September (Will): Recording Music for Film and TV
Today is the release day of a career highlight of mine: working with Aardman Studios on their latest Shaun the Sheep movie alongside top film composer Natalie Holt.
Pinpointing exactly how I broke into film and television is difficult, but an early catalyst was the Hillsborough charity Christmas single He Ain’t Heavy He’s My Brother featuring a starry line-up including Robbie Williams, Beverley Knight, Paloma Faith, Mel C and the man himself - Paul McCartney - produced by Guy Chambers. The music video was broadcast across MTV and major television networks, and playing alongside high-profile pop and rock artists led to initial session calls. Eventually, I was booking dates at AIR Studios and tracking for commercials, film, and television.
I love the process of recording - sitting amongst the ghosts of historic musical giants in a legendary studio, breathing into a microphone and creating something permanent and hearing it back - so this kind of work is absolutely up my street. One steady credit is Breeders, which has run for four series; my harmonica features prominently throughout the score and the title theme. I was fortunate enough to negotiate a royalty agreement with the composer, which is rare for session musicians and provides a welcome, recurring return.
Here are some of my career highlights for screens big and small:
Film
Shaun the Sheep: The Beast of Mossy Bottom, Aardman Animations
Surviving Earth: Film4
Television
Breeders Series 1 & 2: Sky
Video Game
LEGO
RuneScape, Jagex Games
Advert
GoCompare
Warburton Bread
Sky TV
Here are the various ways I go about recording for the screen:
Home Studio
Sometimes it is very short - for example, I am currently working on a brief cue for a Bollywood film that won’t take long to digest.
However, for Shaun the Sheep, I worked from my home studio, tracking individual parts in isolation over several days and testing out different instruments. I own harmonicas in numerous alternate tunings, and having the headspace at home allowed me to take my time and select the ideal fit for each cue. For parts of that score, I actually ended up using the rarely used diminished-tuned harmonica, which I felt suited the music best.
Working with Aardman Studios was a genuine career ambition achieved, largely because of their exceptional production standards and the opportunity to collaborate with Natalie Holt. She is one of the top film composers working today, wonderfully encouraging, and gave me immense artistic freedom to experiment.
Technically, my home recording workflow is straightforward: I import the reference track into Digital Performer, record multiple passes, and deliver both a rough reference mix and the dry, isolated stems so the composer can import them directly into their session. It can be meticulous work, but I enjoy it just as much as performing live.
On Set
For Channel 4's film Surviving Earth, I brought a wide selection of harmonicas into a commercial studio to work directly alongside the band. The composer provided core themes, but we were encouraged to develop our own melodic ideas and improvisations. While I always give composers the exact notes they ask for, I am an improviser at heart and like to offer alternative takes and textures. Often, those spontaneous ideas make the final cut. I also had to be on set to coach the actors how to effectively mime harmonica playing, as the main character in the show is a harmonica player.
Both recording environments have their distinct advantages. Working in a commercial facility with a producer or composer provides direct, real-time guidance. On the other hand, tracking at home offers more creative breathing room; you are not watching the clock, which removes the pressure of an hourly studio rate. That mental space often leads to better, more considered performances.
Commercial Work: Working to Visuals
A few years ago, I tracked a Sky TV commercial while watching the visuals on screen, reacting in real time to the character's movement. Working directly to silent picture and matching the performance to the character felt like scoring a classic silent film, which was great fun.
Hearing an instrument you have spent decades mastering on television or in a cinema never gets old. I would happily split my career down the middle: 50% session work, 50% touring. My dream project would be playing on a Wallace & Gromit score, (or recording an anthem for a football podcast).
The harmonica may be a niche instrument with occasional calls, but when they do arrive, the projects are almost always fascinating. Popcorn at the ready!
Will x
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