Confetti Studio's
During my time studying at Confetti Institute of Creative Technologies I was able to access a number of different studios and use them for both course work and commercial work. Each studio had a different level of equipment in and each with their own individual challenges to overcome and to understand. My experience in these studios has allowed me to have a much better understanding of the signal flow within each room and how it can be translated to different studios. This page will explain which studios I have used, where to find them and a brief outline of the equipment based in each room. My experience within these settings have drastically improved my knowledge and understanding and has allowed me to understand how to use various different technologies such as the SSL Duality Desk, without looking at the manual first.
LG01 and LG02
These two studios were based at Confetti Institute of Creative Technologies, and have since been disassembled and closed due to expansions. However, during the time in which I studied with Confetti, I was able to record and mix within these two rooms. Both studios contained basic equipment such as patch bays, stage boxes and a mac with protools and logic installed. LG01, which was the main room that was used to record anything contained a protools control surface and two I/O devices to convert signals from analogue to digital.
​
​
Electric Mayhem (E.M)
E.M was the studio available to use during my second and third year of studying with Confetti, and to make the most of it. Myself and fellow students booked out the studio on a number of occasions to record artists and bands with the legendary Neive VR60. Within this room was the Neive mixing desk, patch bay, analogue tape machine, and multiple outboard compression and reverb units. Throughout the time working with this studio I was able to use the desk for both digital and analogue recording, playback and mixing.
​
Throughout my time at Confetti, I have worked with a number of musicians on a variety of different personal projects highlighted below.
​
James Will Cull
Upon asking James to assist with my learning, James came into LG01 (A studio based at Confetti) to record a single track which may or may not be used on his first EP. I was able to record the guitar through miking it with two microphones and then his vocals with a separate mic. This recording went really well and when mixing the track afterwards, it sounded really nice. The final version was then added to his final EP when he launched it later that year.
​
Dan Chapman
Dan came in as part of my second year exam, I was challenged with recording and mixing two songs. The recording process went really well and I found mixing the two tracks really easy. Whilst these tracks cannot be released for commercial use, because they were recorded for educational purposes. I was able to mix and then in third year master both tracks that I recorded.
​
Sidney De Lano.
I worked with Sid in Electric Mayhem to record a track for him to use towards his EP. Sid had never been in the studio and found the process intimidating, therefore I worked to ensure that he was able to perform comfortably throughout. Being the first artist that I recorded in Electric Mayhem outside of tutorial time, I found it difficult to work the desk, alongside Pro Tools. However we were able to record the track for him to a standard that he was happy with.
emselves.
​
Alisha Harper
For this session I was working with Sinead Blair and Demi Tuxford as part of a project for the course, we predominantly tracked drums for this session, to be mixed into a final track that had been pre-recorded. The session seemed to go well, until listening back to the track with the new drums in. Unfortunately the drums were out of time and we were unable to repiece the track together. Whilst this experience was not the best, I have learnt a lot from it, especially the importance of listening to the track whilst it's being recorded. Much like the last this session was recorded in Electric Mayhem.
​
Harry Singlehurst
I worked alongside Harry to record a single track for him to use. The recording for this track was done in Electric Mayhem and went well, as the signal was sent directly through a DI box. However when it came to mixing the track and piecing it together I noticed that each section was out of sync with the others, and Harry did not have time to re-record the track. Whilst this is not my proudest of achievements, I used this experience to learn from, and better understand how to discuss requirements from the musician and most of all the importance of click tracks, which is something that I have implicated in work since.
​
The Angry Seed
I worked with this band alongside some help from Demi Tuxford, to record three tracks for their upcoming EP. We recorded all aspects of this track within Electric Mayhem. This experience I found much more challenging than previous attempts because we were recording the entire band. Initially we recorded a scratch track, where each musician played together and then we re-recorded individual sections to ensure that they each met the desired standard. On completion of the course we were able to complete the three tracks and passed the recordings over to the band to mix. As requested by themselves.
