Recording, Mixing and Competitions


Fancy photo of me in the studio recording the EP

Been quite busy this week with my music production. I had a friend come down to Plymouth to stay with me and finish up his EP he started with me earlier this year. Couple of issues along the way due to technical issues and issues regarding booking studio spaces at my Uni….but hey ho we got what we needed done at least.

Mixing the EP is coming along nicely. For the main track on the EP called “Tail Light City” been struggling to get a nice snappy warm snare sound for quite a while. Glad to say I think I finally got achieved that sound. It was not coming through due to a “pong” sound that was being produced when the snare skin resonated. Bit of EQ and that pong was a thing of the past. Also, been getting quite creative with my being a producer side of things for the EP. Trying different effects and techniques to get a better sound out of the song rather than straight mixing and tweaking. Will give details on the progress of the EP as time goes on.

I’ve also found this week I’ve been playing the piano a lot more than usual. Really enjoying playing some tunes I used to love to play a few years ago. I’m considering putting a few pieces together and getting a small EP of my own done with just covers on it.

Screenshot of my Mix

Screenshot of my Mix

Finally this week I’ve been working on a mix for a competition on Indaba Music. I heard about this competition because I noticed one of my lecturers had been listening to a few submissions’ on his facebook. It’s really quite fun being able to take a multi track and just straight mix. No client or assignment deadline hanging over your head, just artistic mixing to the best of my ability. It’s a shame I don’t have any fancy plug-ins yet, I had to mix everything with just the stock plug-ins of Pro Tools 11. Don’t get me wrong, the plug-ins are great on Pro Tools, but they are more tools and they lack a lot of character. On the other hand, I find you have to make use of the tools to create your OWN character rather than relying on the character of a plug-in by, for example, Waves. But at the end of the day, you don’t win with brownie points, you win by having the best overall sound. Chances are I won’t win, but I wanted to try and I’m hoping to get some constructive feedback from it. Please have a listen and, if you wish, vote for me. Please note, I do accept sympathy votes.

Link to Indaba Music Mixing Competition Submission –


Tips for Sound Engineers running a Studio Session

Being a Sound Engineering student, I have had quite a bit of experience with studio sessions. So I thought I would do a post on some of tips on how to make the most out of your studio sessions, no matter where you are recording or what you are recording.

The band or artist

I can’t stress this enough. Make it PERFECTLY clear to your band or artist that they should all know their parts AND have practised. It will make the session go SO much smoother. My worst recording sessions have always been when people that don’t know what they are doing. For now it just takes the piss because I normally offer free recording sessions to bands so it just wastes my time and they are wasting a free session trying to record drums with the guitarist standing in the room, “so the drummer knows where he is in the track”, but if the band is paying for a session you wanna make it clear that they should know it to get the most out of their time in recording sessions….unless you don’t really care and they will spend most of their money just trying to figure out what parts they are supposed to be playing.

Draw up a plan

Always have an initial plan. You should have list of what order you are going to record instruments but also you should have list of what microphones you are going to use and how you are going to place them. You don’t want to be standing there stroking your beard working out what you are going to do to record drums. Not only does it not look professional, but it wastes recording time. These bands are probably paying for this session, you should at least have the decency to be prepared for them. Try asking the band for a rough recording of the songs, ask them to do it with their phones or whatever. It’s always good to hear what it is you going to be recording.

Knowing the Studio

Especially if you plan to be freelance, you wanna give yourself some time to familiarize yourself with your studio. Try and get into the studio at least 30 mins before the band gets there if you can, and learn your way around the studio. Look at the patch bay, learn where all the controls are on the desk if you aren’t familiar with it and get in the live room and get a feel for the sound of the room. Also while you’re in the live room, it might help finding the microphone inputs. Like I said earlier, you don’t want to be standing there waving a microphone cable around trying to find the wall box to plug your cables in. It wastes your time and the bands time.

Finally before the band gets there, try and get a signal through the desk into your DAW and out the monitors. It’s all very well being prepared and knowing the studio but you don’t want the drummer being in there all ready to go and then have to sit there whacking a snare drum while you try to figure out why no sound is coming through the monitors. There is useful tool for doing this without the need of someone in the live room, which I will go into next.

Helpful tools to take with you

It’s always good going into the studio with tools to help you with your session. This is a list of what I take to my sessions, but if you want to add your own that’s great! Post a comment if you can think of something else to take as I would much appreciate it.


