Pap Smear & The Mammograms - Bell Tower
'Bell Tower' is a gothic rock/post punk song from the high school band Pap Smear & The Mammograms from QACI.
This high-energy, live-band project demanded strong communication, quick thinking, and technical control. My goal was to capture the group’s chemistry and keep their gritty tone intact through a clean, punchy mix.
"I met Bess through the Vermilion High program at QUT, and she produced one of my band’s singles. Throughout the process, she was incredibly kind and knowledgeable, always making sure that my band and I were comfortable and happy with the production. Couldn’t have had a better experience!" - Zoe Duong (guitarist)
THE PROCESS:
RECORDING THE TRACK
After hearing the band’s demo and references, the production team — Jacob Mills, Angus Beeney, and I — established a clear sonic vision: a dark, punchy goth-rock / post-punk sound inspired by 1980s textures and raw live energy. Across four main sessions, we captured and refined the instrumental foundation, layered overdubs, and tracked final vocals.
1. Drums, Bass & Guitar
Our first session took place in the Neve room (Z9-511), with the drum kit set up in the smaller isolation booth (Z9-513) using a nine-mic setup (see mic table). Bass was tracked simultaneously via DI for maximum clarity and control post recording, while guitar was initially recorded through a Royer ribbon mic from the ELC on an amp.
However, blending the amped and DI signals revealed tonal imperfections and timing issues. After a few mix tests, I decided the best solution was to schedule a dedicated guitar overdub session to refine tone and performance. This decision not only improved sonic quality but also demonstrated adaptability under time constraints.
2. Bells & Piano
For our second session, we moved to the Audient room (Z9-520) to take advantage of its white grand piano — a natural fit for the track’s gothic atmosphere. Ruby (vocals) performed the piano part with precision and emotion, adding a new dimension to the arrangement.
Before tracking, I transported the tubular bells from Z9-540 into the space, setting them up as an experimental percussive layer. Kyle (drummer) played the bells, and I gave minimal direction, allowing spontaneous ideas to shape the track’s texture organically.
3. Guitar Overdubs & Backing Vocals
Originally booked for lead vocals, this session pivoted after Ruby was recovering from a cold, so we shifted focus to capturing just some backing vocals and doing guitar refinement.
Zoe (guitarist) suggested layering harmonies inspired by “Arabian Nights” by Siouxsie and the Banshees. We recorded these to build depth and presence, then revisited guitars — this time bypassing the amp entirely to work solely with a DI signal. I asked Zoe to switch to her neck pickup rather than the bridge, achieving a warmer, rounder tone more consistent with the band’s aesthetic.
4. Lead Vocals
Our final session took place just days before the mix deadline in Z9-521 (UAD room), with supervision and coaching from Kristina Kelman. We recorded Ruby’s vocals using my personal RODE NT2-A, paired with a fluffy cover, pop filter, and isolation shield for clean takes.
After resolving a few technical issues (with help from Daniel from Tech Services), we focused on clarity, tone, and phrasing. Ruby’s dynamic range required careful input control, so I manually rode the gain throughout tracking to ensure consistent levels across her soft and powerful moments — capturing the raw emotion central to the song’s sound.
MIXING THE TRACK
This is the track I have struggled with mixing the most. The trouble areas were the drums and guitar, as I couldn't get the tone to sound as clean and big as I wanted. However, after receiving the new guitar, I struggled considerably less and began to enjoy the process.
After completing our last session, I asked Angus (assistant producer) to edit the vocals, and after receiving these back, they were added to the track and the final mix was completed!
COLLABORATION & TEAMWORK
Throughout the production of Pap Smear & The Mammograms’ track, collaboration was key — both within the production team and with the band. Early in pre-production, we received detailed reference material from the group, including BPMs, lyric sheets, and genre inspirations, which allowed us to enter the first session with a strong creative direction already in place.
During the initial full-band recording session, I focused on building trust and comfort in the studio environment. I encouraged the band to play music videos and tracks they loved through the control room speakers — this not only helped manage session energy and dynamics but also deepened my understanding of their influences and stylistic goals.
In subsequent sessions, I worked more closely with Ruby (vocalist) and Zoe (guitarist), refining performances and capturing overdubs in a more intimate, focused setting. Outside of the recording process, I also mentored the band, particularly Zoe, helping develop their live tech specs and offering performance, gig and stage advice for their Vermillion High Showcase and the McCaskie Park show - advice drawn from my own live experience.
Within the production team, Angus Beeney took the lead on vocal editing for “Bell Tower,” while I coordinated overall session planning and communication with the artists. This project really highlighted the importance of adaptability and relationship management — ensuring both the creative and logistical sides of production stayed balanced and collaborative.
Reflection
Throughout the production of Pap Smear & The Mammograms’ track, collaboration was key — both within the production team and with the band. Early in pre-production, we received detailed reference material from the group, including BPMs, lyric sheets, and genre inspirations, which allowed us to enter the first session with a strong creative direction already in place.
During the initial full-band recording session, I focused on building trust and comfort in the studio environment. I encouraged the band to play music videos and tracks they loved through the control room speakers — this not only helped manage session energy and dynamics but also deepened my understanding of their influences and stylistic goals.
In subsequent sessions, I worked more closely with Ruby (vocalist) and Zoe (guitarist), refining performances and capturing overdubs in a more intimate, focused setting. Outside of the recording process, I also mentored the band, particularly Zoe, helping develop their live tech specs and offering performance, gig and stage advice for their Vermillion High Showcase and the McCaskie Park show - advice drawn from my own live experience.
Within the production team, Angus Beeney took the lead on vocal editing for “Bell Tower,” while I coordinated overall session planning and communication with the artists. This project really highlighted the importance of adaptability and relationship management — ensuring both the creative and logistical sides of production stayed balanced and collaborative.