella sample from "Dani California." I tried to keep this track as the main focus of the piece; I did this by boosting the levels higher than the other tracks. Because the vocals were already mixed in the original recording, all I did was add slight reverb to it and adjust it accordingly throughout the song to fit the atmosphere. The problem with using this a cappella was that it wasn't recorded to a strict tempo which meant that it was difficult to keep in time. This led to some areas being out of time, which detracted from the overall quality of the piece. I make the mistake of trying to fit the vocals to the drums, rather than the other way round. Without realising this obvious solution I tried time stretching the a cappella, manipulating it to fit the beat. This worked well in some areas but I couldn't alter it too much otherwise it would've sounded even more out of place.   

I created a separate track for the word "yeah" in the chorus. I did this so that I could apply its individual level of effects and EQ. I reduced the treble frequencies, slightly boosted the bass and mids and added heavy reverb and echo. 

I recorded the drums using a MIDI synth and adjusted the individual noted on Logic afterwards. Because the vocals weren't perfectly straight, I couldn't just quantize the drums to match it. This led to some sloppy beats, particularly in the breakdown with the rogue kick drum that sounds constantly out of time.

I also recorded another MIDI synth with single notes during the choruses and the breakdown. I manipulated a sine wave and tried to match the oscillation to the beat. I then added reverb so it would sound more appropriate with the surrounding tracks. I finished the song by fading out.

Blood Money (Demo)
This track includes two guitars, a bass guitar, imported MIDI drums, vocals and backing vocals. I asked a friend to play one of the guitar tracks and the bass track for the recording but I took control of the mixing.

The overall sound of "The Blackening" by Machine Head (released 2007) was a big inspiration for this track. We liked the sound of the low-pitched guitars and the fuzzy distortion they used. We tried to emulate this particular tone in this track but it came out much too muddy. This was caused by many things. Mainly, our guitars were both tuned to drop B (B F# B E G# C#) which, coupled with the overly distorted, almost matching guitar tones, led to an inevitable wall of sound. The mix also lacked appropriate registral placement - both guitars were barely panned. This meant that the majority of the sound was in the centre of the mix and neither of the guitars were easily distinguishable. The songs from "The Blackening" tend to accentuate melodic ideas with vocal lines, whereas the vocals in this song were mostly shouts. Although this was the the desired vocal sound at the time, it might have worked better if we'd focused more on pitch rather than rhythm. The cymbals in the drums were also too constant and overpowering.

All the vocals were overdubbed after we'd imported the drums and recorded the guitars and bass. We used a Shure SM57 dynamic mic with a pop shield to prevent clipping. The vocal tracks are probably the clearest in the whole song. This is partly due to the fact that I kept the additional effects to a minimum. I added slight reverb and that was it.

Overall I think the main thing that ruined this mix was the overpowering distortion on the guitars. If we'd replaced the 3-note power chords (added octave) with 2-note power chords then it would have sounded clearer in places. If I'd spent longer on panning each individual track and pushed them wider in the mix then it could've sounded less muddy. Next time I try recording metal or a similar style with distorted guitars, I will spend longer trying to achieve an appropriate tone and adjust the tone of the secondary guitar accordingly so that they are both audible.

Instrumental
The main inspiration for this piece came from two songs:

"Hollow" by Pantera (released 1992)

The harmonised guitars panned left and right with a third arpeggiating guitar and drums in the centre of the mix inspired me to try the same idea. 

"Fade To Black" by Metallica (released 1984)

This piece also demonstrates harmonised guitars from 2.33, however in this instance they are both placed in the centre of the stereo spectrum to leave room for the duplicated guitar riff, which is panned to either side. This stereo technique is the opposite of "Hollow," which has the repeated riff in the centre.The difference in sound is apparent; the harmonised guitars in "Hollow" are the most prominent tracks and act as the main focal points whereas the identical guitars panned left and right in "Fade to Black" are initially used to establish a melodic idea. This melody is repeated in the verses throughout the song so a wide mix is essential to give the song a fuller sound. The harmonised guitars in the centre of the mix then act as an intentional "overdub" of this melodic idea, meaning that they are in less need of an encompassing sound. "Fade to Black" also inspired me to switch between clean and distorted tones throughout my piece.

