SOLD OUT – Score Recording at the Synchron Stage Vienna

With Joe Kraemer, Conrad Pope and Frankie Chinasky, August 9 – 14

Record your score at the world renowned Synchron Stage Vienna

The Synchron Stage was built in the 1940s and was recently acquired by the VSL (Vienna Symphonic Library).  The VSL has completely refurbished the Synchron Stage using the latest acoustic design technology.  They have also added a world class control room for recording and mixing, featuring a large format top-class analog mixing console. With its intelligent design, this system allows for a very flexible approach to working, both on the desk and on computer (“in the box”) – the best of both worlds.

Conrad Pope and Dennis Sands (two of this year’s lecturers) were the first ones to record at the new stage in 2015.  They were incrediblyly excited about the sound of the room – combined the equipment available, the Synchron Stage is now perhaps the premiere recording stage in the world.  Conrad and Dennis discuss their first Synchron experiences in the video below, and explain why the Synchron Stage is one of the world’s best facilities (see video „Synchron Stage Vienna“ by Zegglfilm on Vimeo below).

The HMW is proud to present a recording course that grants you the opportunity to utilize everything this terrific facility has to offer.  The highlight of the class will be a session on the Synchron Stage, giving you 45 minutes with either a 50-piece orchestra or – for less demanding scores – a 29 piece orchestra to record your own music.  Imagine, your piece professionally recorded by amazing musicians using top notch equipment on a world class sound stage!

You will also learn what is needed for a successful orchestral recording session – which is quite different from a concert situation.  Hollywood composer and conductor Joe Kraemer and Hollywood composer, orchestrator and conductor Conrad Pope will show you how to prepare for your session in a three-day preparation class as part of this course.  You will learn crucial skills to prepare for this recording session, and tips which can save you a lot of money on future sessions!

Scoring mixer and film composer Frankie Chinasky will be the lead recording engineer, leveraging the world class equipment of the sound stage and the control room.

 

50 piece Orchestra

Strings
10 Violins I
8 Violins II
6 Violas
6 Cellos
3 Double Basses
Brass
4 Horns
1 Trumpet
2 Trombones
1 Tuba
Woodwinds
2 Flutes (one player can also play Double Piccolo)
1 Oboe (player can also play English horn / Core Anglais)
1 Clarinet
2 Bassoons
Percussion
1 Timpani, 2 Percussionists

29 piece Orchestra

Strings
6 Violins I
4 Violins II
4 Violas
3 Cellos
1 Double Bass
Brass
3 Horns
1 Trumpet
3 Trombones
Woodwinds
1 Oboe (player can also play English Horn / Core Anglais)
1 Flute, (player can also play Double Piccolo)
1 Clarinet
1 Bassoon

Tools, Process and Skills

SOFTWARE:  Your most important tool here will be a professional notation program, such as Sibelius or Finale. You will also need a DAW, such as Cubase or Logic, to create the necessary midi files for the booth staff -this will insure that your clicks will be correct, and that your different takes will be editable.  The preparation class will provide you with all the necessary instruction for this.  (Please note – all recordings will be done to click tracks).

While it is not required that you have a particularly good sound-set or sample library for your notation program (as it is all about providing a professional score to the orchestra), you will be working with your mock-up during the prep class, so the better your sounds, the better your experience will be.

HARDWARE:  You will need a computer to run your notation and DAW software.  There is no requirement for a specific platform (PC or MAC).

CONDUCTING:  As this class is a learning experience, you will be required to conduct your piece during the first half of the session.  If the session is drawing to a close and you still have not gotten usable elements, the course instructor can step in at your request to conduct.  Time during the prep course will be dedicated to conducting practice.

MUSIC PREPARATION: You must allow time for score and parts preparation. The HMW will be providing music prep services as part of your tuition.

THE PIECE YOU RECORD:  You can only record music to which you own the full rights (i.e. music you have written yourself).

