Advanced Practice Enterprise
- Maxine Braithwaite
- Aug 29, 2025
- 11 min read
Updated: Aug 31, 2025
Introduction
My overall aim for this production is to create a rich, western harmonic, contemporary electronic composition that reflects Afro-Diasporic percussions, treated as a studio-recorded, performance-rooted piece, focusing on a human feel and depth. My ambition is to release a two-track EP, mixed and mastered to industry standards, in the summer of 2025.
The music track was first created and mixed at my home studio and then at Imw Studios for analogue mixing and vocal recording.
Using the SSL desk, utilising the compressor and tube, with Charlie as the engineer and me as the producer.
The lyrics were revised a few times to ensure the song conveyed a positive message, and the delivery was compelling.
Development
This production consists of 41 instrument tracks, blending virtual instruments, sample-based textures, live percussion, and high-end processing. The arrangement fuses traditional rhythm elements with modern sound design, recorded and mixed using both home and professional studio setups.
Live Instrumentation and Performers
Kebera drums, Shakers, cowbell and djembe
Live recordings were performed and captured using AKG C414 microphones, adding human groove and rhythmic nuance. These are percussive elements that are carefully mixed and layered to complement the programmed drums, providing a tactile, real-world contrast to synthesised components.
Vocals were performed by Rita Royale, featuring both rhythmic and melodic elements.
Abdullah performed the Kebera Drums.
Djembe was played live and recorded by Matt at his home, and transferred to the WeShare site.
Shakers & Cowbells are played live and layered with digital percussion
Flute beautifully performed by Anita,
and recorded it in a treated live room using condenser microphones.
For my home studio setup, I used the Lewitt LCT 400 PURE condenser microphone, which has been processed for groove, tonal balance, and clarity.
The cable setup I used was designed to isolate the live recordings and prevent feedback. Two XLR cables were daisy-chained and routed into a separate room, and the input monitor was enabled to facilitate real-time communication with the artist during recording.
Virtual Instruments and Sound
I incorporated the virtual instruments and soundscapes listed below to bring life and energy to my track.
Alchemy (Logic Pro X) is typically used for layering and adding additional synths.
LABS (Spitfire Audio) is a sample-based instrument library with ambient sounds, like piano and stringed instruments, used on the chord progressions
SerumFX, Sound modulation applied to the synth
Serum X (Xfer Records) Synth, for instruments, ie, bass, FX and pads
Cthulhu Plug-ins, for complex arpeggiation and chord triggering
Mixing and Processing Approach
To achieve a professional and industry-standard EP track, I combined creative artistry with state-of-the-art audio tools. Every element of the mix, including vocals, instruments, and the final master, received careful attention to detail, ensuring clarity, balance, and depth.
Vocals
Antares Auto-Tune and Auto-Key - For precise pitch correction that enhances performance while preserving its natural sound.
EQ & Vocal De-Esser - To shape the tone and remove harsh frequencies.
Reverb - To add space, emotion and depth
UADx Century Tube, Channel strip & LA-2A Compressor - for adding a smooth dynamic control, warmth, and presence.
Drums & Other Instruments
Pulsar W495 EQ - for analogue-inspired tone shaping.
Soundtoys PhaseMistress - Introducing, modulation, movement and creative textures.
Neutron 4 - to add intelligent processing to refine clarity, balance and punch.
Tremelo & other effects - to add character and variation.
Cthulhu - I used it for advanced chord generation and arpeggiation, adding harmonic depth and inspiring musical ideas.
Mastering & Final Polish
Tonal Balance Control - to ensure the mix translates across all the playback systems.
Ozone 11 - to deliver stereo width, clarity, professional loudness and overall cohesion.
By combining these tools with a discerning ear, professional feedback from producers and artists, and musical sensitivity, I created mixes that are clean, dynamic, and commercially polished, ready for the industry and streaming platforms.
Sound Effects And Transitional Elements
Custom-designed effects using Serum and Alchemy, reverb
Midi Controller and Automation
The M-Audio Key-station 88 MK3 MIDI keyboard was used for performance implementation, working in real-time.
