Magic Satin Recording Sessions

For our project we have undertaken a number of recording sessions to track the various aspects of each arrangement for the final full productions. Going into the project we had scratch outlines of the compositions to each track, and a general concept for the sounds tonality and aesthetic as well as it’s genre influences. During the recording sessions we then worked to instil these ideas of what we’re aiming for into the instrumentation with regard to the style of the albums content and concept.

For the drum arrangements and recording for the album, we opted for implementing the use of realistic drum machine sampling as an unreal acoustic kit style to create the backing beat to the tracks. This was opted for as flexibility and versatility of this approach makes for an adaptable sound and rhythm track which we could later revise whilst still maintaining the tonal qualities desired. Along with the fact that this would be a much less time consuming workflow to the production of percussion instrumentation over the typical studio recording session of drum tracking for multiple arrangements. This stage was one of the key first aspects to approach when it comes to the recording stage of the project, as the drums make up the rhythm’s foundation we had to get this completed before we could go in with other instrumentation so that the timings and feel were established.

Following on from this, we have recorded the bass to each track with different considerations dependant on the feel of each track, with some featuring more complex basslines and some more steady and drawn out lines. The bass recording differed from the programmed drumkit as for this we needed the feel and rhythm of a real bass as otherwise the lines would be too fixed, with midi programmed lines tracked from piano being too rigid for most tracks. As the original scratch bass tracks were done in midi, we knew this wasn’t suitable for the majority of the tracklist, therefore we underwent the bass recording sessions with actual bass guitar. For these sessions the recording process was very quick and effective, as we agreed the bass should have a clean tone and therefore did not need amping / micing. Therefore it was a simple case of routing the bass DI to the recording interface and into the DAW track, with multiple runs through of the rough bassline idea then developing into a real rhythm line with touch and feel to add a layer of depth to the compositions.

As the tracks take on a fusion influenced style and tonality, we also have undertaken numerous recording sessions focused on keys and backing pad sounds created with synthesisers. These primarily were done with DI routing setup from the mains out of a couple of Korg and Roland keyboards, aside from some MIDI software instruments, straight to the interface inputs and into the DAW record armed track. These were then performed with counter melodies and complimentary chord arrangements which added a layer of harmonics to the tracks which took an accompanying position to the rest of the main arrangement focus, to enhance the overall harmonics and sonics of each track.

There was also a hybrid setup utilised for the recording of some of the electronic padding layers to tracks, this incorporated an ipad loaded with synthesisers which then was sent through output to a Tascam 414 tape recorder via a multi-effects guitar pedal, which then were both tweaked and experimented with to create interesting and analogue tonality for the tracks. These layers mostly consisted of more backing focused elements in the tracks, and were recorded through the Tascams main outs routed to the interface to the corresponding record armed DAW tracks. This stage was particularly enjoyable, with the merging of digital and analogue processing making for some very interesting sound design approaches and distinct timbre sonics to the recordings.

For the compositions we have also planned to record some brass, as this is an area of recording which I personally haven’t touched on as much and aim to develop further. For this we have so far carried out a saxophone recording session in the studio for the opening track Strawberry Letter 23, where we implemented a Rode NT2A mic and a SM57 to capture the saxophone lines for the track, recorded through the Neve genesys mixing console. As this was a new piece of instrumentation recording for myself, we also experimented with using a Shure SM7B, and compared the different tonalities of each microphone singularly and in conjunction with one another, until we opted for the classic live SM57 tone focused on the brass rim, and the NT2A to capture the higher registry frequencies and air. This made for a tone that cuts through and has a depth of complexity and detail which we are very satisfied with for the track's style and sound. We plan to carry out more brass recording sessions in the near future for two more of the tracks in the project, after the success of the first. For practice in this area, I have had the opportunity to record trumpet for a local band which we work with, The Stamp.

Going forward we also need to undertake vocal recording sessions and guitar recording sessions for a number of tracks, with some having existing scratch takes of these layers the sessions should run smooth along with the focus being on the finalisation of the tracking's quality, tonality and nuance in the mix.