MAJOR PROJECT 2

Vaishnavi Shriram - DSE 11

1. Introduction - About the Song and Artists
2. Pre-Production - Planning and Decision Making
3. Production - Instrumentation,Miking,Production
4. Post-Production- Editing and Cleanup, Pitch
Correction, Mixing, Mastering
5. Conclusion
I extend my sincere appreciation to the esteemed Directors of The Audio Guys Institute,
Mr. Jayakrishnan Nalinkumar, Mr. Omkar Tamhan, and Mr. Anupam Sathe sir, for their
invaluable guidance throughout the duration of this musical project.

I would like to thank Dwain Willis and Gaurav Vishwakarma for their invaluable support
during the recording process, ensuring the meticulous capture of our musical vision.

Our band members Saloni Desai, Rajanka Bomble and Mani Khatri , you have my heartfelt
gratitude for Composing , Producing and Lending your melodious voices to “Baate Hazaar”.

A special acknowledgement goes to Vikrant Pande for crafting the beautiful lyrics which
not only resonates to “Oh My Chords” members, but will also capture our audiences hearts.

Thanking all the Instrumentalists, Amber Khare , Abhishek Bonthu, Saloni Desai, and Eldho
Saju, who added layers of depth and emotion to our song with their Guitar, Melodica,
Ukulele, and Cajon performances, respectively.

Lastly I would like to conclude, that I am genuinely grateful for the privilege of working
alongside such a talented and dedicated team .
Our song is called “Baate Hazaar”. It is an Indie Country Pop Song in the key
D# Major, Time signature 4/4. It is conceptualised by our band “Oh My
Chords”, beautifully penned by Vikrant Pande, Composed-Produced and Sung
by our band members Saloni Desai, Rajanka Bomble, Mani Khatri, and
Vaishnavi Shriram. Our music is a creative amalgamation of vocal harmonies
and minimalistic use of instruments.

Baate Hazaar is a celebration of friendship, and the cherished moments that

bind us together.The song seeks to evoke a sense of nostalgia, It is a
tapestry woven with threads of shared experiences, laughter, and the warmth
of companionship.The essence of the song lies in its hook line, "Baithe chai
ki pyaali ke saath, Kare Baate Hazaar," a timeless tradition of bonding over a
cup of tea and endless conversations. Join us in celebrating the beauty of
lasting friendships through the melody of "Baate Hazaar."

For this song we recorded Acoustic Guitar, Ukulele, Cajon and Melodica.
Guitar was played by Ambar Khare , he is an amazing session guitarist.
Ukulele was played by Saloni Desai, she is profession singer-composer &
musician. Cajon was played by Eldho Saju, he is mainly a sound engineer but
his passion for rhythmic instruments and great sense of musicality shows in
his playing. Melodica was played by Abhishek Bonthu , he is a multitalented
musician who plays almost more than 8 instruments and is also a
composer/producer. The recording sessions were assisted by Dwain Willis
and Gaurav Vishwakarma , who are both exceptional engineers.
Baate Hazaar is a part of “Oh My Chords” first album “Khidki” , and is the First song from our album.
We had already worked on the lyrics and composition prior to the project assignment. Once the
project was assigned we started working on the production of the song. We had a sound set in our
mind for the song. As an accapella band we wanted it to be in an acoustic vibe and give it a
nostalgic feel via layers of vocal arrangements and light musical arrangement. We First recorded the
rough vocals of the song . Then we came up with vocal arrangement ideas and recorded that as well
to have a rough structure ready .

Our song consists of a Verse 1, Chorus , Verse 2, Chorus, Verse 3, Bridge, Chorus and an Outro.
After brainstorming, We planned to add ambient lead guitar intro to give it a nostalgic feel, followed
with arpeggiated guitar chords with plucky ukulele tone, along with one organ sounding instrument to
take it to the genre of country pop. We considered using accordion or mouth organ for the interlude
sections of the song. But we ultimately came to a conclusion of using melodica as it felt more in the
vibe of our song. Our whole song is mainly driven by the vocal arrangement that we have done. This
is what makes our band unique and we wanted to maintain that.

