Questions, answered.

Solo instruments, chamber ensembles, vocal projects and other classical productions. Tell us your repertoire, line-up and intended result so we can assess the room, instruments and recording setup. Larger ensembles and unusual requirements are discussed individually before booking.

Studio sessions can be planned for one, two or three days, with a maximum of eight hours per day. The right allowance depends on programme length, musical complexity, preparation and changes of instrumentation. Include setup, soundcheck, tuning and breaks when planning the day. On-location recording is assessed separately.

Yes, by arrangement. Tell us whether you would like to see the room, try the Steinway or discuss an ensemble layout, so we can allow the appropriate time. Use the contact form to arrange a visit; practical access information is available on Getting here.

Send your programme, number of musicians, approximate playing time, preferred dates and the services you need. Mention instruments, line-up changes, access requirements and any recordings already available. You can use Plan your session to prepare an outline, then submit it with your project details for review.

Contact us as soon as possible. We will check availability and the arrangements agreed for your project before confirming any change. Payment, cancellation, rescheduling and any related costs should be clarified in the quotation and booking terms; an indicative estimate alone does not reserve dates.

Rehearse the programme in the versions you intend to record. A simple trial recording can help identify passages needing attention and give realistic playing times. Bring your instrument, accessories and any session materials agreed with the engineer. Discuss pitch, special instruments and practical needs beforehand, and choose quiet clothing and footwear.

Yes. Instrument positioning, microphones, tuning and soundcheck must fit within the agreed timetable. Before recording, we discuss the listening perspective, balance and room ambience, then use trial listening to establish a shared direction. Allow time for these decisions rather than assuming everything can be resolved in post-production.

We agree the timetable, breaks and order of works around the musicians and programme. Complete takes preserve musical continuity; shorter retakes address specific passages, with enough surrounding music for a natural edit. Take notes help track coverage and alternatives. Before finishing, we review what has been recorded and agree the next steps.

Yes. We can assess a concert hall, church, theatre or another suitable space. Send photographs and information about the ensemble, acoustics, background noise, access, power and available hours. Travel, transport, setup and any site visit are considered in the quotation. Venue access and the permissions needed for recording must be confirmed beforehand.

Yes. Tell us your proposed workflow, equipment and the studio resources or local assistance you need. We agree access, compatibility, setup and responsibility for recording files in advance. The engineer guide provides the room and technical information needed to plan the session.

The resident instrument is a Steinway & Sons Model D concert grand at Sala Musicale Giardino, Crema. The Piano brings together photographs, a performance film and listening examples recorded on the instrument. Preparation and any particular tuning requirements are discussed for your session.

Piano hire includes one tuning for each day the instrument is used. Having a piano technician remain on site during recording is an additional service, separate from that tuning. We confirm the preparation, tuning schedule and any requested attendance in your project quotation.

Microphone arrangements depend on whether the project is for a partner label. Please identify the label and ensemble when enquiring: we confirm the microphone selection and any inclusion under the partner arrangement in the project quotation. For non-partner projects, microphone hire is quoted separately. Room hire includes microphone stands and cabling.

Yes. Discuss the requirements before booking so we can check availability, compatibility and any hire or preparation needed. Historical instruments may also require agreed pitch, temperament or acclimatisation time. Consult the equipment inventory as a reference; the actual configuration and inclusions are confirmed for your project.

Recording and post-production are separate stages, with their scope identified in your quotation. Editing selects and assembles takes; mixing shapes balance and perspective; mastering prepares the approved sequence for its intended delivery. Choosing recording days does not automatically commission a complete edited master.

Take selection is agreed with the artist. You can provide a preferred main take and alternatives, or commission a broader selection service. Consolidate notes in one list identifying the work, movement, take and bars or timecode. The editor checks that the proposed joins preserve phrasing, tempo, intonation and acoustic continuity.

Mixing is included with editing or mastering projects, with up to three mixing revisions. Standalone mixing and further or more complex work are quoted separately. Identify comments by listening version, track and timecode, and consolidate the ensemble's feedback. Before approval, listen to the complete final version, including beginnings, endings, joins, pauses and track order. Additional scope and cost are agreed before further work.

Yes. Send a project description and a representative sample, identifying the source formats, track count, any existing edits and the result you need. We assess feasibility, timing, review stages and final delivery before starting. Listening versions and consolidated feedback can be exchanged remotely. Keep an intact backup of your original material.

Yes. DDP preparation is included for confirmed partner-label projects. For non-partner projects, it is a separately quoted service. We agree the required delivery formats and specifications before preparing the master: CD manufacture, digital release and vinyl may require different versions. Final approval identifies the exact files intended for each destination.

Your quotation defines the deliverables, formats and any transfer of raw recordings or multitrack files; these are not automatically included with every service. We also agree transfer and retention arrangements for working materials. Check the delivered files and keep your own independent backup. The studio should not be your only archive.

No. Plan your session gives an indicative budget, with VAT included, for the items shown in its summary. Separately quoted services are additional. Submit your outline through the contact form so we can review the programme, partner-label arrangements, any discount code and availability, then confirm the scope and final cost.

Tell us your budget and priorities at the outset. We can discuss the balance between recording time, instruments, technical support and post-production before confirming the quotation. Planning hours are an allowance, not a fixed-price guarantee: the module starts with 10 recommended editing hours and 3 mastering hours, which can be adjusted. Any additional work must be agreed.

Yes. Editing, mastering, standalone mixing, DDP, photography, film, digital score mockups and music engraving can be requested without hiring the recording room. Select individual services in Plan your session or describe the brief through the contact form. Materials, scope, deliverables and review stages are agreed for the service you commission.

No. Artists, ensembles, independent producers and labels can commission recording or post-production directly. You can work towards a release with your own label or an independent project. Booking studio services does not by itself include a publishing agreement, distribution or acceptance into a label's catalogue.