Strings in Poland

[robmix]

So I've got to do a string session in Poland at the end of September and we're just getting started with the specifics. Anyone been there/worked there ? Any hints or suggestions ?

[drBill]

Most of the higher budget overseas Orch stuff I've been doing as of late has been done in London exclusively. Lower budget stuff (at least the overseas stuff) has mostly been coming out of Prague (Chech republic) as of late.

Prepare for language barriers, slower setups, more time in getting the orchestra to "get it", more rehearsals to make sure they "get it", etc.. Oh yeah, and prepare for really low costs. It will take longer, but if you're patient, you should end up with good product.

[MJGreene Audio]

Originally Posted by robmix

So I've got to do a string session in Poland at the end of September and we're just getting started with the specifics. Anyone been there/worked there ? Any hints or suggestions ?

I haven't heard about any recording in Poland but I have mixed a HUGE amount of projects recorded in Prague. Everything said above is true. You will want and need a translator. It will be very helpful if your conductor speaks english. Usually the players are good since they actually still have live orchestra's playing live music (Oh can you imagine).

Also find out what there tuning standard is. It is probably 442 and not 440. You will have to have different percussion (chimes, Glock, vibes, xylo etc) that is tuned to 440 or you will have to do your project at 442. Also if they are used to playing at 442 even if you have them tune down to 440 they will still hear it and gravitate to 442. It can become a huge problem if your not attentive at all times.

The other concern would be the quality of the gear. Prague is finally getting up to speed with Pro-tools HD systems and Studio Schmecky finally put in a console that isn't 20 years old. The plus side is you may find yourself with a bunch of really nice vintage microphones to use.

Just out of curiosity what is the hourly rate per musician in Poland?

Michael Greene

[iziphonics]

What's up? I'm from Poland....
Well I haven't ever arranged a orchestral session, but I know that many people came here to record strings, because of low cost. I remember that orchestra of Lodz Philharmonics Orchestra was sort of well known in this metters (they recorded with some pop and rock artists.. e.g Jimmy Tenor, if I remember well)
As to musicians. They are usually skilful and I belive most of them speak at least basic English.
What exactly would you need and expect?
Izi

[vibralux]

Hi,

I am also from Poland,Warsaw. It all depends were do You record it. Is it by any chance the Sound And More Studio in Warsaw? they have the best equipment in this part of Europe. Let me know the city and the name of the studio. Maybe I could help You out.

Iziphonics- Warszawa? No to witam s?siada ;-)

[MJGreene Audio]

Originally Posted by vibralux

Hi,

I am also from Poland,Warsaw. It all depends were do You record it. Is it by any chance the Sound And More Studio in Warsaw? they have the best equipment in this part of Europe. Let me know the city and the name of the studio. Maybe I could help You out.

Iziphonics- Warszawa? No to witam s?siada ;-)

Do they have a website or at least some contact information?

Michael Greene

[robmix]

Thanks for the info so far. The session has to take place in Poland, preferably Warsaw. The artist is Polish, and this is our way of bringing more of the project to her home. I've got an amazing arranger/conductor and a translator lined up. I'm really looking for recommendations on a studio and a contractor. We'll probably do strings only, as big a section as the budget allows. Any contact info on the studio and orchestra listed above ?

[vibralux]

Thats the site fot the studio. As I mentioned thay have the best equipment around here. Check it at: www.soundandmore.pl

I am not shure about the engineers, but the gear is right... I know that they record some serious artists there so it should be ok.

Cheers

Marty

[Big Lad]

Sound and more is a nice studio. They have a nice Neve VR console. I recommend you use them or speak to a guy called Piotr Witkowski, I know him, he has an excellent reputation out there and he mixes on a Neve 88R also in Poland.

If you want me to give you his details, let me know below, I can PM them to you.

Biggy

[Big Lad]

Originally Posted by vibralux

Hi,

they have the best equipment in this part of Europe.

Iziphonics- Warszawa? No to witam s?siada ;-)

There is a Neve 88R in Krakow, see above.

Bigs

[Plush]

Get in touch with Beatta Jankowska at NOSPR Radio in Katowice.

Wonderful mega size recording hall and top notch players and recording people.

Ms. Jankowska is the recording manager/producer there.

TEL:48 32 200 55 74

b.jankowska@nospr.org.pl

Don't mess around with the pop studios--just go to the best place.