It is not required that it be a piece you have written in the composition course.  It is also not required that it be a piece written for a specific scene or film sequence.  However, please keep in mind the following suggestions:

The purpose of this class is to give you a completely professional experience.  Therefore, to get the maximum benefit of your time, the length of your piece may not exceed 2:30 at a moderate tempo.  If you wish to record a longer piece, (or a significantly faster piece at this length) you must book additional recording time.  Overdubs and stemming will not be allowed in any single session.  If you wish to overdub or stem parts, you will need to book additional recording time.  It is better to record one piece that is 2:30 in length than to do five pieces that are 0:30 in length, as the changes necessary on the music stands and in the booth will add time to the process.  For each additional piece you wish to record, it is recommended you subtract 0:30 from the total duration of your music.

Please be conscious of the play-ability of your piece.  Radical shifts in tempo and time signature all take precious minutes of rehearsal during your session.  Extremely virtuosic passages will also require multiple takes to get right, so plan accordingly.

The HMW does not wish to stifle your ambition, but rather to help you get the best performance and recording possible out your time on the podium with the orchestra.

Finally, please remember, this is a recording session and not a concert performance. The musicians, all experienced session players, will be sight-reading your music to a click track without any prior rehearsal.  This is the standard practice in all professional film/tv/videogame recording sessions.  Again, in the prep class, we will provide you with all the needed guidance for this.

THE FINISHED RECORDING:   Our team is professionally skilled in music editing and will make sure that your entire piece will be recorded at the optimal quality level.  We will have a qualified score reader in the booth making sure you get a good take of every bar of your music.

Within a week or so of the recording, we will provide you with the full set of usable elements from your session.  The audio files will be compatible with any DAW (Pro-Tools will NOT be required for you to use them).  The HMW will provide you with a written tutorial on how to get the most out of your finished audio files.

Please note: we may not be able to provide you with every single take you record (i.e. takes with bad notes, performance errors, etc).  To ensure a final product consistent with the professionalism of the HMW, the Synchron Stage, and the musicians, we reserve the right to employ diligent quality control.

The final recording is yours to use for demo purposes.  It can be informally shared on the internet as a showcase of your work.  As the musicians and studio personnel are participating at a special student rate, the recording cannot be sold or used in any professional context.  Violation will revert all rights of the recording to the HMW.

 

Joe Kraemer has been scoring films since the age of 15, when he composed the soundtrack for high school classmate Scott Storm’s The Chiming Hour, a feature-length indie shot on Super 8 in 1986.  It was during this time that he first met a young writer named Christopher McQuarrie, a meeting that would lead to three career-defining projects for Kraemer: The Way Of The Gun, Jack Reacher, and  Mission: Impossible – Rogue Nation.

Kraemer would leave high school behind to attend the renowned Berklee School of Music in Boston to study film composition.  Kraemer’s first real ‘industry’ gig was scoring the NBC/Warner Brothers pilot The Underworld, written and produced by Christopher McQuarrie, shortly following McQuarrie’s Oscar win for The Usual Suspects.  Though the series was not picked up, the pilot was ultimately repurposed as a TV movie, where it has gained a cult following.

Kraemer and McQuarrie would team for the latter’s debut as a feature film director, The Way Of The Gun. A modest showing at the box-office relegated the film to cult status, but the film would be a favorite for ‘temp-scoring’ by music editors.  Ron Howard relied on the score heavily as temp music for his Best Picture film A Beautiful Mind, so much so that he included Kraemer’s music in the deleted scenes on the DVD and Blu-Ray.

In the years following The Way Of The Gun, Kraemer carved out an eclectic career scoring all manner of films, from documentaries to television movies to action and horror films.  He has written music for over 100 films, TV movies, episodic television, and film shorts, some 40 films just for The Hallmark Channel/Larry Levinson Productions alone! Strong melodic writing and superb dramatic sensibilities have kept him at the forefront of their rotation, and highlights include his scores for John Putch’s The Poseidon Adventure and A Time To Remember, the Mystery Woman series of ten films, and westerns such as Hard Ground, Lone Rider and The Trail To Hope Rose.  He has also written the music for The Hitcher II and Joyride 2 for director Louis Morneau, and six films with writer-producer Mark Altman, including House Of The Dead 2, The Thirst and All Souls Day.

