Here we go now! Into the studio to record the album that is going to make you a super-star, surrounded by screaming fans and golden discs! You'll have to prepare really thoroughly for your studio performance if you want this dream to become reality, so sober up and let's think about it.

Personally I enjoy live performance tremendously and find it very challenging to have to make an immediate impact with my songs. To have your audience in your power, to raise a laugh or bring a tear to the eye, there's glory for you!

I must admit, I have only very limited recording experience and find it very hard to create atmosphere when there's only me and a microphone. Also the thought of possibly having to sing a phrase over and over again before a satisfactory result is achieved terrifies me! And yet it is often necessary. Surely the ideal way to record a song would be to get it all perfect at the first session. There would be a natural spontaneity about the interpretation and a freshness in the voice that must often get lost as the day wears on, and the singer becomes tired, and worse still, fed up with the repetitious business!

Try to prepare yourself so that you can give a good performance early in the session. If you are recording an album, make sure that you are not recording a whole record's worth of vocals at one time. Arrange it so that the instrumentalists record a few tracks, then you go and do the vocals; the band works for a few days, you sing the next numbers and so on. Having to do all the vocals one after the other can be very exhausting.

I am assuming that you know your songs inside out, and that you have been singing them in a comfortable key and at the right speed. Don't leave the choice of key or tempo 'til the last minute, you must have the song 'in' the voice before you perform it, as any last-minute changes can throw you badly.

Do keep in practice. Do your daily vocal exercises, rehearse your songs, sing along with records and take lessons or go to classes. Most adult education centres run singing classes of one sort or another. If you live in London go to The City Lit, Morley College or Goldsmiths College. They all run excellent classes in all sorts of singing, from Jazz to Opera, with classes in voice production which are wonderfully useful for keeping the voice in training. It's really no use saying to yourself "I think I'll take a holiday while the boys get the backing tracks down"! You've really got to be tough with yourself, discipline yourself, and give yourself a daily routine of physical and vocal exercises, then you'll be in good voice, and will be much better able to cope with any problems that may come up during recording.

I have heard a good many stories about recording sessions and one thing becomes increasingly clear. The studio may be superbly equipped with all the latest gadgetry and what-not, but if the atmosphere is unpleasant in any way, the session goes badly. I would insist on a 'No Smoking' rule for the singer's sessions. It is essential that you breathe clean air. Air-conditioning can be good (except on one disastrous occasion when the dust was blown in rather than sucked out! Poor Geoff of Vitamin Z was nearly choked!) It can also make the atmosphere too dry; a humidifier or some potted plants regularly watered can put this right. It would be a good idea to have some lemon tea or soft drinks on hand, in case dry air tickles your throat up.

The size of the recording area is important too. One very large young man was asked to record in a booth the size of a telephone kiosk. He told me how claustrophobic it was and how foolish he felt singing loudly in such a confined space. The natural reason to sing loudly is in order that lots of people can hear you, quite apart from interpretative reasons. This particular lad could also see various technicians and hangers-on chatting amongst themselves, smoking and drinking and so on, totally unconcerned with the session in progress, and simply by being there they destroyed any chance he had of creating an atmosphere in which he could perform. I suggested to his record company that they should find another more thoughtfully run studio in which to record!

Rose and Jill of Strawberry Switchblade thoroughly enjoyed a recording session in a church; the acoustics were wonderful and carried their voices most effectively! I think that it is a good idea to wear your performance clothes too; no need to go overboard with the hair and make-up, unless you feel very strongly about your appearance, but singing in clothes that give you a sense of occasion as well as being comfortable to work in can be very helpful.

Remember that your producer is there to help you create the songs. It is your talent and personality that are going to sell the songs, which makes you a very important property. Don't get big-headed about this, just remember it and be prepared to accept your producer's criticism and advice, which should always be constructive. If you can't get along with your producer it is best to part company and find someone else. Do find someone whose work you admire and who understands your work, someone genuine and concerned. His personality should enhance the final result, not stamp all over it!

If you have any particular problems to do with any aspect of singing (technique, interpretation or performance, for instance) why not write to me at the magazine's address below. In a future issue we will print the relevant part of your letter and my answer. The address is Tona de Brett, c/o International Musician & Recording World, (Contact Details).

Incidentally, a belated thank you to all those readers that sent me Christmas cards. Happy new year!

Tona de Brett gained an ARCM in teaching at the arts centre at Dartington Hall and has taught at the City Lit and other adult education establishments. She now teaches solely at home and her pupils have included Green, Morrissey, Curt Smith, Strawberry Switchblade, John Lydon, Edwyn Collins, Martin Fry and Liz Frazer. For information re vocal exercise cassette write to Tona including an SAE at (Contact Details).