Automation techniques, such as panning, sends, FX chains, and Reverb
were done by using the DAW Logic X Pro, and the MIDI controller.
Stems and Session Output
Stems used in this project consist of
Drums & percussions
Piano sample loop
Transitions & FX
Synths
Vocals
Exporting Stems
24-bit Wav, 48kHz
Finalising track/song by using Ozone 11 for professional mastering and streaming
Home Studio Setup
Working at my home studio, the equipment that I have access to is as follows.
Audio Interface: Universal Audio Apollo Solo, a UAD DSP interface with latency
JBL 305P MKII, professional monitors
Midi Controller: M-Audio Key-station 88 MK3, Velocity-sensitive keyboard with DAW mapping
Microphone: Lewitt LCT 400 Pure, a transparent condenser microphone that excels at capturing percussion and vocals.
Monitoring Headphones: Reference quality for detailed stereo imagining and mixing
DAW Routing: Daisy-chained XLR cables and custom talkback system
IMW Studio Equipment
Microphones:
Neumann TLM 170, a Studio mic that is great for vocals and to capture natural room ambience and acoustic instruments
AKG C414 XLS, multi-pattern condenser microphone, excellent for vocals
Outboard & Analogue Processing
Tube Tech EQ: Analogue, controlling dynamics
Dual Valve EQ: Tube-based EQ for warm shaping of tones and sounds
Lexicon 224X: Classic digital type Reverb for vocals
TL Audio EQ: Sculpting tones for tracks and mix bus
Lexicon Reverb: Reverb is used for instruments and vocals
Patch Bay: Centralised routing for all outboard gear and enables flexible signal flow between compressors, EQ, reverbs, also speeds up workflow and maintains clean analogue routing paths, using channels 1-34 for all instruments and FX.
Mix and Mastering: The first analogue mix, engineered by Charlie on the SSL desk, was supported by Colin in mix and mastering, with a focus on adding warmth, clarity, balance, and analogue punch. After having some time to listen back to the project, I wasn't pleased with the overall song and mix, so I decided to go back and revise the lyrics and the mixing of the track. The setting on the SSL Desk has been saved as an analogue mix-print, which enables me to return to the mix and pick up where I left off on the desk.
Monitoring & Acoustics: Professionally calibrated mixing room with acoustic treatment, with High-resolution studio monitors and a subwoofer for full-frequency monitoring
Production - Technology development and delivery
Recordings
Audio signal flow
Mic > SSL Preamp/Processing > Interface In > Logic Track
Logic Out > Interface Out > SSL Line In > Aux Send > Lexicon > SSL Return > SSL Mix > Interface In > Logic (Reverb was used for monitoring)
Live room set up for recording the Flute
We set up two microphones 3 feet apart to record in stereo, thereby avoiding phase issues and leakage, while capturing both the mouthpiece and the foot of the flute. This approach utilises natural time and level differences between the two microphones, which gives the recording more width and realism, ultimately producing a full-bodied sound. This technique creates a rich stereo image via time-of-arrival difference—a method discussed in Huber, D.M., and Runstein, R.E. (2010). Modern Recording Techniques. 8th ed. Burlington, MA: Focal Press.
Placing the mic directly in front of the mouthpiece will increase the level (thereby reducing feedback and leakage); however, the full overall body sound won’t be picked up, and breath noise will be accentuated. (p. 167)
IMW Studios & Live room set up
The patch bay routed the signal through an outboard EQ/compressor before the DAW inputs. The flute, Kebera drums, shakers, and cow bells were recorded using a multi-mic setup (Neumann and AKG) to capture stereo depth. The artist was recorded with Lexicon reverb units for real-time space simulation in a headphone send, in an acoustically treated booth with headphone monitoring.
For vocal recordings, I booked the IMW studios twice for a complete vocal recording session for my artist, Rita Royale. The vocal booth was set up for these recordings as the artist feels more comfortable in it. The vocal recordings were made multiple times at both the IMW, utilising different microphones in each setting to achieve the best possible recording.