  • Spare picks: you’d be surprised how many guitarists don’t bring their own pick
  • Tuning key: Always important to have the drums tuned, and sometimes drummers won’t have a tuning key, so having one spare is always helpful
  • Memory stick or hard drive: Make sure there is enough space for large sessions, you want at LEAST 10gb free, but ideally more. Also, make sure your memory stick works with both PCs and Macs. You don’t want to go to take your session away and find you can’t because it’s not formatted correctly to the Mac or PC.
  • 1/4 inch to 3.5mm adaptor: VERY important as most headphones nowadays have a 3.5mm jack but most studios have 1/4 inch jack slots.
  • Pink noise generator: Probably the most useful tool in my kit, it plugs into an XLR socket and, with phantom power, generates constant pink noise. This tool is SO useful to trying to get a sound through the desk, like I said earlier, as it means you don’t need someone in the studio clapping their hands, shouting “test, test, test” or whacking a snare drum. It’s also useful for trouble shooting too if a microphone cable or microphone is broken.
Pink Noise Generator

Pink Noise Generator

Take it all with you in a little bag to keep it together as well. I used an old make up bag my Mother had. Mock me if you will, it just works.


Expect the inevitable

Be prepared for SOMETHING to go wrong. There is nothing you can do about, something WILL go wrong. It might be a nice small thing like a cable doesn’t work or the speakers aren’t working because you forgot to turn them on. But there is almost ALWAYS going to be something that goes wrong, whether technically or by other means. Only advice I can give is be prepared for it to happen and don’t get too worked up about it. It happens to all of us. Some greater power is at work with us engineers when this happens and you just gotta get through it.


So I hope these tips are helpful for aspiring engineers or even current engineers. If you have any more tips I would love it if you posted in the comment box. Not only will it be helpful for me, but anyone else who stumbles upon this blog. Much appreciated, happy recording!

DAWs Part 2

Continuing from my last DAWs post, I shall be discussing only one DAW, as I’m afraid it is going to take up a whole post. I have a lot passion to not liking Logic. Now I know a LOT of people will disagree with this post, so hear me out when I say this is MY opinion, you can’t convince me otherwise as I am just that stubborn on the subject. So if you plan on commenting your hatred towards my blog post about how Logic is “amazing” don’t waste your time, unless you have something genuine to comment on my post.

Apple’s Logic

Apple Logic 9 typical screen

I first came across Logic at University. When I first heard I was going to be using  Logic I was quite excited. I had heard so many good things about Logic; it’s ease of use, how creative you can be with it, it’s huge  bundle of plug-ins and instruments and more recently priced very reasonably at £130. By this time I had used Sonar and Pro Tools quite heavily, so I’d say I was quite experienced when it came to using DAWs.

Now when I eventually did use Logic…wow….it was really not nice to use. That’s all I can say without blurting out random curse words. I don’t like the workflow, the plug-ins weren’t good (will go in more depth in a bit), and really using it didn’t make me feel creative at all because I spent so much time trying to figure out things, which normally helps with my creativity but this held me back.

Starting with the workflow. It feels like Apple Logic was designed mainly for laptops. This should be a good thing but not when I don’t use laptops, I use a desktop. The edit screen is the main window and then the mix, MIDI editor and Sample Editor are all squashed at the bottom. You can tweak this around to fit your structure I know but this is the initial view Logic first gives you, most other DAWs will give you the option to customize it like that, not have it all ready customized like that. This is all to optimize for touchpad use on a Macbook, and all the tools are in in drop down menus and built to make use of the command key to do any editing, selecting or drawing etc. This is just crap and inpractical if you use a mouse and you spend all your time dragging your mouse around the screen.

Now with the plug-ins. With the instruments I feel they are full of a lot of bloat settings. The default settings have too much done to them, and with all these “fancy” switches and buttons crammed into the plug-in it’s hard to work around. Then with the dynamic plug-ins like compressors and EQ, you really have to push them to the limit to get them to do anything.

Going back to the workflow, Logic feels very immature. The right side of the screen is full of all these default instruments that when you open, it will create an instrument channel with compressors and delays and all sorts. Even when you open an instrument channel and you specifically select an instrument it does this. Logic is always trying to do things for you. THAT is frustrating. Even little things like making a send to a bus, it will try and help you by making the channel for you and adding settings. No Logic, let me do that myself so I can control the parameters please. And if that was considered “immature”, with the brief 15 minutes I tried Logic Pro X, it’s even worse! To bypass a channel (this basically turns that app off to compare settings) there is a little off switch….an off switch….are we all 5 years old? What happened to a button that specifically said ‘Bypass’.

Finally the last thing that I don’t like about Logic is it’s owners. Apple has made Apple Logic ONLY for Mac. That grinds my gears. Even though I don’t like a Logic I know plenty of people that do and as a result they specifically buy Macs just so they can use it. For goodness sake just let PC users have it. They used to, it’s just dickey.