My recording includes a bass guitar track, an imported MIDI drum track and 5 separate guitar tracks:
3 clean tones - one panned left, one panned right and one in the centre. 
2 preset crunchy distorted tones - one panned left and one panned right.

I imported MIDI drums because I didn't have a drummer available to learn and perform the piece before recording. The kick drum sounds too punchy for this mix. If I were to re-record it, I would preferably have a drummer to learn and record it. This way I could try using a combination of mics around the kit, giving me more control over the details at the mixing stage.

To create the reverb, I created an auxiliary strip on Logic specifically for it with 100% wet signal. It had 3 millisecond pre-delay and 34% reflectivity. I then proceeded to send varying amounts of signal for each track to the 'bus 1' (reverb) input so that only a fraction of the wet signal would affect the original recording. To make the reverb levels more consistent, I grouped the two clean tones together and the two distorted tones together before sending them to the reverb channel. This meant that both signals for either clean or distorted would have an identical level of reverb.  

After listening to the frequency levels in the final mix I decided that the bass was a bit too overpowering. To rectify this I used a multipressor in the mastering stage and cut the low frequencies by 3dB and the low-mids by 1.5dB. I also boosted the high-mids by 0.5dB and the high frequencies by 1.5dB.  After listening through different systems such as Mac computer speakers and fairly basic PC speakers at a later date I realised that the mix did in fact sound a bit weak towards the low end of the spectrum. This may have been caused by poor quality headphones that emphasised the bass frequencies too much.    

If I attempt to record another piece like this which has duplicated guitars panned left and right, I will experiment with recording styles. I will try using two equidistant microphones to record an amplifier and pan them accordingly rather than using DI to see how the sound differs. It will also be worth experimenting with different choices of microphones. If I intend to use multiple microphones then I will try using condenser microphones as well to capture the sound of the room and give the guitar recordings a thicker sound. Recording amplifiers and the sound of the room could produce a more natural vibe, rather than layering artificial preset tones and effects in the mixing stage.

The area of recording will affect the outcome as well. A larger area with hard surfaces such as wood or stone will produce powerful reverberation. A small space with less surface area for the sound to reflect off will produce a much shorter reverb decay. Soft materials such as carpet will absorb more of the sound, also causing a less prominent reverb. With a piece like this, where the guitars are the main focal point and stereo spread is essential, I think it was sound better with a fairly high level of reverb. A good example of effective reverb is in "When The Levee Breaks" by Led Zeppelin (released 1970). The drums were recorded by studio engineer Andy Johns. The technique used was to place the drum kit at the bottom of a stairwell and recording it from the top using two Beyerdynamic M160 microphones. The force of the reverb produced the distinctive echo heard in the intro of the song.

"When The Levee Breaks" by Led Zepellin (released 1970)

Home Recordings

Reuben Pearce - To Live For Death, Or Fight For Life

Reuben Pearce - Take Off The Edge

For these two recordings I was intentionally trying recreate the DIY sound of folk punk. I didn't mix the song after recording, I left it untouched. Reuben's inspiration for the piece came from artists such as Chad Fontaine and Jesse Stewart (such as the song below). To record them, I used an MXL 2006 condenser mic for the guitar and a Shure SM57 dynamic mic for the vocals. I thought a condenser would be an appropriate choice for the guitar to pick up the resonance and as many frequencies as possible. I used the SM57 because it is a versatile device and can withstand high sound pressure. I positioned the condenser mic as seen in the images above but I brought the SM57 a few inches closer so that sufficient sound was recorded.