Kraemer’s close artistic partnership with Altman led to scoring duties for Altman’s TV series Femme Fatales, a sexy homage to film noir and other genres for HBO/Cinemax. Kraemer also wrote the score for the prestigious documentary An Unreasonable Man, an Oscar-shortlisted feature about Ralph Nader for directors Steven Skrovan and Henriette Mantell.

2015 has proven to be a brake out year for Joe Kraemer, with the release of Dawn Patrol and the box office hit Mission: Impossible – Rogue Nation, in which Kraemer reteamed with Christopher McQuarrie and Tom Cruise.

Conrad Pope is one of the most respected and trusted musicians working today in Hollywood. Composers such as John Williams, Alexandre Desplat, Jerry Goldsmith, Danny Elfman, James Horner and Howard Shore have all called upon his expertise as a one of the industry’s top orchestrators as well as his abilities as a conductor and score producer, making him one of the most „in demand“ scoring professionals

Conrad has contributed to the scores of more than a hundred films. The list of the many iconic films on which he has worked includes the recent Star Wars films, the Harry Potter series, Jurassic Park: The Lost World, Indiana Jones and the Kingdom of the Crystal Skull, Pirates of the Caribbean, the Matrix films, The Curious Case of Benjamin Button, Moonrise Kingdom, Godzilla, and the final two Hobbit films: The Desolation of Smaug and The Battle of Five Armies.

Over his career, Pope has worked side by side with many of Hollywood’s finest directors, including Peter Jackson, Mark Romanek, Walter Murch, Scott Hicks, Gary Ross, Joe Johnston and Wes Anderson. His ability to work effectively with filmmakers and concretely translate their vision into music has made him a valued collaborator.

As such, he has scored numerous independent films. One of his recent original scores,

Penn &Teller’s TIM’S VERMEER, has garnered attention and praise from directors and critics alike. Awarded the International Film Critics Award for Best Score to a Documentary in 2014 the score has won fans in the worlds of art, art music, and filmmakers.

The music Pope composed to Harvey Weinstein’s production of Simon Curtis’ film MY WEEK WITH MARILYN”. The soundtrack, featuring Lang Lang on piano, is available on Sony Classics.

Most recently, Conrad worked with director Mark Romanek to compose the music to the pilot for the upcoming DreamWorks/ABC television series “THE WHISPERS”, Steven Spielberg, executive producer.

The American Society of Music Arrangers and Composers in 2015 awarded Conrad their prestigious GOLDEN SCORE AWARD in recognition of his career as composer, arranger, orchestrator, and conductor in film music.

Pope holds degrees from the New England Conservatory and Princeton University. After receiving the George Chadwick Medal, the New England Conservatory’s highest honor, upon his graduation, Pope went on to study at Munich’s Hochschule fuer Musik and at the Berkshire Music Center at Tanglewood, before completing graduate studies at Princeton University.


Frankie Chinasky started his career in the renowned Pilot Studios, Munich as sound engineer in 1994. Together with engineers such as Erwin Musper, Paul Gomersall, Udo Arndt and others he was active in numerous international music productions, including Take That, N-Sync, Phil Collins, Scorpions, Spider Murphy Gang…. In 1998 Frankie Chinasky started to work as composer and producer working with numerous top acts such as Juliane Werding, Geier Sturzflug, Elevate, Tekilla and many more. Frankie started out as a film composer in the early 2000s and has been a composer, arranger, musician and engineer to several major feature films and TV productions in Germany and the USA since then.


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Our Mission

The Hollywood Music Workshop is all about bringing talented composers from around the world together in one place, and providing them with first-class courses and a very inspiring working environment. We want to establish a personal relationship between lecturers and participants and therefore let them profit from one another. We love film music and we want to provide other people with a chance of experiencing the magic of film music as well.