So I have been a little busy doing a lot of music stuff, and preparing to move back to Australia.
Yes, you read that correctly. I am moving back to Australia. There are many reasons why, but the main reason is that I need to find a new occupation (day job). I am also undertaking study in Music, so I need to return to complete these studies. But fear not, intrepid readers. I will be returning to London in about 3 years. I will be able to go back and forth until then, so if opportunity arises I will come and visit you all again in between.
Moving on from that, I have been doing a little recording. I’m not talking about my following on ‘Smule Sing!’, which is growing. I am working on some original work at Regent Street Artists Studio (formerly Berwick Street Studios). The experience has got me thinking about the different forms of recording that i have done over my time in choral and vocal music.
Earlier this year, i auditioned and was successful into an EP recording program. Excited and a little scared, I decided to give some solo work a go.
The newest experience was stepping into a very small confined space with a microphone and music stand. The room is covered in foam with exception of a glass window so you can communicate with the producer. It was a little daunting to start with, but I got used to it. It wouldn’t be so good for claustrophobes, but luckily I’m not one of those. I didn’t really know what to expect when i went in, and it took a while to get comfortable working with my producer (I can be a bit hesitant in strange situations). He composed the music, I wrote the lyrics, then things came together. The first song is almost done, and we have another to work through. Then the PR team will take over with photo shoot, and release. NOTE: songs will be released close to the end of the year. I’ll let you know details, closer to the time.
I still record on ‘Smule Sing!’, using only my iPhone headphones and mic. Amazing app that it is. I’m edging toward 5K followers and over 12K recordings (that includes all solos, duets and play tracks). I sing a lot. Though this not not the ‘professional’ way of music, I still use the recordings as samples of my singing, and a great way to practise. I get a lot of enjoyment singing with and hearing from people from all around the world.
Choral recordings I have had experience in different forms, from live performances to studio sessions. Being in a group, I don’t feel so exposed. Knowing that you’re being recorded though (particularly in video), can be a little distracting. I try to ignore it, and pay attention to the person that matters the most…the conductor. In a live broadcast performance (streamed onto Youtube, or radio) you only have one or two chances (maybe some pre-recording during final rehearsals) to get it right. Dealing with acoustics, drop mics (mics that come down from the roof. They look like snakes), standing mics, balance of instruments, and blending of the choir. After which if it’s not right, then you’re stuck with what you’ve got. This must be particularly difficult for producers and sound engineers when trying to cater for both a large choir and orchestra. My hats off to them.
Putting a choir into a studio is a different experience again. Though its not as nerve-wreaking, finding myself at Abbey Road Studios was….awesome! Knowing about the people that have walked through those doors and recorded music. Not just the Beatles, but the like of epic orchestrations such as The Lord of the Rings, John Williams with Star Wars…just to throw some names in there. In fact, if you watch the behind the scenes on your dvd, you will probably find one or two that were recorded at Abbey Road. There was an entire feature of it in the documentary ‘Score’ (its worth the watch if you’re interested).
So finding myself in Studio 1, not once, but twice…(take a breath). One of these days was even more special because it was snowing, so I literally slid down the hill from the station to the studio. I took a video and posted on Twitter, and got a lot of likes, including from Abbey Road. Never thought id ever be here.
The set up and and sessions are different, requiring patience and consistency. Not an easy feat if you’ve been singing for close to three hours and you’re getting tired. Similar to live performances, engineers and producers have to make sure they get what the want, before moving on. At least in a studio, they have the virtue of being able to do multiple takes. They’re also able to manipulate the backing tracks by adding and subtracting items, such as click tracks to help keep us in time, and reverb to make us sound awesome.
So I was there recording an album with the London Symphony Chorus and Orchestra (due to embargoed release, I’m unable tell you further details at this time). The other session, I was there with the West End Musical Choir recording some sampler songs and a promotional video.
So through these experiences, I’m learning the different types of recording. Each used for different purposes, but share the ultimate goal of providing quality sound and recording for an audience.
I’m sure going to miss this when I leave…
Until next time…
Sarah Talbot 
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