For the first vocal recording, we experimented with using a stereo pair of microphones, consisting of an AKG C414 and a Neumann TLM 170.
In the next session, we opted to use only the AKG C414.
Home Control & Live Room Set Up
Recording the artist at home, using the Apollo solo audio interface, Lewitt & PreSonus microphone, studio headphones, 10m phono lead, daisy-chained x2 XLR cables, to capture the vocals in each setting to achieve the best possible recording.
A talkback track was created, and by using another microphone to communicate, I was able to achieve two outputs on the Apollo Solo by pressing the mic input button.
In my bedroom (live room), the microphone, mic stand, and pop filter were positioned by the wardrobe so that minimal sound could leak into the microphone from the window.
I attached a duvet to the side of the wardrobe to absorb some of the reflection that would bounce off it and to achieve the best possible vocal recording.
For example, a simple partition can be easily made on the spot by grabbing a mic/boom stand combination and retracting the boom halfway at a 90° angle to make a T-shape. Simply drape a blanket or heavy coat over the T-bar and voilà
A method discussed in Huber, D.M., and Runstein, R.E. (2010). Modern Recording Techniques. 8th ed. Burlington, MA: Focal Press. Recording session preparation (p. 92)
Recording session planning
The following session was to mix the song for my music video production. The sound needs to be big and incorporate the Tube Tech, Compressor, and Reverb to enhance both the beat and vocals. I started my Afrobeat project as a digital mix using Logic Pro, and then used the SSL to glue the sounds together, working alongside Charlie as the sound engineer. This session's analogue mix fell short of my expectations, and the vocal recording wasn't up to par either, after listening back.
With significant consideration, I have decided to record my artist at home, where she feels much more comfortable, and also where we are in the same space to revise the song as we go along. I plan to do both an analogue and a digital mix to complete the project.
Development log/context
I am working on a fusion of Afrobeat and UK House, a powerful intersection of rhythm-driven African percussive grooves and heavy bass lines with the club-oriented sensibility of the UK.
Social, Cultural & Technical content
Afrobeat (history & culture)
Afrobeat originated in the 1960s, with Fela Kuti in Nigeria, who was a political and social force addressing corruption and oppression. Fela was a musician who addressed these concerns through music, employing complex polyrhythms and a heavy use of live percussion and horns, as well as a call-and-response vocal style.
It was in America I saw I was making a mistake... I realised that neither me nor my music was going in the right direction....As soon as I got back home, I started to preach...And my music did start changing according to how I experienced the life and culture of my people.
Fela: No, it would be a revolution!
Fela Kuti spent time in London, UK, from 1958, studying music at Trinity College, where he formed his band, Koola Lobitos, and began developing the Afrobeat sound, becoming a regular presence on the London music scene. Later, he recorded his groundbreaking album Fela’s London Scene at Abby Road Studios.
He lived in Shepherd's Bush, where a commemorative blue plaque was installed in 2021. His time in London was instrumental in shaping his musical style. It provided a significant backdrop for his eventual political activism, according to sources like the London Borough of Hammersmith & Fulham, which notes his home in Shepherd's Bush.
Afrobeat has evolved into modern Afrobeats, with artists like Davido, Tiwa Savage, Burna Boy, and Wizkid, who are reflecting a commercial direction while retaining their rhythmic identity.
Uk House
House music originated in Chicago in the late 80s, merging with UK rave, Garage, Funky house, and dub influences. By the 2000s, UK funky house emerged onto the streets, influenced by Afro-Caribbean flavours. The UK club culture has been shaped by immigration and multiculturalism. The rhythm, dance, and production aesthetics have been influenced by the Afro-Caribbean community, which has been working and producing underground hits from their homes using affordable DAWs and utilising samples without the need for big labels.
Key Artists & Producers
Afrobeat/ Afrobeats Producers
Fela Kuti & Tony Allen, who are the foundation of Afrobeat rhythm
Julian Marley, Mr Eazi, and Tems are artists who are pushing the Afrobeat/Afro-fusion globally
It’s a different type of sound again, working with a bredren from the West Coast, Prince Amir. It’s not as EDM as Colours of Royal; it’s a bit more Afrobeat, dancehall, with a hip-hop vibe. It’s not traditional reggae; it’s expressing another part of me.