I plugged both mics into a Focusrite 2i2 interface and recorded using Cubase. During the soundcheck I adjusted the gain levels to maximise the input without the signal clipping. I assigned the SM57 to the left input and the MXL to the right output and applied phantom power. Obviously there is a fairly high level of bleed in both mics but rather than trying to use each mic specifically for one task I also used the SM57 to enhance the strumming sound of the guitar and used the condenser to pick up the overall sound, including the vocals. I then combined the two signals in the attempt to give a fuller sound. Listening back to the song, I think that the vocals sound a bit too tinny. I will try using a condenser for the vocals next time to give a richer sound. 

Jesse Stewart - Broke In Half

This recording is just his voice and the mandolin without any enhancements. This is how I decided to record Reuben's songs. Although my recording doesn't have a rich texture, I think it is suitable for the genre - a genre partly based on a disregard of conformity. Folk punk fans who listen to these pieces might not care how well the songs are mixed because the main reason they listen is for the message. The lyrics are distinguishable and both tracks are audible so I would say the sound suits the purpose. 

Jazz Crimes
This is my mix of a recording we recently did at college. We recorded the guitar and bass using DI in the control room and recorded the drums using a basic 3 mic setup. We thought that 3 mics would not only be sufficient for this recording, but also would mean less time setting up and dismantling, as we only had limited studio time. We used an AKG D112 dynamic mic for the kick drum and two M3 overhead pencil condenser mics. 

Here are the distortion levels I added to the "Solo Guitar" track. I didn't want the tone too bright because it wouldn't have fitted with the overall warm sound of the recording. I also didn't make the gain too overpowering. I just wanted the distortion to be a slight overdrive to thicken the texture of the guitar, making it stand out from the guitar in the rest of the track.

I added a small amount of reverb to the "Guitar Easy" track used for the pre-head. I did this in order to give the piece diversity and to emphasise the melodic aspect of those sections.

Here is what my final mix looked like with all the EQ diagrams, levels, panning and additional effects/dynamic processors. I didn't adjust the EQ significantly for the majority of the tracks. However, I did try to eliminate the unnecessary frequencies such as the high frequencies from the kick drum, in order to tidy up the mix. I also boosted the bass and low mids of the guitars because they complemented the overall feel I was aiming to achieve.

Recording Methods

Bass drum - Bass drums require a dynamic microphone that is particularly responsive to low frequencies. The benefit of using dynamic microphones is that they are able to withstand loud noises up close and are durable in this respect. They tend to have a cardioid pickup pattern, meaning that they record in one direction. This reduces the amount of bleed from sources that are behind the microphone. If the mic for the kick drum is positioned partially inside the hole then this further reduces bleed. Typical mics for kick drums include: AKG D112, Audix D6.

Tom-toms - A Shure SM57 or SM58 would work well for tom-toms. They are both dynamic mics, meaning they can withstand high sound pressure, and they are also versatile. The SM58 is widely regarded as a good choice for live performance vocal mics. This is not only due to their sturdy casing, but also from their ability to accurately and clearly record sounds. Mics may be positioned directly above drums by either using mic stands or clip-ons to give a much closer sound.

Snare drum - A Shure SM57 is regarded as a good choice for recording snare drums. Their small frame allows more options in terms of positioning and their clarity means that the snare will be easily distinguishable within the mix. Snares are often recorded from above and below, using two separate microphones. By angling both at 45 degrees towards the centre of the skin on either side, the combination of the two pick up the sound of the initial strike and he decay produced beneath the drum. The sharp tone produced by the metal strip hitting the bottom skin will also be more prominent if there is a mic beneath it. The benefit of using two microphones for one drum is an increase in choices at the mixing stage. Both tracks can be individually manipulated or simply deleted if they are considered unnecessary.

Hi-hat - Due to its higher frequencies, hi-hats may require a condenser microphone. Condensers tend to be more fragile than dynamic mics and therefore cannot withstand as much sound pressure. They are, however, more responsive with a wider range of frequencies. They are also generally more expensive than dynamic microphones. They suit situations that involve picking up rich timbres that include a range of frequencies and also require phantom power to be switched on on the interface in order for them to function. Although it is subjective, the commonly regarded best way of recording a hi-hat is to position the microphone pointing down at the cymbal. This means that bleed from the rest of the kit is minimised.