For Acoustic guitars we originally planned for another artist. He had even recorded an overall rough
guitar structure for our song. But due to his unavailability we sought another equally talented
session guitarist Amber Khare. For Ukulele we had already planned that our band member Saloni
Desai would be playing it . Saloni Desai is also the main Producer of our band and she knew what
she wanted to play on the ukulele . For Cajon, we looked into various artist profiles, but most of
them were unavailable. But we were lucky to have found an in house talent Eldho Saju who played
cajon. So we finalised him for Cajon. For melodica we already knew the artist as he is our closest
friends and we have also worked together in many project. He knew our taste in music. So without
hesitation we finalised Abhishek Bonthu for melodica.
 Instrumentation -
Acoustic Guitar - The acoustic guitar has a rich history dating back centuries. Originating from ancient stringed
instruments like the lute and oud, it evolved during the Renaissance and Baroque periods in Europe. In the 19th
century, Spanish luthiers, notably Antonio Torres, introduced innovations in design, paving the way for the modern
classical guitar. The mid-20th century saw the emergence of iconic acoustic guitar models from various manufacturers,
such as Gibson's J-45 and J-200, and Martin's D-28. These guitars became synonymous with the sound of folk and
rock music. Acoustic guitars played a pivotal role in the folk music revival of the 1950s and 1960s, with artists like Bob
Dylan and Joan Baez using them as a means of self-expression and storytelling. The acoustic guitar also became a
staple in the early days of rock and roll. Today, the acoustic guitar remains a versatile and beloved instrument, used in
genres ranging from classical and folk to pop, rock, and beyond. Its enduring appeal lies in its ability to convey emotion,
melody, and rhythm with simplicity and elegance.

For Baate Hazaar we used Taylor 214ce Plus Acoustic-electric Guitar . The guitars recorded for this song sits in the
frequency range of 80Hz - 2kHz. The acoustic guitar is one of the main elements of our song that glues the whole song
together. The song starts with an ambient acoustic guitar lead followed by guitar chord arps played in a swing pattern. I
also reversed a single guitar note that was played and made it into an effect to layer it beind the lead guitar. We had
also added a guitar lead in the first interlude section which was just a rough guitar idea. But we really liked it and hence
we decided to keep it in the final song and recorded it properly.
Ukulele- The ukulele's roots can be traced back to Portugal in the 19th century. It is believed to
have evolved from a Portuguese instrument called the machete, which was brought to Hawaii by
Portuguese immigrants in the 1870s.In Hawaii, the machete underwent changes in size, shape,
and stringing to become what we now recognize as the ukulele. The name "ukulele" itself
translates to "jumping flea" in Hawaiian, possibly reflecting the quick finger movements of
players.the ukulele gained global prominence during the Panama-Pacific International Exposition
in 1915. Its portability and cheerful sound made it a favorite during the Jazz Age, featuring
prominently in Tin Pan Alley compositions.During World War II, the ukulele served as a morale-
boosting instrument. In the mid-20th century, it became a symbol of leisure and was embraced by
artists like Elvis Presley. Available in various styles and sizes, including soprano, concert, tenor,
and baritone,It is used in a wide range of musical genres, from traditional Hawaiian music to pop,
rock, and folk. The ukulele continues to captivate musicians and audiences worldwide, embodying
a rich history and enduring charm. Its journey reflects its adaptability and timeless ability to
evoke joy and a sense of aloha spirit.

For our song we used Kadence Concert Sized Ukulele, The ukulele recorded for this song sits in
the frequency range of 261 Hz - 880 Hz. The ukulele is used as a strumming layer as well as
finger picked in our song behind the acoustic guitar, to add a rhythmic feel to the song . We also
came up with on the spot additions of ukulele fillers in the song which gave more depth to the
song’s arrangement.
Cajon - a versatile percussion instrument, has a rich history rooted in Afro-Peruvian and Afro-
Cuban traditions. Its origins can be traced back to the cultural blending of African, Spanish, and
indigenous influences.Originating from African slaves in coastal Peru and Cuba, it evolved as a
simple wooden box drum played by hand, providing rhythmic accompaniment to traditional dances
and songs. In Afro-Peruvian music, the cajon became intrinsic, showcasing its African
roots.Simultaneously, in Cuba, the cajon found its place in Afro-Cuban music, contributing to the
rich tapestry of rhythms in genres like rumba. Over time, the instrument underwent modifications,
with the addition of snare wires and a sound hole for resonance, leading to the modern cajon's
diverse soundscape.In the late 20th century, the cajon transcended cultural boundaries, gaining
global popularity in flamenco, world music, jazz, and contemporary genres. Its simplicity,
portability, and ability to produce a wide range of tones have made it a staple in percussion
ensembles and solo performances worldwide. It is a versatile percussion instrument.

