From nothing to a full backing track in a day. My group recorded a hard rock track including guitars (Adam Farell and Harrison Goodair), bass (myself), drums (Lee Richardson), group claps and animal sounds (Sindre Deschington). I was very pleased with the outcome. My group worked very well together, we all used the desk and discussed recording techniques. Something I learnt about was using a sub on a kick drum: I’d never seen one before then. We used a Fender twin amp to record the guitars, and three different guitars to get a range of tones and colours.

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Mic-ing the floor tom. Photo credits to Sindre Deschington.
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The drum kit. Photo credits to Sindre Deschington.

 

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Mic-ing the snare. Photo credits to Sindre Deschington.
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Mic-ing the kick drum and the sub. Photo credits to Sindre Deschington.
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Mic-ing the bottom of the snare. Photo credits to Sindre Deschington.
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The drum kit and the room. Photo credits to Sindre Deschington.

We mic-ed the kick drum and the attached sub, snare (top and bottom), the rack tom, the floor tom, and over head (left and right). We also had a microphone to capture the sound of the room. Whilst the drummer played to a click track, I played the bass part so that Lee knew where he was in the track and what beat to play. We did three takes of the drums which we recorded into comp folders and arranged into track stacks.

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The SSL desk. Photo credits to Sindre Deschington.
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The monitors. Photo credits to Sindre Deschington.

We recorded everything into Logic Pro X through the SSL desk.

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Bass. Photo credits to Sindre Deschington.

After recording the drums, we moved onto bass. The bass was fed into a bass amp which was mic-ed by two different microphones (the AKG D112 and the Sennheiser MD421) and was DI’ed, just in case. There was also one room microphone. We did three takes of the bass guitar, which was good because I messed up a lot!

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The Fender guitar amp, with a Sennheiser MD421 and a Shure SM57. Photo credits to Sindre Deschington.

The guitars were next. To mic up the Fender twin amp, we used a Sennheiser MD421 again, and a Shure SM57 on the front pointing at one of the cones, and a Neumann U87 for the rear of the amplifier. Another Neumann U87 was used to capture the room. We used three different guitars to record the rhythm, lead, and ambient guitar parts. We did two takes of the rhythm and lead guitars (Adam Farell), and one take of the ambient guitar (Harrison Goodair).

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The pedals used for the guitar parts: Super Over Drive, Nano Clone, Analogue Delay. Photo credits to Sindre Deschington.

Afterwards, we had some fun with group clapping, and vocals in the form of Sindre Deschinton’s animal impersonations.

Overall, it was a fun, productive, and enlightening day, full of new knowledge. I really enjoyed working with everyone on my group and using the SSL desk.

 

 

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