Comp-ing (1st November)

This week I did comping.

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Screenshot of Logic Pro X project showing the take folders of Kick in, Kick out and Snare T

Although I have had a lot of experience with take folders and comping before (I find it a very efficient way of recording), I never really used it to it’s full potential. Last week, I grouped my tracks and enabled Phased-Locked Audio which meant that when I comp-ed one track, it would do exactly the same to the other tracks in the group, minimising the possibility of phasing issues. I started with my drum group.

Screenshot showing the take folder of Kick in. Various bits from the three takes have been selected to form the final track for Kick in.

Once I was happy with all of the comps for the drums, I bounced them in place, muted and hid the original (I prefer hiding tracks that I am no longer using because it declutters my project without getting rid of them), and added the bounce to a new track.

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Screenshot showing the settings of the bounce in place for the Kick in track.
Screenshot showing the completed comp tracks for the Drums track stack.

I repeated this for all of the instruments.

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Screenshot showing the contents of the take folders for the bass.

I was the bassist for the project. As I was comping the bass, I realised that none of the takes were good. However, I took the best bits and made the best possible comp I could with the material at hand. This is why it looks very choppy. I’m hoping that, with some processing and flex, I can make the bass part sound more together and consistent.


Grouping (25th October)

This week I learnt about grouping.

Screenshot of Logic Pro X project showing that I have put several tracks into a group named “1:Drums”. Also shown are the settings of the group: Editing (Selection), Phase-Locked Audio, and Automation Mode are enabled.

I have turned Phase-Locked Audio on so that when I do comp-ing, all of the parts that were simultaneously recorded will be edited together. This will help prevent phasing issues and moments where parts have not been played identically.

Screenshot showing the six groups in my project: Drums, Bass, RhythmGuitar, LeadGuitar, AmbientGuitar, and Claps. All of these groups enable Editing (Selection), Phase-Locked Audio, and Automation Mode, and nothing else.

Recording (18th October)

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.

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


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

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

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

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!

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).

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.