For our song we used Cajon to bring a percussive element. The cajon recorded for this song sits in
the frequency range of 60Hz - 5 kHz. It is played in a swing pattern. Earlier we were going to keep
cajon throughout the song, but now it comes only in one part of the song.
Acoustic Guitar - For recording acoustic guitar I have used Neumann U87.
Earlier we thought of doing stereo miking by using 2 AKG C414's. We
experimented with the sound and we liked mono miking the guitar with U87. Then
we used the pre amp Manley Core reference channel strip to achieve the desired
tone. We placed the mic slightly behind the bridge of the guitar, at a distance of
4 inches. It was kept in this position because we wanted a warm tone , a little in
low mids and mids range. U87 was used because it gave a clean warm tone unlike
C414 which gave a really bright tone .
Ukulele - For recording ukulele I have used Neumann TLM 103. Earlier we
were going to use U87 again for ukulele . But due to unavailability of U87
mic we used TLM . We wanted to achieve a plucky tone of the ukulele. I
placed the mic facing the center of the ukulele at a distance of 3-4 inches
again. It gave me both body and plucky tone of the ukulele. I also wanted
the finger movements of the player while she played , and we were able to
achieve it. We also recorded percussive rhythm by ising the back body of
the ukulele . We wanted to experiment a little with the song and we decided
to layer the ukulele beats with the cajon beats.
Cajon- For recording cajon we used Shure AKG C414 And Audix D6 . We
wanted to achieve a warm tone , not a very harsh tone and we were able
to achieve it. We placed Audix D6 in the sound hole of the cajon to get a
clean kick sound and we used AKG C414 to get the snare sound of cajon.
We placed AKG C414 on the snare top side of the cajon to achieve a
crisp snare sound.Both of these mics were coupled
with the onboard SSL preamps on the SSL Origin console.
 Preamp Setup for Main
used for Harmoniy Vocals
main Vox recording recording
we had a lot of vocal layers .
For the main vocals.We used
Manley mic and for preamp
we used chandler . For
Saloni Desai and Mani Khatri
we used Manley with the
preamp Chandler for a
brighter tone. But for
Rajanka Bomble we used
Manley with the on board SSL
preamps as her voice already
had crispness. We used U87
and TLM for recording all the
harmonies of the song. We
did that as we didn’t want the
tone of the harmonies to
overpower the Main Vocals.
We dubbed each singers
harmony separately as we
wanted individual control
during the mixing stage.
Baate Hazaar was produced on “Logic Pro X” in 48kHz 24 bit. The production mainly
has layers of Dreamy Warm Pads and Arpeggios, which we created by using“Alchemy”.
Alchemy is an inbuilt “sample manipulation synthesizer” with over 3000 sounds. We
also used logic’s inbuilt “Quick Sampler” for Claps and snaps sound. We used Kontakt
libraries such as “Picked Acoustic” to add ambient layer behind the recorded guitars
and give it depth. We also used Cajon from “Cuba spotlight collection” from Kontakt
to layer behind the recorded drums to fill the rhythm section. We also used “Project
Sam The Free Orchestra” from Kontakt to add wide string ensemble and Choir effect.
We used “Factory Library” from kontakt to add solo violas and violin layers .
Editing -

During the editing process all the takes were comped and cleaned up.For
the guitar we recorded lead and arpeggios in Neumann U87 and we had
positioned it such that it was a perfect balance of warm and bright. We
only recorded the best takes and kept very less option takes.The artist
gave a lots of variation for the lead parts in the intro of the song,and the
producer later selected the best parts to be compiled together for the
intro section.I comped and cleaned up the takes .Same process goes for
ukulele recording as well .Only that we used a TLM mic instead of U87
and we recorded fillers .The ukulele rhythm section had slight bleed from
the head phones which was removed using denoising tool. Although we
ended up not using the rhythm part of the ukulele as it was not matching
the vibe of the overall production .Cajon had quantising issues which I
fixed it by comping it and placing it in the grid correctly before the final
export. Later in the vocals section we had already selected the best
takes in both main vocals and harmony vocals and I had cleaned it then
and there and placed it in their respective folders.
 Pitch Correction -

No pitch shifting was done for any instruments in

our song. For vocals we tried to record the best
takes during recording itself. Post this pitch
correction was done by the producer and then sent
back to me.

