We spoke with composer Claire Batchelor about her career and the challenges she has encountered since the pandemic hit. Batchelor’s music has been used by the likes of Panorama, Horizon, Lorraine, Mary Berry’s Quick Cooking and Hollyoaks.

“When I was young, I didn’t really know what I wanted to be.  Probably a rock star!” said Batchelor. “As reality set in that that wasn’t going to happen, I knew I wanted to work in music somehow but I didn’t really know how.  I’ve always loved TV and films and when I found out that my university did a course in composition for media, I changed my degree from music performance and never looked back.  My first little projects writing to picture were like a lightbulb being switched on.  I really felt like I’d found my calling.”

She says being a media composer requires quite a unique, broad and slightly bizarre skillset.  “I love lots of different styles of music and am always interested in the different aspects a genre of music has. You have to be a bit of a computer geek, good with people, a good listener, alongside being a musician, being creative, knowing about music theory, harmony, melody, instrumentation, mixing, and how music works against a picture.”

So, what makes her different? “I always endeavour to put out the highest quality music that I can.  If there is an option for a live instrument budget, I take it.  I pay attention to every detail, and I think I’m good at knowing when something isn’t working.  Take it out. Try something else.  Rearrange a section.  Try it up an octave.” 

Before she had enough clients to work as a composer full time, she had a variety of part time jobs.  “One of them was in a mind body and spirit shop, and the owner knew I wrote music.  She wanted to make a meditation tape to sell in the shop.  I think that was my first paid composition job!  40 minutes of meditation music…I did learn some things on that job that were invaluable, for example, how to talk to a non-musician about music.”

However, one particular project stands out in Batchelors’ mind. “I think as you’re going along in your career, any job that feels like a bit of a ‘leap’ is exciting and for that reason probably makes them stand out.  One of the first ones was having some string quartets I had written being recorded at Abbey Road - I couldn’t quite believe I was there to record my own pieces. Now those tracks have been used on TV all over the world.  Actually I think any project involving live musicians are my favourites – hearing your pieces come to life that you’ve written on a computer is the best feeling in the world! It puts a big smile on my face every time.”

When working on a project she approaches each one differently. “If it’s a film, I like to talk to the director in depth about what music ideas they might already have.  If I’m coming up with a pitch for a project myself, for example a music library album, I’ll think about the types of music I’ve heard a lot on TV lately, or try and think of my own spin I can put on something.”

As for career challenges, we all have them. “I think every step of your career has its own challenges, but I think starting out is the hardest part.  You’re finding your feet, you’re finding clients, you have to invest in your equipment and you’re constantly thinking is this going to work out?!  Is what I’m writing any good? Does this mix sound good?  It’s really tough in the beginning.  And to be honest, those worries never completely go away!”

Like many of us, Covid-19 has had an impact on our work and Batchelor has found she has had to work in a different way. “I would have to say Zoom has become a must, like for many other people. I should have bought shares! The main difference has been being unable to record any live musicians in a studio.  I have a studio at home that I write and mix in, so no change there.  But I was writing a production music album in March that I wanted to record some live solo strings for.  I found some wonderful string players who could record from home and had good home studio set-ups themselves, with good rooms.  So I sent them scores and backing tracks to record to.  It doesn’t compare to going into London and interacting with the players in real time, but I’m really pleased with the results!”

In her studio, Batchelor has a custom PC built for her by a specialist. “The faster my computer the faster I can work so I cannot bear having a slow machine! I also find it to be very robust and reliable, and don’t seem to have to worry so much about software updates as Mac users.  In addition to that I have a few guitars, keyboard, mandolin, ukulele, some percussion, and a couple of nice microphones.  My studio is kitted out with acoustic panels from GIK acoustics which make a huge difference.  I also reference my mixes on headphones – they’re probably the thing I couldn’t do without! They’re from the 80s and not even made any more, so I will be sad if they ever break.  I think the most important thing when mixing is knowing you can ‘trust’ your room, for example in my room, it’s at home so it’s never going to be perfect.  I know that there’s a bit of a hole in the lower mids.  But because I know that, I can test on headphones and make any adjustments I need to.

Batchelors’ talents don’t just stop at composing; she has even found her way into one of musician Howard Jones’ music videos!  “Howard Jones used to live in High Wycombe, where I was born.  My Dad played bass in a band with him before he became a solo artist.  They stayed friends and when I was about 13 or 14, I was in a little band with my mates.  He wanted a young band in his video and asked us! It was great fun.  Also a fun fact, my Mum visited him in the studio as they were finishing mixing his hit album, Humans Lib, while she was pregnant with me.  So, I was there…kind of.”

As for inspiration, Batchelor has always been inspired by Bjork. “I think she’s truly one of a kind and so inventive.  As far as film music goes, I love Rachel Portman’s scores, and she has achieved so much.  She’s certainly someone to look up to.  Another film composer I love is Mychael Danna, his writing is incredible.”

With many changes to the sound industry over the past year we asked how she sees the industry changing over the next 5 years. “It has to be the move towards SVODS.  I just hope our royalty streams can stay intact along the way.  As it stands right now I don’t think all of the royalties for streaming are fair for the artists and composers.” 

As for upcoming composers, Batchelor offers some advice. “Be persistent, resilient, listen to feedback and take critique. Be understanding.  Be polite.  Always try to improve. Give yourself room to be creative, not always rushing for a deadline. Stay inspired. Take a break when you need to.  Leave your ego at the door.  Push your career in the direction you want it to go.  It might not go exactly as you planned, but being proactive makes things happen.  Enjoy the ride!”

www.clairebatchelor.co.uk