Over the weekend of 16/17 November 2024, the SFO was in Glasgow to record material for an album to be released in 2025.
During our recording sessions…
- We experimented with recording bagpipes and orchestra together in Studio A, including one take with Martin just outside the studio behind a partially-dosed door. But, in the end, on the Sunday, we recorded these parts simultaneously, with the orchestra in Studio A and Martin in Studio B.
- We had to contend with a squeaky piano pedal, which meant Fiona, our accompanist, having to switch between electric piano and grand piano.
- We played with a click track, many of us for the first time. Using a click track ensures that different takes of a piece are at the same tempo and so can be edited into each other, as desired.
- We concentrated our minds on our tuning and intonation as an ensemble more than we would usually do. As most of our normal rehearsals are fairly brief and on the afternoon of an evening concert, going “back to basics” like this is not easily possible. It was a good exercise for us.
- We learned not to “Headbutt the Cadence”. Kobus considered this was a problem in the piece “Hamnataing’. He felt there was a tendency for the orchestra to emphasise the last note of each phrase, when the tune returned to the home key. If you think of the melody of Auld Lang Syne, the first “auld” (after the word “Should”) is on the home note of the key. The phrase ends on the word “syne”. That’s the same note again. If you make that note too loud, you’re “headbutting the cadence”.
What orchestra members made of the experience:
What a privilege that was to be a part of. Thank you to everyone who worked behind the scenes to get this to happen. It was absolutely brilliant.
I completely agree – the organisation from those behind the scenes and the sound engineers was just great. And a personal thank you from me to the sound engineers for answering my (many) questions!
Never again shall we “headbutt a cadence”!
They were so knowledgeable and lovely. I really enjoyed going up to the sound desk for a wee preview of Hamnataing. A lovely weekend.
What a fab experience. Those guys were amazing!! Just made it home now to an inch of snow. Thanks to all who helped arrange.
What an experience!! It was an absolute privilege to be able to attend. The Board members who had the bravery and foresight to engage with Clockwork Sessions deserve all our thanks. Undoubtedly there might have been cheaper alternatives, however in my opinion, the SFO have instead l benefited from an orchestral masterclass from Kobus and David. (I hope no one objects to me saying that). CD or no CD the orchestra that left on Sunday night is immeasurably better than the one which arrived nervously on Saturday morning. Thank you to the Board for such a, memorable experience and all those who made the weekend possi-ble. I’m off to practise now.
An exhausting and very informative weekend which I thoroughly enjoyed. The amount of work put into arranging this weekend must have been phenomenal – from the production team the orchestra organisers and all of us for preparing at home (to the best of our abilities)! I can only repeat what everyone else has said and say thank you.
I’ve been raving (in a GOOD way!!) about the whole recording experience since I got home! We are truly blessed to have had that opportunity. We’ve learned so much and I look forward to us continuing to grow as an, orchestra as a direct result! Thank you to all involved in the planning, your hard work is deeply appreciated.
Feedback from Blair Parham (Musical Director of the SFO) to the orchestra.
Mon, 18 Nov
Blair Parham (SFO)
Morning. Hope you’re all well.
For those involved in the recording, I know you’ll agree that the experience was an incredibly rewarding, if tiring, one. And I hope you’ll agree with what I said at the end when thanking Ko-bus and David. These guys are world-class and it is clear they know their stuff. What I didn’t say to them (I wish I had), was the manner in which they conveyed their ideas and com-ments – they really put me at ease and several of you commented to me the very same. As I said yesterday, those of us with cans on were smiling throughout the last take of Skye Boat Song as we could hear a previous version being played alongside us and the sound was amazing. And that was simply raw material – it wasn’t even an edit!
Kobus is now going to edit the tracks. Once he has a rough edit, he’s going to send them to me and we’ll then meet Once that is done, the tracks will be given to David to be mixed and mastered. Unsure exactly of timelines.
I know the product will be amazing, but more than that, the orchestra has learnt so much that we can take forward, which is arguably more important.
Thanks once again to everyone, but particularly to you all for your patience, enthusiasm and hard work.
I am one incredibly proud, wee chappie.
Feedback from Kobus of Clockwork Studios via Bob, SFO Chair.
Evening all,
I sent Kobus and David a thank you email on behalf of all of us and received this lovely reply;
Hi Bob
Thanks very much for the kind words.
It was lovely to meet you all. It was also great to see the sense of community brought about by love of music, that you guys work so hard to run and maintain.
I’ll be editing the recordings starting today and will pass to David for mix/master, keeping Blair in the loop.
All the best, Kobus
It’s up to us all now to capitalise on the experience and being careful to include all those who weren’t able to attend the recording who may be feeling a little left out. We’re all in this together.