Layering -

We layered recorded guitars with programmed guitars , Reversed a guitar to give it a pad like feel to
layer it and add texture with the other pads . We had vocal arrangement sections in the song that are
like string ensemble which were recorded by the singers individually, which we layered with
programmed strings to give it a large feel. We also layered Recorded cajon with programmed cajon
to get a brighter texture.
 The mixing process started with level
balancing and gain staging all the tracks.
As the song is a vocal centric song , I
balanced everything according to the
vocals. First i worked on the main vocals
of the song by level balancing all the
singer voice . Then I EQ’d the vocals to
remove slight muddiness by cutting the
low frequency by 79.1 Hz and boosted the
highs by 3.18kHz. Added a plugin called
“Fresh Air” to bring a cut through in the
vocals. Then I balanced all the Harmonies
by first separating them according to
their range i.e Bass , tenor, Alto, Mezzo,
soprano etc. Then I planned what parts
need to be panned in the harmonies as
the harmonies had a lot of counter
harmony parts and their own harmonies
as well. So I checked them throughly and
after separating them I panned them to
give a good spectral and spacial feel. I
EQ’d the frequency so that it doesn’t
clash with each other and removed the
muddiness. I added stereo delay on some
of the vocal parts and the cubase inbuilt
Steinberg Room Works SE reverb in an
FX channel and routed them to all the
vocals and balanced them according to
the requirement of the vocal part.
I proceeded with balancing the instruments
and production part of the song. I first
balanced the Pads . The pads levels were
already good and managed by the producer
well, so i did not have to do a lot apart from
balancing the levels of the pads. I started
working on the intro lead guitar of the song.I
started with gainstaging the guitar and then
EQing the guitar by removing the unwanted
frequencies and then I added Stereo Delay to
give it a reverbish effect. I added the same
settings to the Guitar Arpeggios as well but i
reduced the intensity of stereo delay for Arps.
Later I Hard Panned the Guitar Arp Chords
Left and Right giving it width . Then I started
balancing the ukulele . I EQ’d the ukulele and
removed all the muddiness and slight leakage
that was heard . Then I Panned it 50% Left
And Right so that the ukulele is also heard
along with the guitar and also does not
overpower the guitars. Then I worked on a
guitar delay Fx which was used as a filler in
the song . I reversed one section of the guitar
and then I used soothe 2 to EQ it and get a
really nice tone. Then I used ping pong delay
effect along with Valhalla Shimmer Reverb
Then i started gain staging the String
Section of the song. I EQ’d the unwanted
frequency and then I Panned the
instruments according to its range. I added
Valhalla Shimmer reverb to give it a larger
than the life effect . Post this I worked on
the Bass line of the song. After gain
staging it I felt it was not cutting through.
As we had 2 tones of Bass line I Cut the
low ends of one of the Bass line and then
Cut the high ends of the Second bass line
. This made the layer to sound more
together . I added “RBass” plugin to bring
more body in the second bass line . I gain
staged the melodica . While doing so I
noticed that it was too dynamic in certain
parts . So I applied volume automation on
the Melodica. Later I added Reverb and
EQ’d it and removed the unwanted
frequencies. Lastly I worked on the Cajon
by cleaning it up and quantising it even
more. I then Gain Staged the cajon. After
getting the desired level I cut the
unwanted frequencies and added RBass to
give it more body and made it punchier.
After Mastering a limiter and maximiser
was added and we got the loudness of
-16.5 LUFS.
I felt i could have done much better.
This is my first time mixing an entire
song by myself. I feel I do a good
job in vocal mixing than music
mixing. I could apply the things I
was taught in our lectures. I still
need to improve more and ear train
myself. I think my strengths lie in
recording as I am able to bring out
the best from an artist. Some of the
mistakes like headphone bleeding
could have been avoided in some of
the recording sessions. Mastering is
something I haven’t mastered that
well. Overall I wouldn’t say I was
satisfied with my work. I will work
hard to be better at mixing. Thank
You .