Below is a brief portfolio of some of my work with music and audio that I have been involved in from

either a technical aspect, a creative/production aspect, or both.

 

 

I hope you like what you hear!

Woof Woof, Meow

 - Miles Page & Various Musicians

Track Information:

 

Woof, Woof, Meow was one of my final pieces of coursework at University, as I set out to combine a range of recordings captured by myself and my colleagues over the 4 years we had spent there. The final track merges samples I created from electro-pop vocals, jazz drums and Clair De Lune on harp, amongst many more including, of course, a heavily warped cat and dog.

 

This was initially composed in 2-channel stereo within Ableton Live 9 and then bounced to Pro Tools 10 for mixing into 5.1 surround sound and 2-channel stereo.

 

 

Composed within Ableton Live 9.

Mixed and Mastered within Pro Tools 10.

 

 

Besame Mucho

- Tradicional Cubano

Track Information:

 

Part of the Adrian Boult Hall performance, captured with a choice of microphones to allow effective 5.1 surround sound capture as well as a sonically pleasing 2-channel stereo down mix.

 

The final product demonstrates a natural, highly dynamic and 'live' performance from Tradicional Cubano allowing the listen to feel immersed within the best seat of the concert hall.

 

 

Tracked within Logic Pro 9. Mixed/Mastered within Pro Tools 10.

 

 

 

 

A Foggy Morning In London Town

 - The Jacky Naylor

Track Information:

 

This performance was captured within the Birmingham Conservatoire. The final result is a live performance, demonstrating a fantastic feel and vibe. The biggest challenge with this band was efficiently and effectively capturing the three elements at a sonically pleasing level and with a minimal amount of spill between microphones.

 

Whilst some editing took place, the band provided an overall strong performance. Other than the application of reverb and the changing of levels, the majority of work took place within the live room.

 

 

"With acoustic music like this the majority of the work needs to happen in the live room, then the mix processing can be kept subtle and precisely directed."

- Mike Senior, 2008

 

 

 

Tracked, Produced, Mixed and Mastered within Pro Tools 10.

 

 

Nod & Smile

- Tokyo Marching Band

Track Information:

 

Tokyo Marching Band are a 3-piece electro-pop outfit who came to me for the recording of The Monster EP. This 5 track project was recorded exclusively at Birmingham Conservatoire over the space of a few weeks. A number of challenges stood in the way of the final goal, such as a drum kit that regardless of mic technique, tuning or damping could not produce a desirable or usable sonic quality.

 

A number of contemporary editing/mixing procedures were used to ensure the EP fitted the electro-pop conventions. This included:

- Elastic audio warping, both pitch and and rhythmic/timing

- Drum sampling and replacement (using Massey Trigger & NI Battery)

- Multi-track vocals, backing vocals and guitars

- Precise Melodyne editing (pitch and timing)

- The use bus-based convolution reverb/delay/compression

 


Tracked, produced, mixed and mastered in Pro Tools 10.

 

 

It's Just Begun (Merry Christmas)

- Shepherds and Synths

Track Information:

 

It's a Christmas Song - Sorry if you're here in the midst of summer! This was a project produced myself and long time musical colleague, Nate Wiggin. Nate took on song writing duties whilst I handled the bulk of recording, mixing and mastering. All this took place in a two week period as a last minute rush to release before Christmas.

 

No Christmas song is complete without a choir - so we found a flash mob choir. This was another fun, interesting challenge, balancing vocal levels between 3 microphones as the male vocals massively overwhelmed the quieter female vocals.

 

Knowing that time was limited, it changed the whole process of constructing a song - in the mix, commitments had to be made and quick! Working under such a tight deadline was a lot of fun and ultimately, we both felt very happy with the results.

 

Furthermore, rather than shooting a straightforward performance video, we opted to film a narrative video to accompany the song. This added more pressure to our two week deadline and we were definitely in the deep end as we quickly realised that good lighting within most living environments is a rarity!

 

 

Tracked and Mixed within Logic Pro X. Mastered in Pro Tools 10. Video edited in Final Cut Pro X.

 

 

 

 

Towers (Bon Iver cover)

 - Performed by Various Musicians from Birmingham Conservatoire

Track Information:

 

This track was recorded within various locations of Birmingham Conservatoire using a range of musicians over a numerous recording sessions. The purpose of this project was to assemble a selection of musicians and ask them to interpret the track musically - this eventually produced a number fantastic performances.

 

What is heard is double-tracked drums and 8 tracks of saxophone, recorded/overdubbed within the Recital Hall of Birmingham Conservatoire. Furthermore, there are 4 vocal tracks and multiple individual sections of guitars and bass. This is then added to by a range of virtual/midi instruments.

 

Tracked, Produced, Mixed and Mastered within Pro Tools 10.

 

 

Wrecking Ball

- Tokyo Marching Band

Track Information:

 

As the final track of the Monster EP, Tokyo Marching Band originally planned for an acoustic cover of Wrecking Ball. Whilst the initial session was successful, I began remixing and reworking (with the artists permission) the multi-tracked vocals into a more ambient, electronic soundscape. This allowed me to further explore the role of 'active produce' as I designed and created synth parts, programmed drums and percussion and performed E-bow/guitar sections, heard in the final track.

 

To my surprise, the Tokyo Marching Band decided to use my 'electronic' remix of their cover as opposed to the original acoustic version!

 

 

Tracked, Produced, Mixed and Mastered within Pro Tools 10.

 

 

Dancing On The Ceiling

- Groove Collider

Track Information:

 

A completely live recording, here is Groove Collider covering Dancing On The Ceiling at the Briar.

 

Realising the potential chemistry and magic possible from a live recording , Groove Collider opted for a 100% live performance and capture. However, as this was a promotional video, the use of baffling and room-to-room separation wasn't possible. By precise amp placement, in-ear monitoring and mic selection/position, the final 14-channel recording was of a sufficient quality to progress forward to a sonically pleasing final product.

 

In the end the only overdubbing that required was the Drummer's backing vocals due to spill. It was not possible to achieve a good vocal quality without shaping the spill, negatively affecting the overall image of the drums.

 

 

Tracked and Mixed within Logic Pro X. Mastered in Pro Tools 10.

 

Video Shot by Nate Wiggin and Miles Page. Edited in Final Cut Pro X by Miles Page.

 

 

White Space Conflict EP

 - Miles Page

Track Information:

 

The EP was recorded at Briar Studios in 2012/2013 as a 'Low End Theory' experiment. This was my own personal work and I wanted to explore the idea of using a minimalist set of equipment to write, track, produce and mix to create a high quality EP. Rather than using a great list of resources, this would hopefully push the limits of my existing equipment to understand how to get the best results from it.

 

A mixture of Pro Tools 10 and Logic 9/X was used throughout the project to capture just one modified Fender Strat into an Orange Tiny Terror. All drums were recorded in mono with no more than 4 microphones (the main overall tone comes from an AKG P420 overhead and a homemade Sub-kick.

 

 

Illusions, Michael

- David Sugden Quartet

Track Information:

 

This performance was captured within the Adrian Boult Hall of the Birmingham Conservatoire. This was the first jazz band I had recorded within this environment. By using spot, roof mounted and ambient microphones, i was able to capture a fantastic performance at source that leant itself to a minimal mixing process.

 

 

Tracked, Produced, Mixed and Mastered within Pro Tools 10.

 

 

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