This is part of my final major project: click here to return to the main menu:
The next three bands I recorded where all from college, made up of the Music Performance course students doing covers/originals. This song is an acoustic cover of Ellie Goulding’s song “Love Me Like You Do.” with the basis for the song being an acoustic guitar and vocal harmonies from Evie Ford and Ellie Hog.
This song I recorded as part of my recording team, which we were arranged into when we were told which bands we would be recording, being in a duo with Dan Loh, where we both shared the roles of producer and studio engineer. We decided that since some of the other recordings we have done had been multi-tracked, we thought we would try doing a live recording, since it was a fairly simple arrangement, settling on having a room mic in the center of the room, with the acoustic mic-ed up with a pair of small diaphragm condensers.
We planned to record a couple of takes together, then have all the individual elements: (Vocals, Guitar etc.) overdubbed to give us the most flexibility.
So our Track list was a follows:
|1||Room Mic||RODE NT2a|
|2||Guitar Left||Samson CO2 (ORTF)|
|3||Guitar Right||Samson Co2 (ORTF)|
|4||Percussion||Sontronics STC 2|
We chose the RODE NT2a for our room mic for many factors, with first off it having low background noise, meaning that the vocals and guitar will have a clearer signal going in, as well as it having a fairly neutral frequency response which lets it pick up the ambiance of the room without making it sound too obvious. It also has three settings to chose from: Cardioid, Omni, and Figure-of-Eight, with the later being the setting we chose to use. Its exaggerated frequency response from 2Khz onwards will pick up the guitars “presence” in the mix, as well as the vocals “presence” and also the “sibilance” around the 7Khz mark.
We placed the microphone in the center of the room, about a meter or so off the ground with the two singers on either side of the figure-of-eight, both of which were facing diffusers, while the cancelled out areas where placed so that they faced the non-diffuser wall and the control room double glazing window, as both could lead to some nasty reflections.
For the guitar ORTF pair we chose to use a pair of Samson CO2’s, on a stereo bar about 6 inches away from the guitar, with one microphone facing the sound hole, while the other was pointed towards the 5th fret, so that the one on the sound hole would pick up the “body” of the guitar, while the other would get the string sound and “trebly” sound.
They were chosen due to their role off around 100Hz cutting out some of the lower frequencies which would sound muddy in the overall mix, while also having a boost around the 5Khz which is beneficial for the same reasons listed with the NT2a.
Once we had recorded the bulk of the song, we felt that the song needed some additional elements to make it stand out, namely some percussion. Using some egg shakers and chimes, which we recorded separately using a Sontronics STC 2. This was chosen instead of the NT2a due to its slightly more exaggerated higher frequency response between 3-10Khz, and since the egg shaker is mainly noise, and the chimes where so high pitched, was a better choice to get more clarity in the mix.
This was set up in the same place as the RODE was, with the each of the members adding parts in when they felt they where needed.
When we felt we had enough material to work with, we then moved on to mixing.