Polar Patterns
There are a variety of polar patterns amongst the vast choice of microphones. These include:

Cardioid - This pattern has a range of 131 degrees. This means that it can be used for multiple vocalists, or other sound sources, provided they aren't directly behind the microphone. These mics tend to completely omit sound from directly behind. However, this doesn't mean that they won't pick up the sound bouncing back off a wall that is within the microphone's range so it is still best to minimise unnecessary sound sources.

Omnidirectional - This pattern receives signals from all angles. It has a 360 degree field and is usually placed directly in the middle of surrounding sound sources. This would be a good choice of microphone for church choirs, where sound is coming from every side of the room. Omnidirectional microphones often hang down from a ceiling so that they are in prime unbiased position height-wise.

Bidirectional (Figure of 8) - This pattern picks sound up equally from the front and the back. It doesn't pick up sound directly from the sides though. It has a very narrow pickup angle which means that it can be used effectively whilst isolating sounds sources in groups. For example, as long as there was no sound from directly behind, this would be a good choice for recording a single instruments in a row of instruments on stage. This allows for more individual sound control. This is also a good choice for recording two singers who are facing each other. It is effective at eliminating  sound sources from different angles.

Glyn Johns Technique
Glyn Johns is a studio engineer who is most famous for devising an innovative method of recording drums (most notably John Bonham's drum sound on Led Zeppelin by Led Zeppelin). The method involves three microphones: a dynamic kick drum mic and two overhead condensers. The overhead condensers would be positioned both pointing toward and both equidistant from the snare drum. One of them would be about 40 inches above the snare, pointing directly downwards. The other would be to the right hand side of the drummer and about 6 inches above the top of the floor tom.

At college, we recreated this method by recording a drummer with two M3 small diaphragm condenser mics and an AKG D112 dynamic for the kick drum. We asked him to play a variety of beats within two minutes to test the diversity of the method. The end result was pleasing; the overhead condensers provided a sufficient range of frequencies and their positioning allowed the whole of the kit to be heard clearly. We positioned the kick drum mic about 3 inches inside the drum which produced a suitable punchy sound.

2 channel recording
At college we recorded a 3-piece jam with 6 microphones on just 2 channels as a demonstration of a technical restriction. The microphones we used were:

Kick drum - AKG D112 dynamic
Drum overheads - 2 Rode M3 pencil condensers
Guitar amp - Shure SM57 dynamic
Room - Rode NT-1 consender
Bass amp - AKG D112 dynamic

We grouped the three drum mics in one channel and the room, bass and guitar mics in the other channel. This meant that we could mix the drums separately from everything else. There was bleed in each microphone but the majority of the sound from each instrument was picked up by its corresponding microphone/microphones.

I think the sound of this experiment came out well. Each instrument is easily audible and distinguishable and there are a wide range of frequencies thanks to the Rode NT-1 and Rode M3s.

Drum recording
As well as using the Glyn Johns technique, we also tried maximising the amount of microphones used and assigned them each to their own individual channel. Although this technique allows for more control and options in the mixing stage, due to the singular allocation of each mic, I thought that compared to the Glyn Johns technique, this amount of microphones is unnecessary for the drums. The sound of the Glyn Johns technique, I think, is sufficient and effective in recording drums. Overcrowding the drums with microphones can not only get in the way of the drummer, but also requires extra wiring and meticulous mixing. I would prefer using the Glyn Johns technique and mixing just three channels of drums: a kick and two overheads. This technique is effective at capturing the overall sound of the kit.

2 overhead pencil condensers (panned left and right)
3 SM57 dynamic:
1 at 45 degrees pointing towards the centre of the snare from above
1 at 45 degrees pointing towards the centre of the snare from below
1 pointing at the edge of the hi-hat from above
AKG D112 3 inches inside the kick drum
3 dynamic microphones - 1 clipped onto each tom tom


The link below includes a number of experimental records, each with a description of the process.