Pheelz, Sarz, and Legendary Beatz are modern Nigerian producers who are fusing traditional rhythms with electronic elements and sounds.
"The main influence that I'm infusing things with is the African culture," he told BBC News.
"I'll make a hip hop song, and it will still have a lot of percussive elements. I might make a ballad, and I'll have more percussive elements than a normal track. So the African sound is what is continuous in my music. The groove of Africa is very different to the groove over here."
UK House & Funky Producers
Roska, Blending UK funky, House and a spectrum of bass-heavy club mutations, has carved out a reputation as one of the UK's foremost underground innovators.
Afro B, a London-born DJ, singer and songwriter, is recognised as one of the leading voices in the rise of Afrobeats and Afro-fusion on the global stage. Blending elements of Afrobeats, dancehall, hip hop, and R&B, He has international hit singles Drogba (Joanna)
Four Tet, emerging in the late 1990s, quickly became known for his blending of electronic production with elements of jazz, hip-hop, folk and experimental sound design, collaborating with artists such as Burial, Thom Yorke and Madlib.
Collaborative Crossovers
Skepta, a producer, rapper and cultural figure, is an influential artist to emerge from the UK Grime scene, known for his raw lyrics and distinctive flow. His 2016 album "Konnichiwa" won the Mercury Prize. And helped take grime from underground to worldwide.
J Hus is a Singer, rapper, and songwriter credited with the pioneering sound often referred to as "Afro-swing" - a fusion of Afrobeats, Grime, Dancehall and UK rap. He's known for his streetwise lyricism, a defining figure of contemporary British music.
Wiley, Producer, rapper, "Godfather of Grime", laying the foundation of grime coming from the UK garage scene in the 2000s. His style has influenced a generation of artists, who have established him as the cornerstone of UK urban music and one of its most enduring innovators.
Key Recording & Production Technologies
DAWs & Platforms
To help create and compose the Afrobeat-fused track, I used Logic Pro X DAW, which, with the use of live automation and MIDI sequencing, suits the Afrobeat genre to a groove built with house progression.
Materials & Production
Aside from the technical side, my sound is also informed by research into cultural and historical developments in music production. Studying innovators like Fela Kuti, Burna Boy, Tems and other Afrobeats artists, I've drawn inspiration from their ability to fuse traditional African rhythms with modern instrumental expression. This research grounds my project in a cultural context, reminding me that this production is not just about sound quality but also about innovation.
By combining modern production tools with a respect for cultural traditions and the Evolution of music producers over time, I attempt to create a sound that is dynamic, polished, and resonant, with a blend of heritage, creativity and technical excellence.
Personal Development & Reflection
Working on this two-track EP for release in summer 2025 has been a significant learning curve and a turning point in my development as a music producer. It’s made me realise the sheer amount of work, organisation, and dedication required to take a project from idea to release, from the early stages of composition to the final mastering process.
This experience has deepened my ambition to pursue music production not just as a passion, but as a professional career and business venture. Managing all aspects of the release — including branding, timelines, and promotion — has shown me what it truly means to work to industry standards.
Collaborating with others and sharing my progress has also helped me grow socially and creatively. I’ve gained new followers across platforms and connected with potential collaborators, which has boosted my confidence and motivation to keep pushing forward.
Producing a music video for one of the tracks further opened my eyes to the demands of creative direction — from managing a budget and coordinating schedules to overcoming setbacks. It’s taught me the value of patience, planning, and adaptability when aiming for high-quality visual output that matches the sonic vision.
Throughout the process, I also spent time experimenting with plug-ins, samplers, and new production techniques. This hands-on exploration has enhanced my technical skills and enabled me to discover a sound that reflects both my cultural influences and artistic direction.
Overall, this project has helped me evolve both creatively and professionally. It’s set the foundation for the next stage of my journey in music production, with a clearer understanding of the level of effort required to succeed in this industry.
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