[klaukholm]

Originally Posted by drBill

Most of the higher budget overseas Orch stuff I've been doing as of late has been done in London exclusively. Lower budget stuff (at least the overseas stuff) has mostly been coming out of Prague (Chech republic) as of late.

Prepare for language barriers, slower setups, more time in getting the orchestra to "get it", more rehearsals to make sure they "get it", etc..

In the Seattle pricerange (between Abbey Road and Prague) you get to record here in Sweden. The results are better than Seattle. We have no language barrier as we always work in english.
Equipment is on par with Abbey Road - M150s, Prisms, Millennias etc.
Amongst the people to record here are Steven Coleman, Rob Bennett, Tobias Enhus and Fredrik Sarhagen.

If you need equipment for work in Poland, you can stop by Copenhagen/Malmö on the way and rent all that you need here. There is a direct ferry to Poland.

Kjetil

[robmix]

Looks like we're recording at Sound and More later this month, should be interesting !!!!!!

[reid]

Originally Posted by klaukholm

In the Seattle pricerange (between Abbey Road and Prague) you get to record here in Sweden. The results are better than Seattle. We have no language barrier as we always work in english.
Equipment is on par with Abbey Road - M150s, Prisms, Millennias etc.
Amongst the people to record here are Steven Coleman, Rob Bennett, Tobias Enhus and Fredrik Sarhagen.

If you need equipment for work in Poland, you can stop by Copenhagen/Malmö on the way and rent all that you need here. There is a direct ferry to Poland.

Kjetil

this sounds interesting, Klaukholm - who do you recommend to approach? Got any names / numbers / websites?

Thanks

[klaukholm]

CK Recording heads up these sessions, often with the composer's mix engineer calling the shots.
I will PM you the contact information.

[Roland]

The brits seem to get most of the major film sessions. They are not the cheapest, though not the most expensive, however because they can nail it so fast it saves on player costs, recording costs and time.

For example a friend of mine was recording the score for The Da Vinci Code this Summer. They were recording the soundtrack only about 3 weeks before the film was released. No disrespect to other orchestra's and players, there are many fine ones throughout the world, but the sessions would take longer anywhere else. English orchestra's/players are reknown for their sight-reading. In the early days of the opening up of various countries like Romania, Czech republic, etc many people tried this route to save money, however almost more scores than ever are flowing though London these days.


Regards


Roland

[klaukholm]

Honestly the biggest problem is not sight reading capabilities. In my experience some very good orchestras can sound bad because it is a low priority week and they don't care. LSO is top 5 in europe and as such sound great. They also have the added advantage of not having tenure like most other orchestras. There is simply less deadwood in the LSO.

The key is to know which sections to avoid writing for and which orchestra to pick if you need great horns and brass etc.
This one of the reasons why we have chosen to work with multiple orchestras. They all have advantages and disadvantages.

[Roland]

Originally Posted by klaukholm

Honestly the biggest problem is not sight reading capabilities. In my experience some very good orchestras can sound bad because it is a low priority week and they don't care. LSO is top 5 in europe and as such sound great. They also have the added advantage of not having tenure like most other orchestras. There is simply less deadwood in the LSO.

The key is to know which sections to avoid writing for and which orchestra to pick if you need great horns and brass etc.
This one of the reasons why we have chosen to work with multiple orchestras. They all have advantages and disadvantages.

To a certain extent I agree with you, however take an orchestra like the LSO, there are no weak sections, all this also forgets the fact that most of the orchestra's used for film sessions in London are scratch bands and as the fee's are good (comparative to usual musician fee's) they get all the best players from the LSO, RPO, LPO, Philharmonia, ROH, plus the best freelancers, no other place can boast that number of quality players in such a concentration. Everything from Harry Potter to Da Vinci is recorded here, if the budget is sensible London is without doubt the best place to be.


Regards


Roland

[klaukholm]

If you read my post again you will see I fully agree with you.
The Copenhagen scene is absolutely one step below London.
It is, however, in many ways similar as we have 7 full time symphonies within 30 minutes of each other. The freelance scene is also very good here.
When we compensate at good rates we have the ability to put together a world class session orchestra here as well.

Amongst the orchestras we have agreements with are orchestras with contracts with Deutche Grammophon, BIS, Virgin and so forth.