HND Year 2 Recordings

Homogeneous and Disparate Music

Homogeneous Musical Combinations
The word homogeneous means "of the same kind." In regards to music, this would mean groupings that involve similar instruments, such as a cappella vocal quartets. Vocals, when described as instruments, are similar sounding, even when each one is singing something entirely different. An example of a homogeneous piece of music is this barbershop quartet cover of "When I'm Sixty Four" by The Beatles. 

When I'm Sixty Four - A Cappella Barbershop Quartet

Unlike instrumental quartets such as strings, brass or woodwind, male barbershop quartets tend to remain within the lower vocal ranges. The vocal range extends from bass up to soprano but this quartet includes bass, baritone and tenor. Instrumental quartets tend to include bass, tenor, alto and soprano. For example, a woodwind quartet typically includes a flute, an oboe, a clarinet and a bassoon. Although these instruments don't correspond exclusively to each register, quartets tend to have a vague register stamp applied to them. 

Homogeneous music also includes other vocal styles such as choir singing and Gregorian chant. In barbershop quartets, such as the one above, the singers tend to sing different melodies that harmonise with each other in order to produce a thicker texture. All members voices have similar timbres but they each sing different rhythms dispersed throughout a song. The voice in the bass register is easily distinguishable from the voice in the highest register of the quartet. This means that the bass vocalist can sing contrapuntal melodies in order to produce a more varied song. This differs from Gregorian chant, where each singer sings the same line with free rhythm and dynamics. Barbershop quartets tend to have a more obvious rhythm.  

Disparate Musical Combinations
The word disparate means "different in kind; not able to be compared." In music, this means instruments of different types and timbres that come together to form a tune. An example of this is hip hop music. Hip hop often includes electronically produced sounds combined with recorded vocals. 

The Pharcyde - Y? (J Dilla Remix)

The example includes a combination Dilla's samples, drum machine beats, synth basslines and loops alongside The Pharcyde members' rapping. The timbre of the vocals is vastly different from the beat, mainly because the beat is noticeably produced by computer technology. Computer technology allows artists more freedom of choice within their music. It allows them to create sounds that are totally unique from acoustic instruments and vocals, which means there are endless possibilities on what can be produced.

The most appealing disparate music tends to be music that includes instruments that complement each other. In this hip hop example, the drum rhythm complements the rhythm of the vocals, giving a stronger beat to follow. Similarly, the lack of melodic lines within the lead vocals leaves more space for the bassline to be emphasised. 

Wrapped In Wires - Personal Goal

This year, me and six other students are all participating in a concept album in the style of prog rock. We have decided to call the album "Wrapped in Wires." Each of us have taken on the responsibility of composing one section each - this includes parts for vocalists (including lyrics),  

Part 1 (Brad Potter) - This section introduces the concept of a family moving into a new house and an introduction to their new routine. 

Part 2 (Martin Robertson) - This section introduces the idea of an extra room in the house. The idea being that from the outside, there are eight windows but inside there are only seven accessible rooms.

Part 3 (George Parker) - The teenager begins searching for the extra room and notices mysterious things around the house.

Part 4 (William Allman) - This is from the perspective of the man in the extra room, describing his actions. We decided that the man's role should be a biographer of every action that the family takes. He is intended as a metaphor for the dominance of social media and how it encompasses modern society. 

Part 5 (Me) - The teenager in the family searches for the room and eventually finds it with the man inside. 

Part 6 (Chris Seldon) - This section involves a confrontation between the family and the man in the room.

Part 7 (Harvey Jones) - This section is the overview of the whole concept. It is intended as a message to the audience, allowing them to interpret the lyrics themselves. 

Each of us need to compose our section, including lyrics and vocal melodies. We also need to gather the necessary band members and make our pieces available to learn for each other. I have written my prog piece in notation and sent my band members a PDF copy each, a recorded version of the MIDI file (for more accurate MIDI sounds), an exported MIDI file (for audio clarity) and a video of a practice session in case they want to look back on it and make any alterations of how they might want to play it. I have also sent the drummer an extra MIDI file of only the drum track because the drums in the original MIDI file were partially inaudible. 

