For some time we've been receiving inquiries as to where I am planning to record. As this is a work-in-progress composition, the demands of the piece are evolving. So, where am I recording? As much as I love the acoustics at a particular studio in California (whose lawyers wrote and said I'm not allowed to mention their name--weird, I know), the choir is becoming a big deal and there is not a suitable choir in this particular location. There are also restrictions on filming. This is another non-starter as far as I'm concerned as many will want to see the recording sessions in a documentary.
Two schools of thought now concerning choir are either I record somewhere where the local population is more naturally adapted to Old Norse... Or the second, is to just focus on where the overall musical talent pool is the strongest. No firm decisions have yet been made. I'm looking at locations in Scandinavia for venues suitable for the choir. Seattle is also a strong possibility as the choral community here is very strong. Strings and winds will likely be recorded in California or Seattle.
Why not record it all together in the same room? Control. Recording choir and orchestra, even in live concert situations, together, is difficult. But with a recording, to be able to correct what we call "pilot errors" in the musicianship or errors in the notation requires time. And as time is money, we don't want to be having both a choir and an orchestra idle during notation or performance instruction during the normal course of recording a new piece of music. It's best to focus on choir and orchestra separately as each ensemble has unique needs. When I recorded choirs in the past, the acoustics surrounding the choir are generally different from the orchestra. So in other words, this approach is nothing new for me. In fact, even the mockup I posted just days ago utilizes two different environments, albeit digitally created, to accomplish the surrealistic dimensions of that sound.