So I pulled up into the car park of the most famous recording studio in the World and switched off the engine. Nicola and I had got up at 8.30am (ridiculously early for me!) and I had pre-booked the parking space last week so as to make the day as easy as possible. The cross town traffic had been fine. . . round about now I noticed the steady stream of musicians lugging instruments big and small past the car and realised that they were all for me! It was at this point I began to feel a bit tense!

Abbey Road is like a Tardis. From the outside it resembles a large house, but as soon as you pass through the doors it turns into an enormous complex that seems to go on forever! We went through reception after signing in, and then downstairs to Studio 1. Now I've been to Abbey Road quite a few times in my life, but always as a drummer, and I am very confident behind the kit - I know what I am doing, and I know I can do it. This, however, was not the same. . .



Orchestral sessions are very different to Rock and Roll sessions. For a start everybody turns up on time, secondly they read the stuff and play it like they've known it all their lives, and thirdly it all has to be finished by lunchtime. Actually that last part isn't true but they do work to incredible deadlines. They stop every so often for tea (or beer if you are a horn player) and some sit around reading the paper during the break. I am used to going into the studio, getting my head down and staying until it is finished . . . The session was for Boosey & Hawkes / Cavendish Music, two tracks for an album of Hollywood Blockbuster inspired music.

I was aware that my work had been done - the writing I mean - and it was now out of my hands. It was down to Ian Hughes the conductor, Dick Lewzey the engineer, and the assembled throng of seventy musicians, and to be honest I felt a bit like a spare cog in an extremely well oiled machine!

The nerves quickly turned to excitement however when I began to hear snippets of my music coming from various parts of the room as the musicians warmed up. Very strange feeling! I noticed Steve Sidwell in the brass section. He has played with everyone from Robbie Williams to John Barry. On piano and celesta was Dave Hartley, Sting's keyboard player! It seemed I was in good hands !



The first run through of 'Song of Heroes' was unbelievable! The seven percussionists kicked up a storm and made me wonder about the final mix. There is a balcony in Studio 1 and the sound from there is just amazing. Every film score you can think of is recorded at Abbey Road (Harry Potter, Lord of the Rings, Star Wars, Sleepy Hollow, Shrek and so on) and Dick Lewzey has engineered most of them. In fact many of the musicians before me had played on them as well!

On to 'Ghost Dance' and I was in heaven! The two harps wafted eerily in and out of the picture. No sooner had I begun to enjoy myself than it was over, and as Paul Mottram had two tracks to record as well the pressure of time was on us. Lunch in the canteen (where you are likely to meet anyone!) and then upstairs to the Penthouse Suite to mix Paul's tracks (sounded brilliant!). Dumped my stuff to RADAR for the choir session at Sony Studios and then drove home.

One of the most important lessons I learnt today was that with an orchestra you have to know what you are doing because everybody else does!

A fabulous day - got home at 10pm and fell asleep straight away! Not as physically tiring as drumming, but exhausting all the same! Went to bed a happy man! Good to know there is always something else to learn and challenge you. . .

Can't wait to do it again!