Recording Scores In Prague
film scores in Prague has been, one of the best kept secrets
in the film, television and video gaming industries. The high costs recording a score in the
U.S. regarless of recording with union or non-union musicians, has led to creative ways to realize
a top knotch score. Most composers go the electronic route
settling for the inferior sound of sampled live instruments and keep well within the budget. This route benefits the composer's wallet the most and leaves the film with a score that any reputable distributer detect and shy away from.
However, a few composers have also been exploring the
orchestras of Eastern Europe. Prague has become the city of
choice. Why? The amazing musical tradition and state of the
art facilities with a price tag that costs usually 40% less than recording a film score
Who's Recording In Prague
Patterson is not the only composer to record scores in Prague.
Don Davis (The Matrix), Graeme Revell (The Insider), Angelo
Badalamenti (Mulholland Drive), Accademy Award Winner Jan Kaczmarek
(Finding Neverland), Marcelo Zarvos (The Good Shepard) have
all recorded scores in Prague.
Recording a score in Prague is 40% less than recording in
the U.S. A quote can be calculated based on the number of
minutes of music and the size of the orchestra. Obviously
there is a difference in cost between a 20 minute score played
by a small string orchestra and an 80 minute score played by a
100 piece orchestra. Contact Michael directly for a quote.
The city of Prague has a number of concert halls and recording
studios. The best hall with a recording studio is the world renown
Rudolfinum. Located on the banks of the Vltava River it is the
"Carnegy Hall of Eastern Europe" and has a state of
the art recording facility. Approximately 20 minutes for the
center of town is ICN polyart Studios the studio of the Czech
National Symphony. ICN allows the flexibility of a recording
studio, perfect for recording the orchestra with soloists.
Prague and the Independent Film
It's naive to think that a film maker and
dishonest for a composer to imply that sampled
instruments can 'trick' the audience. It simply is not
the truth. For many viewers and the film and music
communities at large can easily idenify the
artificial quality of sampled orchestral instruments.
If a film maker expects to have their film compete in
the market place or even to compete in the festival
circuit one has to