Day 7

After completing the final mix and listening to it repeatedly, I wasn't fully content with certain parts of both mine and Serena's vocal performance but did not have sufficient time to re-record them.

EVALUATION
The recording project was a great learning experience. Though I had previous recording and mixing experience, I had none using a Mac, the OS X operating system or Logic Pro. In addition to learning to use these resources, I also learnt how to organise and record a duet, using multi-track recording.

I feel the use of multi-tracking enhanced the finished result of my track, as the lead vocals were recorded together at the same time, making it a real duet, as opposed to being recorded at separate times. However, I feel the process would have been quicker and the end result even better had I rehearsed the song with Serena much more, in advance of the recording session, so that we could record a lot more, if all the track within a single take; instead of recording each section of the song at a time.

The decreased recording time of the lead vocals and being more rehearsed would have also allowed Serena time to record the backing vocals alongside me as we recorded the lead vocals, cutting time once again and decreasing recording time further. This could have allowed time to re-record certain parts of the vocals that we feel could be improved.

I believe that the way I organised the tracks was the most intuitive and simplest way I could have as each lead vocal had its own track as did each backing vocal part and even my own ad libs; which was particularly beneficial when mixing as I didn't have to spend an extensive amount of time looking to find where each vocal was and which effects were applied to what.

The project has been a fun, if challenging experience and both I and Serena are really pleased with the quality of the overall end result.

Day 6

I mixed the lead vocals first using a the FET Vocal 02 setting in Logic Pro's Compressor, which amplifies the quietest vocals and compresses the loudest, which made the vocals much more audible without causing clipping or distortion in the loudest parts of the mix - which would certainly have happened if I amplified the vocals without compressing them first.

The next task I tackled was making mine and Serena's vocals sound as cohesive as possible since they were recorded with different microphones. The AT2020 USB microphone I used seemed to have a greater frequency range, so my vocals sounded warmer, richer and clearer than Serena's. To fix this, I used the Channel Equalizer to increase the lower and higher frequencies of Serena's vocals so it would sound as if we recorded using the same microphone.

Once I was content with the compression and EQ settings of the lead vocals, I added reverb (or "AVerb" as it is in Logic) so that the lead vocals wouldn't sound as "dry". Also, in Erykah Badu's original, there is a slightly noticeable amount of reverb used on all the vocals and my aim was to get my mixing to sound as much like the original as I could.

Mixing the background vocals was relatively easy as they were all recorded by me with my microphone, so I used the same compression, EQ and reverb settings. However, the levels of the tracks vary, with the lower harmonies being mixed one or two decibels lower than the main melody parts.

For the ad libs track I simply added compression and reverb before turning the level of the track down so it was audible but not as loud as the lead and backing vocals.

I then played around with the Mastering presets on Logic Pro for the whole track, but they made the song sound over-compressed, as if it was being broadcast over radio, so I took them off and left the track how it is. It's also key to note that the instrumental was already professionally mastered when Erykah Badu's original recording was mastered for release as a single and included on her New Amerykah Part Two (Return of the Ankh) album.

This is a screenshot of the Mixer, which lists all the tracks and effects along with the volume settings of each track:

Day 5

I changed my original plan to re-arrange the song in an acoustic style, and instead opted to use the original instrumental but still record the song as a somewhat live duet.

I gave Serena, who was already familiar with the song, the lyrics with her parts highlighted in pink and mine in blue, so she would get a feel for the arrangement.

I set up two condenser microphones to record at the same time, so that we could have a microphone each and record our lead vocals live together, to retain the spontaneity of a live performance and to keep the duet from sounded contrived or forced.

Setting up the microphones to record at the same time in Logic Pro was particularly challenging and took at least an hour to figure out - significantly more time than expected. I had to go into the Mac's Audio MIDI Setup and from there create a new aggregate device which I named "TEST". I then was able to select both the Tapco USB Interface (which Serena's microphone was plugged into) and my AT2020 USB microphone as inputs.

Here is a picture of the setup (offline, after recording):

I then went back into Logic Pro where my USB microphone was "Input 1" and set this as the input for the track I titled "Jonny LEAD" - lead being short for lead vocals. I then did the same for Serena's, whose microphone which was connected with the Tapco audio interface was "Input 4". So I then had three tracks, the first being the "Window Seat" instrumental, the second "Jonny LEAD" and the third "Serena LEAD".

Me and Serena then proceeded to record the track at the same time, reading the lyrics (as highlighted with each of our parts in an earlier post) so that we would sing the right parts. We sang through around 1/4 of the song in the first take as we hadn't rehearsed the song as a duet much, so despite reading our parts as we sang, we still missed parts or sang over each other unintentionally.