I feel I should say something good about Logic thought. The Logic Environment is pretty cool as you can create all sorts of complicated instruments and creative tools for live use. Actually if Apple sold the Logic Environment as a separate product, I do think I would get that as it works very well and is incredibly useful…….and the EQ has an analyzer which I’ve used a few times….AND that is the good features of Logic.

One my early sessions of the Logic Environment

So yeah that is my opinion on Logic. And don’t think I haven’t had my fair share of using Logic, I have used Logic for a lot of my Uni tasks because I have had to. I have a lot of experience with Logic and the short answer is, I don’t like Logic and I can’t wait to finish University and hopefully never have to use Logic again.

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Been over a week since I last blogged, been dealing with Uni work at the moment. Should be getting back on track now. This is going to be another Discovery of Music blog post, this time about one of my all time favourite ambient/post-rock bands. Hammock.

Album: Raising Your Voice…Trying To Stop An Echo

Such a weird album cover, it’s like the jacket is a rock in a weird way :s

It was a tricky choice choosing my favourite album. I was torn between two albums, and funnily enough my favourite songs are from both albums as well, so I was torn between the two for them also. But I think I made the right choice when I decided to go with “Raising Your Voice…Trying To Stop An Echo”. The album is a very ambient based album, more ambient than their other albums, but it has that post-rock flare in it. The lead guitars with tons of reverb is such an effective tool for this kind of music. One of the main things I love about this album is its use of panning. The way I prefer to mix music is to not have it so that the band or artist is in front of you and you’re listening to them. Instead, I like the listener to feel like they are PART of the music. Hammock do just that. It’s so easy to close your eyes and lose yourself in this album. The panning helps so much with that, having the stereo field very wide and having guitars and synths flying all around you. Best examples of the more obvious panning is in songs like “When the Sky Pours Down Like A Fountain” and “God Sends Us A Signal”.

Another comment about Hammock is their name choices of songs. They are such metaphorical genius’. Titles like “Startle The Heavens”, “When The Sky Pours Down Like A Fountain”, “Sparkle and Fade”, “Chorus of Trees”, such creative names and they sum up the songs SO well. My favourite song on this album is easily “I Can Almost See You”, I have to mention this as although it isn’t my all time favourite it, is a favourite. It uses such a typical chord structure to hook you in but with this it builds up so well. And when the piano comes I lose it a bit..such a beautiful melody. The vocals smooth in so nicely, and again with that panning, they do it so well with the overdubs. DEFINITLEY worth a listen, and it’s great to put on in the background when doing work or playing a game.

Spotify Link: Hammock – Raising Your Voice…Trying to Stop an Echo

Song: Ten Thousand Years Won’t Save Your Life

Departure Songs: The album this song is featured on

“Ten Thousand Years Won’t Save Your Life ” is a more post-rock/ambient song, and the album it’s on is definitely a more post-rock album. This song is quite commonly on the top of my ambient playlists and song queues. I’m a sucker for songs that build up so well to the drums in a progressive manner….and no dubstep is NOT an example of that even though it can be easily compared, but that’s a blog for another time.  I’m also a sucker for songs with big string orchestra sounds, and with the way the song closes with the expression on the violins and violas, I again so easily lose myself to this music. I love how open the song is to interpretation as well. Emma and I had a discussion about what the meaning could be about this song. I liked Emma’s interpretation of how people are so keen to live forever, but is that really living? Surely it would be better to live 100 years and be happy with just those years than keep on living life over and over again? But that’s a VERY big question. But back to the song, I feel that that is what this song is trying to say with the lyrics, which are quite hard to understand so I’ll post the lyrics at the end of this blog, and overall progression of the song. The way the song moves with the slow build up to the drums, guitars, synths and vocals, and then slowly finishing with the sweet slow strings at the end. It seems that this song could be an interpretation of life itself. Or what life has the potential to be…..I’m digging in too deep here, but that’s what I find good ambient music like Hammock can do. It leaves you to interpret what YOU want the song to be, with no obvious hooks or lyrics to try and persuade you a meaning. The meaning is more open.

So with that in mind I hope you go away with a new way of thinking about ambient music. What I would love is that if anyone makes it all the way to the end of this blog….or reads it at all… you go away and listen “Ten Thousand Years Won’t Save Your Life” and then comment on what YOU think the meaning could be. Did this song touch your soul like it has mine and have an interpreted meaning of the song, or do you think “ambient music is boring, why does this guy keep going on about it, why can’t he talk more about Bon Jovi?”. Anyway, I look forward to hearing your comments.


“It takes so long for you to realise,
ten thousand years won’t save your life.”

Spotify Link: Hammock – Ten Thousand Years Won’t Save Your Life