Band Members on my track
Me - Guitar
William Allman - Bass
Mirron Webb - Vocals
Chris Seldon - Guitar/Synth
Seb Baldwin - Drums

Other band members
Guitar:
Joe Lewis
Luke Lewis
Raph Jezukiewicz

Bass:
Martin Robertson
Harvey Jones
George Parker

Drums:
Brad Potter

Other people involved
Kidderminster College Management - The funding will be provided by the college. We will also have access to the college's recording studios to overdub sections at a later date. This means using equipment such as microphones, DAWs and drum kits provided by the college.

Andy Edwards has the role of organising the recording session with Base Studios and overseeing the project.

Phi Yaan-Zek will help ensure material is learnt thoroughly by supervising practice sessions and making creative suggestions. 

Harry Schlanker will act as sound technician. This means he will have to learn the structure of all the songs and control sound levels and appropriate effects.

Joe Davies, Chris Seldon and William Allman will act as stage technicians - This means they will handle gear, including restringing instruments when necessary or bringing gear on stage when it is needed.  

We will require someone to film the recording session as we intend to make a live music video for each track. We will need an audience for this to work properly. These will be invited by anyone involved in order to fill up the room capacity as much as possible.

Everyone involved is responsible for arranging their own transport to and from the 310 gig and recording session. The band members will be mainly responsible for the promotion side of it, primarily through word of mouth. As well as the members in my band, all the members that aren't on my track also have the responsibility to learn and rehearse their parts and organise and attend practice sessions. 

I initially had Ash Field on drums but thought Seb would be better suited to the task due to his spontaneity on the drums. It also works better for continuity because Seb is playing drums on every other track already and this would mean there is no need for a change of drummer mid-show, which might cause confusion in the videos. In this circumstance I think sacrificing Ash's proficiency in following drum notation for Seb's innovation was the correct choice because the drum parts that I wrote were fairly static and slight alterations allow the piece to sound less robotic.

My role in this project includes acting as musical director in my own piece as well as playing guitar for three other people (Brad, William and Harvey). This means that I have had to learn parts for a total of four pieces in order for the show to run smoothly. I have set up a Facebook chat with these band members in order to organise practice times and share files. I sent my composition to each member for them to learn in their own time; this was my main method of reaching an end result. During practice, I have instructed members on learning parts but have also been open to experimenting with new ideas and creative input. This was helpful when I was still in the composition stage; having a band to work with meant that influences came in from different directions.   

We intend to perform this show in room 310 at college in May as well as performing and recording it at Base Studios in Stourbridge on 15th June. This performance will be less pressured than the college gig because we will explain to the audience members that it is a recording for an album. This means that if we make mistakes we have a chance to re-record and correct them. However, we will require more equipment to carry out this recording:

Equipment and who will provide it

310 gig:
PA system with two speakers - College
2 dynamic microphones with XLR cables - College
4 bass guitars and leads - Bassists
6 electric guitars and leads- Guitarists
Drum kit - College/Seb Baldwin
Synth and laptop - Chris Seldon
Seating for the audience - College
Laney bass amp - College
3 Laney guitar amps - College
Pedals - Guitarists/Bassists
Lighting - College

Base Studios gig:
Instruments (except drums) - Band members
2 guitar amps - Guitarists
Bass amp - Bassists
Film camera - Base
2 dynamic vocal mics - Base 
2 dynamic guitar amp mics - Base
Lighting - Base
Mixing desk - Base
Dynamic kick drum mic - Base
Dynamic snare mic - Base 
2 overhead condenser mics - Base
2 dynamic tom mics - Base 
Lighting - Base

Risk Assessment
There are a number of things that could detract from the quality of the end product. These include:

People not showing up - We have discussed this problem and have encouraged each other to participate in the recording session even if we are ill. We discussed the idea of drawing up a contract that means whoever doesn't show up has to pay for the recording session. Although this is effective motivation, we are all convinced it is unnecessary.

