Ferran Cruixent traveled to Prague, to supervise the recording and to play the piano solos himself.

Ferran Cruixent and Jonáš Rejman with the conductor

During a single 4 hour recording session all 8 tracks were recorded as well as 2 extra tracks for the sound track CD.

The Czech National Symphonic Orchestra

"All went quite well. We had some technical problems in the beginning and the interpretation was not exactly what I was looking for. It took us some time to fix it, but the orchestra is very professional and in the end, they showed what they are made of. I am very satisfied with the result." smiles Cruixent.

Ferran Cruixent checking the interpretation with the conductor

"We recorded all solo parts separately. The piano part even with 6 microphones. That gives us a great amount of freedom in the final mixing session, " adds Rejman.

The recording session was prepared for the final review by the assistant of the sound designer Juraj Mravec. He worked together with the very experienced sound engineer Jan Kotzmann to transfer the data from the mixing studio to the pro-tools session that was used later at Soundsquare.

In a 15 hour lasting mix marathon, the score was then merged with the existing session. The sound designer Jakub Čech, assisted by Juraj Mravec worked side by side with Ferran Cruixent, who came to Prague again, on these final adjustments.

"This guy (Čech) is really amazing. He is able to recreate the sound orchestra perfectly for the 5 channels. Not only he understands my music and merges it with the picture in a wonderful harmony, he is a perfectionist as well. I learned to trust him within a few minutes entirely. Not something easy for a composer," pointed out Cruixent.

"Well, I did not really had much to do. I sat back and watched Jakub doing his magic. During the preparations with Juraj, I naively thought, that I understand a lot about sound design now. But as Jakub came in and started to fine-tune and equalize each instrument track, bringing the sound to an entirely new level, I was breathless. That was magic. What a wonderful work! The session was very long, and I guess Jakub will not want to hear about Monitio or me for a while," smiles Rejman.

The following day, the final mix at Studio Virtual followed. The goal was to adjust the sound design to sound in a theater, exactly as it did in the studio at Soundsquare.

The CEO of Studio Virtual, Pavel Dvořák explains: "It is always a huge difference between a DVD mix and a theatre mix, although, producers do not like to believe it. The dynamic range of the speakers is huge, compared to the one of those at home. We basically adjusted the main level of the sound and pushed the surround channels up. Some special sounds also had to be raised, as they got lost among the others. But it did not took too much time, as the sound design itself and its concept was done already by Mr. Čech and perfectly prepared."

"I experienced now the difference between midi soundtrack on a DVD and an orchestra in a theatre hall. Like day and night. I never dared to dream, that this movie could ever sound that good. It is beyond all my expectations. It was a very long way to this MO-disc, but it was worth it," points out Rejman, holding a small plastic cartridge in his hands.

As the sound part of the production is now completed, the production will continue in Paris in December. Again at the postproduction house Wizz.