The drummer, electric guitarist, and bassist were all in the live room, where only the drum kit was recorded. Meanwhile, the vocal, bass speaker and guitar speaker were recorded in three separate isolation booths.  
      For the recording of electric bass speaker placed in iso-booth A1, the signal of pickup of the electric bass can be connected with an instrument cable to the “ISP A1 INST A1-1” which is an instrument connection end around the bottom of the wall panel in the live room, and then the pickup’s signal will go directly to the end of LIVE RM INST A1-1 which is a quarter inch connection on the bottom of the wall panel in iso-booth A1, followed by another instrument cable connecting it to the input of the DI box, the output of which will be connected to a channel input as the DI clean signal. The button 'LIFT' on the DI box is pressed to isolate the ground connection and ensure that there are no ground loop issues or unwanted hums. After the THRU connection of the DI goes into the amp head, a microphone is used to capture the signal from the speaker, and the microphone's output is then connected to a channel input.
     For the recording of electric guitar in another iso-booth, the Radial SGI will come in handy in this case to convert the high-impedance guitar signal to a low-impedance signal, which can travel over longer distances without losing its tone and clarity. Besides, as for how, the transmitter of SGI as a wired device firstly connected to the electric guitar through an instrument cable will convert and boost the unbalanced high-impedance signal (instrument level) from the guitar to a balanced low-impedance signal(line level) that can travel over long distances without interference, and the receiver in a separate room then converting the line-level signal back to instrument level is then connected to the amplifier. After this, the signal of the speaker will be recorded by the microphone, feeding into the final input channel.
      When recording the drum kit for a vintage-inspired yet modern lo-fi sound design, I chose the Copperphone AV20 microphone to capture the entire kit. Renowned for its capacity to refine midrange frequencies with a distinctive 'telephone' vibe, this microphone adds a pleasant touch of warmth and an interesting midrange character to the overall sound. The final effect was excellent.
     As for the choice of instruments, since the electric guitar and bass were brought by the players, I initially didn't know how they would sound. With the aim of creating a more nostalgic and warmer recording for the band, I first selected the AEA A440 to record vocals due to its low-end and proximity effect. However, the bass was a 5-string Bass, and the electric guitar was a Jazz guitar, leading to a severe lack of high frequencies. Consequently, I later switched the vocal mic to the 'Neumann U 87,' adding a more airy sense to the vocals.
    The recorded signal from the electric bass speaker initially had some low-level noise. Initially unsure of its source, I later discovered that the noise originated from the bass amplifier, which had a loud fan. Consequently, I repositioned the microphone, originally aimed at the top cone, to point at the bottom cone, thus solving this problem.