Strings snapping/drumsticks breaking/cables breaking - Because it is a relaxed situation compared to a real live show, if strings snap or drumsticks break we will have the chance to stop playing whilst the problem is rectified. We will have a stage technician available with new strings and cables so if one does break, they can quickly change them whilst we remain on stage and discuss what the next step is. This means that whoever breaks the string won't have to take their attention away from the task at hand, meaning a more efficient use of time. 

Instruments malfunctioning - Although it would change the intended instrument layout if one stopped working, it wouldn't mean we would have to stop recording. Each guitar we bring along will be interchangeable (with the exception of Joe Lewis' 7-string) and the recording will still be acceptable with a different tone. However, if a guitar stopped working half way through a song, we would have to restart that specific song because the performance is being filmed as well as recorded. A different guitar appearing half way through the video would cause poor continuity.
  
Parts are played wrong - If sections of particular songs were played wrong and nobody noticed at the time, we would be able to overdub at a later date. Because we are recording each instrument and vocal mic into separate channels rather than recording the whole band with fewer mics, it would be simpler to replace particular sections in the mixing stage.

Few people turn up - There is a chance that the venue will not reach its capacity. We will be filming the gig, so this problem may be overcome by asking the audience to move right in front of the stage to give the illusion on video that the room is full. We will invite students from college, friends and relatives and the gig will be free, to encourage as many visitors as possible.


My goal is to have my own composed material available to the public. By recording this prog gig, I will be part of a concept album that will either be sold or released for free online as a download and will be further promoted by the prog record label that Andy Edwards will run. This is the first step in producing a portfolio of my own material. Prog rock is a style that I have never explored and may influence my future compositions. 

Working with a band in an unfamiliar style has also been helpful because everybody's individual styles and influences have helped in the creative process. I wrote my prog piece in MIDI but hearing it with real instruments changed my perspective greatly.

This project has inspired me to collaborate with more musicians to harness individual strengths in order to produce more exciting and diverse music. It has also introduced me to the idea of effectively transitioning between time signatures - something that I will experiment with further in future compositions. 

Evaluation of Ensemble Improvisations

Songs of Sirens - Yellow Flight

Here is an improvised album by me on guitar, Harry Schlanker on bass, Maddie Abbotts Cosier and Theone Dawes on vocals and Ollie Patton on drums, keys and samples. I appear on every track except "Moon Doors." The album was created on the spot from scratch with the exception of some vocal melodies and lyrics, such as "Say To Me." I had never played with any of these musicians before so it was interesting to see the style of music that came out of it, combining a variety of tastes and influences. 

This album gave us all a chance to experiment with atmospheric and more upbeat styles. In terms of my own playing on the album, it allowed me to develop melodic lines and phrasing. 

"Insert Sample Here" -  This song was a challenge to keep up with. It's quite a high tempo which means a lot of my guitar licks were out of time. Slower melodies with more sustained notes might've been more appropriate for much of this song although I think fast lines were necessary for the style.

"Cookey" - Although there is some good guitar phrasing in this piece, listening back it feels much more like one long attempted guitar solo. I remember focusing mainly on responding to Ollie's drums rather than the bass. This meant that there were few sections where Harry got a chance to push melodic ideas. I notice this a lot of the time when jamming with other musicians; I tend to twiddle a lot rather than enhancing established ideas.

There are some areas in "Cookey" where I have repeated a melodic line but failed to build upon it. The guitar in this song may have been more effective if I'd developed recurring melodies rather than constantly jamming. A better knowledge of chords would've helped with this song; it would've allowed more diversity in the guitar.

"You" - I tried using chords as much as possible in this song. They were predominantly basic chords such as minors, majors, minor 7ths and major 7ths, all with similar voicings. Listening back to it, I think the rhythm of the guitar is a bit too rigid. The style of this song was more atmospheric and flowing but my playing countered this. To most listeners, the vocals are probably the main point of focus. This means that more subtle guitar lines and sustained notes would've been more appropriate.

