Technical Alchemy: An Analogue Desk and Microphones with a History
While many studios today rely solely on digital, Smecky Music Studios cherishes its "analogue soul". The recording studio utilises a highly sought-after Neve 88RS analogue console, from which the recorded sound is only subsequently converted to digital format. "Getting the sound onto the recording as authentically as possible is a grand alchemy. Every detail matters - which microphones are chosen, where exactly they are placed," explains Pokluda. During recording, a "close miking" technique is employed, where each section of the orchestra (brass, woodwinds) or even individual musicians have dedicated microphones. This gives sound engineers significant flexibility during post-recording mixing.
The studio was also a pioneer in remote recording. Thanks to optical cables and modern software, it allows real-time recording with clients worldwide (e.g., from LA or London) with zero latency. "Remote clients can see and hear the musicians and the control room in real time and communicate their feedback to the conductor immediately," Furman explains.
The recording hall itself underwent a major renovation and now boasts flawless acoustics specially tuned for recording film music as well as other genres. For the absolute isolation of specific instruments such as drums, harp, or soloists, a specialised isolation booth is used.
A true rarity that the Prague studio boasts is the collection of microphones belonging to master sound engineer John Timperley (1940–2006), a long-time collaborator of Paul McCartney, among others. The studio acquired the collection from the stellar sound engineer's widow as a gesture of personal trust. Timperley’s microphones - used on scores for films like The Ninth Gate and The English Patient - could have gone to any studio in the world, but his widow chose Smecky Music Studios.
Another point of interest is an extensive collection of percussion instruments from all over the world, which is a huge benefit for international composers - everything from sticks to the rarest drums is ready for use right on site.
Flexibility Valued by Global Productions
Another key reason why international clients choose Prague is its extraordinary flexibility. "We are fully aware of the immense pressure and stress that often accompany the composition process, which is why we are always prepared to handle any last-minute adjustments, revisions, or requests from our clients. Film music is an evolving, dynamic process, and we are accustomed to adapting to it," explains Pokluda.
This flexibility extends to unusual situations as well. Pokluda recalls a session back in the 1990s where a contrabass clarinet was required, which no orchestra in the country had at the time. "I eventually tracked down both the instrument and a player at the Dresden Opera. He arrived by train and walked into the studio the next morning at 8:55. These days, many orchestras have them," he adds.
Foreign productions also greatly appreciate that they are not dealing with an impersonal corporate entity, but with a small team that handles everything - from initial remote contact to ongoing care throughout the stay of the composer and production crew at the studio. "It’s important to us that, alongside the high-quality work delivered by the musicians and studio staff, our clients feel comfortable both with us and in Prague itself, leaving with only the very best experiences," says Furman.
Where Technology Meets Experience and Craftsmanship
Today, more than eighty years of experience meet cutting-edge technology and knowledge passed down from generation to generation at the Prague studio. Yet, according to Pokluda, the essence of the work has barely changed over the decades. "At the end of the day, it always comes down to a musical idea and the people who can translate it onto paper and then into a recording. Technology is evolving at an unbelievable pace, but it wouldn’t be possible without a good composer, orchestrator, conductor, musicians, and sound engineer.”
Thanks to the expertise of Czech musicians and the capability to respond to the needs of modern film production, the studio holds a prominent position on the global film music map. The studio’s combination of experienced musicians, top-tier technical facilities and their operators, exceptional flexibility, and a personal approach is precisely what clients from across the globe return to. They are all searching for the same thing: a place where music can be recorded at the highest level.
And while generations of composers and filmmakers pass through the doors of the historic building on Ve Smečkách Street, one thing remains constant: in the hall where the history of film sound recording in Prague began over 80 years ago, music is still created that echoes through cinemas, televisions, and streaming platforms around the world.
