4. The differences between European and Japanese Orchestra

 
----------- You worked with a lot of artists then, and worked with European orchestras in the 80s and 90s. Is there any difference between producing in Japan and Europe?
 
I don’t know about orchestras of so many countries, but I will answer from some experiences in some countries.
First of all, I can say there are similarities in every country’s orchestras. Keep your time schedule is the first principal. This is required for both members of the orchestra and production staffs like me. Especially, keeping starting time is important. For example, if the starting time was set at ten o’clock in the morning, we staff went to the studio at least one hour earlier than the starting time and finished checking the recording devices. On the other hand, the members of the orchestra prepared for the recording up to ten so that they could play any time after 10 when requested.
The next principle is to keep the end time of the session. This is mainly a matter for the producer. For example, if the end time is set for one o’clock, you have to end at that time. So you have to decide what you can do in last three minutes; I mean which part can be recorded in the remaining time, so that you can use the limited time effectively. And when the time is up, you stop the recording immediately.
These are the two most important principles to get along with every orchestra in every country. And, most of the conductors know this more than us staff.
Next, What the difference between European and Japanese orchestras [used to be] that members of European orchestras tend to participate in recording more actively than Japanese orchestras. This was many years ago so the circumstances now may be different. I remember, many members of European orchestras came to listen to the recorded takes with the conductor and soloists while Japanese players did not come much. In addition to that, it is sad that, in some cases they did not like being requested to do anything by a producer in Japan. They think the conductor is the only person who should be able to make requests of them. On the contrary, European members want to hear my opinion, for example, ``is the playing now in OK in balance?’’ or ``what should I take care of the next time?’’ So, I think in Europe people respect each role as a player, conductor, producer and engineer much more than in Japan. The relationship of discussing with each other in order to achieve a good job is more developed in Europe than in Japan.
 
----------- Are there some other examples of recording in Europe?
 
Well, in one session with a European orchestra, the recording ended three minutes after the schedule. At that time the conductor helped me to say ``Sorry, my watch is late. I didn’t notice that the time is over’’, but the members of the orchestra left the room immediately without a word when the recording finished. This [not appearing to be professional by finishing on time] was my biggest mistake.
 
----------- Just three minutes delay causes such reaction? You then continued to advance through those experiences.
 
I then went to Sony Music Foundation in 1995 after seventeen years of production in classical music. This company is a part of Sony Music Group. I applied for the position because the concert business seems to be able to contact with the audience more directly than the recording business. In SMF, I participated in the planning and producing of concerts, competitions, and seminars.