Sound direction & live sound
My name is Jakub Skowroński. I am a musician who stepped behind the console. I shape the sound of opera, musical theatre, jazz and classical music — on stage, at festivals and in recordings. The way you read a score: with an understanding of intent.
My name is Jakub Skowroński. I am a sound director, live engineer and jazz musician. I studied at the academies of music in Katowice and Bydgoszcz — and that musical training remains the foundation of my work at the console to this day.
For many years I have worked with Opera na Zamku in Szczecin, where I co-created the sound of opera and musical productions — including “Crazy for You”, “Orpheus in the Underworld”, “My Fair Lady” and “Pagliacci”. For years I served as technical director of the Szczecin Jazz and Sanatorium Dźwięku (Sokołowsko) festivals. I co-produced Piotr Damasiewicz’s album “Hadrony”, which received a Fryderyk Award.
I treat sound as part of the interpretation, not as technology bolted onto the art. That is why I feel most at home with productions where the sound genuinely matters — in opera, jazz, classical music and on the theatre stage.
Several areas, one responsibility: the sound of your event or recording.
Full live sound for concerts, performances and events — from rider consultation and production prep, through rehearsals, to front of house and monitors. I specialise in music where balance, dynamics and natural tone matter.
Designing the sound layer of opera, musical theatre and drama productions: sonic concept, systems, microphone setup, collaboration with the director, conductor and cast. Experience built on large-cast productions at Opera na Zamku.
Live recordings and studio sessions — from a single recital to a full orchestra. Capture, editing and oversight of the material’s sound. I co-produced a Fryderyk-winning album; I know what separates a correct recording from one you actually want to listen to.
Support for institutions and organisers: production planning, choosing systems and crews, technical direction of festivals and event series. From concept to documentation and conclusions for future editions.
Not sure which service you need? Describe your project — I’ll advise.
I work on the L-Acoustics A10 line array with KS21 subwoofers. I make the same rig available for partner productions — with or without an engineer. It performs outdoors and in concert halls alike.
Line source · A Series
Two-way passive 10″ line source module with WST technology. Adjustable Panflex directivity lets you match coverage to the geometry of the audience. Flown or stacked, scalable — from an intimate hall to open air.
Subwoofer · A Series
Compact high-power subwoofer with a 21″ transducer and L-Vents ports. Extends the A10 system’s low end. Runs in standard or cardioid configuration — controlling bass energy behind the stage.
Ask about system availability I match the configuration to the scale of the event and the acoustics of the venue.
I don’t show everything. I show what best speaks to how I work.
Live sound
A musical production with a full vocal cast and orchestra. Balancing Broadway energy with clarity of the lyrics.
Sound layer
A musical classic — miking the cast, blending the stage with the orchestra pit.
Live sound
Offenbach’s operetta: sound at the meeting point of opera and theatre, demanding lightness and precision.
Sound
Verismo on stage — the natural quality of operatic voices in a theatre space.
Sound design — from concept to premiere
Co-creating the production’s sound layer from the ground up.
Technical direction
Years of responsibility for the technical side of a festival hosting leading Polish and international jazz artists.
Technical direction
A festival of experimental music and sound art — productions requiring unconventional solutions and absolute sonic sensitivity.
Album co-production
Work on the sound from capture to the final shape of the material. The album received a Fryderyk Award.
A full list of work and references is available on request.
Repertoire, line-up, space, expectations. I ask about the music, not just the stagebox inputs.
Sonic concept, technical plan, riders, communication with the crew, artists and venue. Everything settled before the first case rolls in.
Calm, punctuality, clear communication. The artists hear themselves on stage, the audience hears the music — I build the sound in that order.
Responsibility to the end: documentation, recorded materials, conclusions for future editions.
Jakub hears the score before the orchestra plays the first bar. After years of working together I know one thing: when he is at the console, I can think only about the performance.
The first engineer who asked me about phrasing at rehearsal, not about volume. On stage I heard exactly what I needed — without a single tense conversation.
At a festival with a dozen-plus bands over three days, calm is the most valuable thing. Jakub took over the entire technical side and we simply stopped thinking about it.
Szczecin is the base, but I take projects all over Poland and, with enough notice, abroad as well.
Depending on the scale of the project I work on the venue’s systems, gear from partner rental companies or my own. The choice of technology always follows the needs of the music, not the other way around.
I plan the artistic season a few months ahead, but it’s worth writing even on short notice — sometimes the calendar allows it.
Yes — galas, corporate concerts and institutional events where the organiser wants audio at concert-hall level.
Yes. Live recording and studio sessions are a separate, full-fledged service.
Yes. I make the L-Acoustics A10 system with KS21 subwoofers available for partner productions — with or without an engineer. Send me the date and venue and I’ll check availability.
Write a few sentences about the event or recording — I usually reply within 24 working hours.