"Say To Me" - This song was interesting because the singers had already preconceived the song's structure. This meant that they already had melodies and harmonies in mind when they were singing. However, I was unsure what this song was supposed to sound like which made it more enjoyable. I haven't heard the song so I am not sure how it compares but I like what we came up with anyway. The interesting vocal melodies and harmonies allowed me to get into the song quite easily. The texture of both vocals at once meant that I could get away with playing much less.

For some reason, the descending bassline in "I'm Housin" by Rage Against The Machine came to mind when the song began so I tried to combine this with chords before we built the song up to a crescendo.

From the 7 minute mark I think atmospheric effects would've worked well. If I were to do this on guitar, maybe a delay pedal combined with my chorus pedal could work. I have a delay pedal ready for next time I try something like this just in case it is needed.

"... ... ..." - This track was played by just me on guitar and Harry on bass. I began the piece trying to come up with melodic lines and it took about 10 minutes for me to succumb to the strange bass sounds. A guitar slide helped here. I felt like I was limited here and more effects would've definitely helped. I need either more pedals or a multi-effects pedal next time I try something like this.

Overall, the main two things holding me back were my lack of chordal knowledge and appropriate tones. My tone rarely changes throughout; it switches between clean reverb and clean reverb with added chorus from my Pearl CH-02. I would've benefited from having more pedals. At the time I was only using a Pearl CH-02 chorus pedal with the amp's reverb on a clean tone. Next time I will use overdrive, distortion and delay so my playing is more varied. My melodic lines fit well in some areas but are sometimes misplaced and would worked better with more consideration in the future.

Huffing Herring

This is an improvised album created by me and four friends at college in February. The idea behind the album is that each member plays an instrument they are unfamiliar with. I played keys, William Allman played guitar, Harvey Jones played drums, Louie Marlow-Smith played bass and Harry Schlanker was on the trumpet and the mic.

We began by latching onto each others' ideas and developing them from there. It took a while to get into it but there are some coherent sections and a good level of communication in some areas. In my opinion, the track that demonstrates the highest level of cooperation and development is "One Day She'll Love Me." We all reacted to an idea initiated by Will, using a variety of dynamics and rhythms. The tune then goes through a number of transitions with the aim of complementing its progressive structure. I feel this has been effective in some areas, such as between 3.10 and 4.20, where we managed to bridge two more distinct sections with a fairly chaotic transition.

The idea of this album came from Will, who was inspired by comedian Jon Benjamin's jazz album, "Well I Should Have...*"

Jon Benjamin - Well I Should Have...

The idea behind Benjamin's album was to play piano, an instrument that he had no prior experience with, alongside adept jazz musicians. This meant that his performance was entirely improvised, without much in the way of musical influence, causing his lines to sound out of place and only vaguely rhythmic. He tries to respond to lines played by the other musicians to make it sound vaguely musical, like at the beginning of "I Can't Play Piano Pt. 3" where he attempts imitation.

Our album follows this theme. A minimal understanding of the instrument that we were playing allowed us to see the entire improvisation in a different way. There were no restrictions in terms of music theory or fear of sounding out of place because that was inevitable. We also had no expectations which meant that we could treat the project with experimentation and humour in a relaxed environment rather than trying to play everything perfectly.

This album was recorded more recently than "Yellow Flight." Recently, I have tried to listen more to every instrument involved in group improvisation rather than just drums. The use of call and response and developing ideas in this album is evidence of improvement in this aspect. 

Liquid Biscuit - Sense

This improvisation was performed from my friend's graphic notation. This required us all to communicate with each other by listening rather than watching as we were performing in the dark. The only things we could see were the graphic notation and the mixing desk. I spent most of my time using the mic producing vocal sound effects and using objects around me such as congas and handheld percussive instruments.

This improvisation is mostly atmospheric rather than musical so we had to use the instruments we had in more creative ways. It allowed me to play around with the mixing desk. I had no knowledge on how to operate it before this but I tried to find appropriate effects for the mic such as heavy delay and reverb.