From then on, we would record one part at a time, together at the same time of course so that we would be multi-track recording, for example recording the intro and first verse in one take, then doing then chorus, then second verse etc...until all the lead vocals were complete.

Serena then had to leave, so I created four more tracks to record backing vocals on, labelling them "Jonny BACK", "Jonny BACK 2", "Jonny BACK 3" and "Jonny BACK 4". The reason for creating four was that I would have at least 2 recordings of each part or harmony, so I could pan one backing vocal to the left and another to the right, leaving the lead vocals in the middle. This can be heard on the chorus and bridge sections ("come back, come back baby, come back")

Once the backing vocals were complete, I created another track on which I recorded some ad-libs which "echo" some of the lead vocals towards the end of the track.

Here is a picture of all the recorded vocal tracks:

Day 1 (Mon, 13 May, 2013)

I decided to cover Erykah Badu's "Window Seat", using Matt as a guitarist and Serena to assist me on vocals.

I arranged the song as an acoustic duet, which is considerably different to the neo-soul style of the original recording, which is performed solo by Badu and features accompaniment from a band.

Below are the lyrics with the parts I plan to sing in blue and Serena's in pink. Black text is sung by both me and Serena.

So, presently
I'm standing here right now
You're so demanding
Tell me what you want from me

Concluding, concentrating
On my music, lover and my babiesMakes me wanna ask the lady
For a ticket outta town

So can I get a window seat?
Don't want nobody next to me
I just want a ticket outta town
A look around and a safe touch down

Can I get a window seat?
Don't want nobody next to me
I just want a chance to fly
A chance to cry and a long bye-bye

But I need you to want me
Need you to miss me
I need your attention
I need you next me

I need someone to clap for me
I need your direction
Somebody say, come back
Come back, baby, come back
I want you to need me

Come back, come back, baby, come back
Come back, come back, baby, come back
Come back, come back, baby, come back

So, in my mind I'm tusslin'
Back and forth 'tween here and hustlin'
I don't wanna time travel no more
I wanna be here, I'm thinking

On this porch I'm rockin'
Back and forth like Lightning Hopkins
If anybody speak to Scotty
Tell him, beam me up

So can I get a window seat?
Don't want nobody next to me
I just want a ticket outta town
A look around and a safe touch down

Can I get a window seat?
Don't want nobody next to me
I just want a chance to fly
A chance to cry and a long bye-bye

But I need you to miss me
Need somebody come get me
I need your attention
Need your energy, yes, I do

I need someone to clap for me
I need your direction
Somebody say, come back
Come back, baby, come back
I want you to need me

Come back, come back, baby, come back
Come back, come back, baby, come back
Come back, come back, baby, come back

But can I get a window seat?
Don't want nobody next to me
I just want a ticket outta town
A look around and a safe touch down

I just need a chance to fly
A chance to cry and a long bye-bye

Day 4

Serena re-recorded her entire verse in "Cater 2 U" and also added a third harmony to the end of my verse - where all three of us harmonise the line "I wanna cater to my girl" - which is now a lovely climax to end my verse and usher in the final chorus.

Me and Stefan also recorded new vocals in this session; for the last chorus, which we repeat and deviate from the original melody, taking turns to sing parts of the chorus solo, performing ad-libs and melismas.

Day 3

Serena recorded her verse, which we liked apart from the first few lines which are supposed to be sung very quickly, which makes it difficult to maintain good diction and relay the sentiment of the lyrics.

Serena attempted to re-record the first part of her verse a few times, but she was still not content with it when we ran out of time to record, at which point Stefan became enraged and deleted all the vocals she had recorded for her verse.

Day 2

Stefan requested I and Serena provide vocals for his cover of "Cater 2" by Destiny's Child.

He re-arranged the r&b ballad into a soft, acoustic style. He had already recorded a guitar instrumental in a lower key than the original, which is sung by three women, with the highest note being a soaring soprano C (C6).

We agreed that Stefan would take the first verse, originally sung by Beyoncé
 Knowles, Serena the second (Kelly Rowland's) and I, the third (Michelle Williams').

Stefan first recorded his lead vocal for the first verse and chorus. I then recorded some backing vocals for his verse and harmonised with his lead vocal on the chorus.

I also recorded my verse, before adding backing vocals, harmonies and ad-libs to add depth to the lyrics and make the verse more interesting.

Me and Stefan recorded each chorus seperately, as oposed to simply copying and pasting the first chorus for the remaining choruses. I feel though it was more time consuming it gives the recording a more authentic, acoustic sound.

To speed up the recording process we alternated working on Logic, so whilst he was singing, I would record it and vice versa.