Artefact 1 – Recording and Mixing Project – io - I

Drums:

The drumkits driving groove, found throughout the song is a massive part of the track's overall dynamics and vibe, so it was crucial to record them properly, to ensure that their entire dynamic range is present and clear. All the individual drum tracks are sent through into a group channel that utilizes slight drum room reverb, Compression and a Limiter. This group also makes use of the automation function on the Kits overall gain, following and changing the volume level dependent on the dynamic switches found throughout the track, whether being the quiet sombre verses, or the more aggressive chorus’. The individual Kick and snare tracks both make use of 8 band EQ’s Aswell as Limiters, the kicks EQ focusing on cutting frequencies in the 20 and 150hz range, whilst boosting the 65hz and 3.5kHz area, achieving a pounding bass drum tone, that is free from unneeded sub frequencies and room noise, that stays defined and consistent. Whereas the Snare tracks EQ’s focus on boosting the 70hz and 5kHz range, whilst cutting the 150hz and 11kHz area, to further achieve a more aggressive snare tone that is free of unneeded resonance and background noise. Each tom channel also has a similar process applied to one and other with their applied EQ’s focused on cutting frequencies in the 600hz and 5kHz range, whilst boosting those in the 350hz and 6kHz area. Finally, the Overheads were EQ’ed to cut frequencies in the 30hz and 1kHz area, and to boost those in the 6.5kHz range, to further pronounce the crisp tone of the cymbals.

Bass:

The Bass DI and amp track both have tasteful EQ’s and Compressors applied. With their EQ’s boosting frequencies under the 250hz zone, whilst cutting others above it. However, the Basses amp take has no compressor, and uses a slightly different EQ, that gives it more of a boost compared to the DI take. I made this decision as it would give the bass takes a more dynamic range when fused together in Ableton, due to their slightly different postproduction choices, and spread of displayed frequencies. The Bass group channel also makes use of the automation function on the Bass takes gain, throughout the track, dependent on the pre-established dynamic of each of the song's parts. The bass also starts the song by fading in, with use of the automation feature.

Guitar:

The guitar was quad tracked and panned hard left, right, and mid left, right.  with the clean guitar in the verses being singled tracked with tasteful reverb and a boosted mid-range EQ applied. The chorus’ guitars have minimal post processing applied, with slight reverb applied to their track group, and EQ’s assigned to each, Aswell as limiters, with boosts in the 3kHz, 1kHz and 40hz range. With most of the mid-range being scooped to create a more aggressive, sharp, guitar tone. The guitar group channel also makes use of the automation function on the guitar takes overall gain, throughout the song, to further pronounce the dynamic nature of the track.

Vocals:

For the vocals I wanted to capture a sombre atmospheric sound that washed over the track in an almost eerie manner. Making use of Ableton’s Hybrid-Reverb effect, to give the vocals their signature giant feeling nature, that fills the mix yet stays easily recognisable and clear. The 2 vocal tracks have compression, Hybrid-Reverb, EQ and limiters applied. The EQ’s themselves help boost the singer's natural tone, by increasing the gain around the 150hz and 4.5kHz mark and decreasing said gain around the 20hz area, to help get rid of unwanted boominess or background noise. The Reverb itself is also around halfway on the dry/wet knob, with slight extra reverb and delay applied from Ableton's send functions, to further pad out and improve the tracks overall mix. The Vocals group channel also makes use of Ableton's automation on the vocal takes gain / volume, throughout the track, to fit each of the song's segments overall atmosphere.