# Creating a Remote Choir Performance Recording Based on an Ambisonic Approach
## 4 Realization of Remote Music Recording
### Preparing a Remote Audio-Visual Recording  
The first step in an audio-visual recording is to discuss the following musical material with the performers: to present the conductor's or ensemble leader's musical interpretation of the material, to indicate the places in the score (possibly marking them) that require special attention, etc. In addition, it is important to discuss the recording technique, the aesthetics of the frame, the location of the recording device, and all the details related to it. On the side of the sound engineer, it is crucial to provide a repository for sending files with recordings by project participants. This is crucial for the sake of work organization--in this way, the performers will not have to find a way to send recordings on their own, which will significantly improve communication in the recording project.  
The next step is to create a \"model recording\"--this is what the performers of the piece will use as a basis. The \"model recording\" is actually a way to conduct the choir or ensemble remotely or to provide the musicians with a remote rehearsal. This way, it is easier for singers to reproduce what they hear. Moreover, this is an artistic interpretation of the music by the conductor, specific to this very time and place and not from some other past recording. Very good guidance can be a visual recording, in which the conductor conducts the piece and performs a given piece on the piano from the piano transcription (or another instrument, although the classical piano usually accompanies choral rehearsals--the sound layer can also be performed by the accompanist). Then, with the material constructed in this way--_sound + vision = conductor + accompaniment_--the musicians presenting their parts create their own audio-visual recordings. For example, for a choir, these are soprano, alto, tenor, and bass; for a string quintet, the following: first violin, second violin, viola, colello, and double bass. It is vital that these recordings should be a bit more expressive than usual; to do so, the players of such a \"template\" will obtain an extra layer of information from which they can reconstruct a common interpretation of the piece. Moreover, it can be beneficial to arrange with the performers to tap out 1-2 bars of tempo (e.g., 1-2 bars before the piece begins) before performing their part in an agreed-upon manner. This will enable the players joining the \"pattern\" to enter into the rhythm and prepare for the recording. Moreover, in postproduction, it is a good reference for synchronizing the tracks--what is more, it will give a proper space before the start of the performance to edit in postproduction, so the sound engineer will avoid the situation where the recording is too short because someone was not ready to perform their part yet, for example. It is also possible to use a metronome; however, in the authors' experience, this is an unnecessary distraction for the performer due to the handling of an additional device. Additionally, in the recordings presented here, the metronome would probably be implemented using a telephone, which is typically used in the recording in other ways (e.g., as a device to play the pattern or to conduct the recording). Figure 2 illustrates the idea of this approach.