Last week, I introduced you to your indispensable musical colleagues in the realization of your score (“Who’s On Your Team?” June 19, 2007). In future columns, I’ll take a closer look at each, both from the standpoint of hiring each and successfully doing the job(s) yourself. In response to one of your emails, the reason I omitted the jobs of music editor and recording engineer was that, while they can be done by a “lone ranger” composer, they are certainly the last to be done by a composer in an ensemble recording situation. The music editor; who is chosen by and technically assists, the director; translates his precise musical timing decisions to the composer. The engineer, conversely, may be hired by the composer, but really affects not the performance, but the audio and editing of the performance, which is a whole different aesthetic and technical posture, best left to another while you concentrate on “music.”
Thanks for your interest in The Chart Doctor. The full text of this article is now available in the updated and expanded eBook “The Chart Doctor: Volume 1″ available from The Film Music Store.
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