This project was developed with the aim of recording a Gaelic choir in 5.1 surround sound, creating a spatial and immersive experience for the listener. It allowed me to apply practical recording techniques, manage a live ensemble session, and carry out the full post-production process—demonstrating skills in planning, communication, technical execution, and audio mixing.

To begin, I took a proactive role in sourcing a suitable choir, using social media, local groups, and community networks. I managed all communication, organised rehearsals, secured a recording venue, and planned the technical setup to meet both spatial recording needs and logistical constraints.

The recording setup followed a Fukada Tree-inspired configuration, suited for a 5.1 environment. The front microphones were spaced 90cm apart and positioned at a height of 1.6 metres. A rear microphone was placed 180cm behind to capture spatial depth and rear energy. This helped shape a realistic and enveloping surround image in the mix.

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I used the following microphones during the session:

2 Omni-directional mics: Cascade Fathead

4 Cardioid condensers: 2x AKG C414, 2x SE sE4400a

2 Pencil condensers: RØDE NT5

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These were strategically positioned to capture overall ensemble balance, highlight individual vocal groups, and record natural room reflections.

All recordings were made in Pro Tools Ultimate at 96kHz / 24-bit. Mixing was carried out using surround workflows compatible with Dolby Renderer, with the mix designed specifically for 5.1 speaker playback. The aim was to maintain a clean, dynamic balance while enhancing spatial realism.

 

To support general accessibility, a stereo downmix was created using the following tools:

A dedicated downmixer plugin for proper channel folding

SoundField by RØDE for spatial monitoring and control

Neutron Advanced to manage EQ balance and reduce masking

Reverb to preserve depth and dimension in the stereo version

Avid Pro Limiter to bring the mix to around -10 LUFS, ensuring streaming platform compatibility

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This process required critical listening and multiple reference checks to ensure the stereo version maintained the integrity and impact of the original surround mix.

Throughout the project, I developed key skills that are directly relevant to professional sound production. These include surround sound routing and monitoring, spatial mic configuration, DAW session management, time management under pressure, and critical mix referencing. I also strengthened soft skills such as independent project planning, communication with external collaborators, and on-the-fly problem-solving during the session.

I see these skills as a strong foundation for working in post-production sound, film mixing, game audio, or immersive live sound environments. Understanding surround workflows and spatial presentation is increasingly in demand as content creation expands into formats like Dolby Atmos, and I feel confident applying these techniques in future roles across the creative audio industries.

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Overall, this project provided valuable experience in managing a multichannel recording, from concept to completion. I planned and executed the session independently, resolved technical challenges, and ensured all deliverables met a professional standard.

The final result is a clear reflection of my practical skills in sound production, particularly in handling live ensemble sessions and producing spatial audio content. It also highlights my ability to manage technical processes realistically, with attention to detail and a focus on quality.

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