Recording - February 2013 - 57

FEBRUARY 2013 TAXI Road Rally 2011

Meet the Houlihans, Part 2
Moderated by Michael Laskow
John Houlihan – Music Supervisor and Composer Kevin Houlihan – Composer, Songwriter, Music Supervisor and Coordinator Julie Glaze Houlihan – Music Supervisor, Music Editor Patrick Houlihan – Composer, Music Supervisor, and V.P. of Music at Fox Films It’s really rare to find a family where most of its members are in the music for Film and TV end of the business. The Houlihans are just such a family, and they share their wisdom in this interview from the 2011 TAXI Road Rally. Kevin, as part of our A&R team, you get very handson with TAXI members’ music. Can you tell the audience what metadata is, and why it’s important for them to do it, and get it right? Kevin: It’s basically the tagging of the song once you put it into the digital realm. It includes song titles, the artist’s name, genre; things like contact information. And it’s not always is a standard format. Everybody would think it’s pretty straightforward, but we do get a lot of material that we forward to companies, and it’s missing certain elements that can really get in the way and blow a deal for somebody—especially in the TV world where things happen at an extremely fast pace. If you don’t have an artist’s name [in the digital file], you don’t know who to contact to license it. And if you’ve got five other songs waiting in the wings, and that song, even though it’s the best one for that opportunity, is out the window. So it’s definitely important. A lot of people will send in songs with fragmented titles that say things like, Rough Mix 1. Just stick to the song’s title, the artist’s name, and contact information at the very least, so when we get it into our system, we have everything we need to work with. Just yesterday a friend of mine called me… I was at a conference, and they gave me a memory stick of the new catalog they represent. So they

The Royal Family of music supervisors? John, Julie, a cardboard cutout of Patrick, and Kevin Houlihan pose for a shot after their panel at the 2011 TAXI Road Rally. Patrick was on a family vacation, so he joined the panel via telephone from Martha’s Vineyard, and we used the cardboard cutout to fill his seat on the panel.

called and asked, “Did you listen to that thing?” And I said, “No, but it’s right here.” She said, “Can you tell me, is there metadata on those WAV files?” So I popped it in, and there wasn’t any metadata. It was just the song title, everything else was blank.” “Darn!” Another supervisor told her that she refused to even listen to it and pop it in her computer until it’s redone and sent back with all the metadata. She doesn’t even want to listen. So it’s not thrown out the window. It never gets in the window because it didn’t have good metadata on it! Julie: There are some supervisors who feel very strongly about that. I’ve been on panels… and I’ve heard people say that if they put it in there and you can’t read the information all the way across or there’s no information, they won’t bother even listening. You don’t know when you’re going to use the song. I have this happen all the time. Even CDs, they don’t sticker it when they send it to you. They might send a letter, but I can guarantee you we are not keeping your letter. The letter is going

right in the trash. Put it right on the CD or right in the metadata, because we can’t keep up with all that stuff. I see people that put it on the disc, but then you shove the CD in the player and you have to pull it back out again to see the track list or the contact info. So put it on the CD and on the sleeve or the tray card both! John: I’m not the best myself at opening mail and packages. It always gets stacked up, and I have to deal with a very large volume of it. And we have three boys, and the older two boys I hire for illegal wages to help me open mail. When I taught them the very first time, I said, “OK, you rip it open here and here. And all that paper and those four-color pictures, just take that and put it in the trash, and let’s look at what kind of music it is on the CD, and let’s make a pile.” I heard some oohs and aahs. Tell everybody why you don’t have time to read their life story and look at the color pictures. [laughter] You know what I’d like, though? I’d like to read Continued on page 58
57



Table of Contents for the Digital Edition of Recording - February 2013

Recording - February 2013
Fade In.
Contents
Talkback.
Fast Forward.
The Production Of Clare Fischer’s CD ¡Ritmo!
Big Money Drums.
Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Sonodyne SM200Ak Studio Monitors.
AKG D12 VR Reference Kick Drum Microphone.
Shure KSM9HS.
Radial Engineering Firefly Tube DI.
Audio-Technica AT4047MP.
Zoom Q2HD Handy Video Recorder.
iOS Music Tools: Take Control!
Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
DPA Microphones Reference Standard Mics.
Sony Creative Software Sound Forge Pro Mac.
Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Readers’ Tapes.
Miking An Orchestra—Rock Band And Symphony.
Stereo From A Mono Mic.
Advertiser Index.
Fade Out.
Recording - February 2013 - Recording - February 2013
Recording - February 2013 - Cover2
Recording - February 2013 - 1
Recording - February 2013 - 2
Recording - February 2013 - 3
Recording - February 2013 - Fade In.
Recording - February 2013 - 5
Recording - February 2013 - Contents
Recording - February 2013 - 7
Recording - February 2013 - Talkback.
Recording - February 2013 - 9
Recording - February 2013 - Fast Forward.
Recording - February 2013 - 11
Recording - February 2013 - 12
Recording - February 2013 - 13
Recording - February 2013 - The Production Of Clare Fischer’s CD ¡Ritmo!
Recording - February 2013 - 15
Recording - February 2013 - 16
Recording - February 2013 - 17
Recording - February 2013 - 18
Recording - February 2013 - 19
Recording - February 2013 - Big Money Drums.
Recording - February 2013 - 21
Recording - February 2013 - 22
Recording - February 2013 - 23
Recording - February 2013 - 24
Recording - February 2013 - 25
Recording - February 2013 - Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Recording - February 2013 - 27
Recording - February 2013 - 28
Recording - February 2013 - 29
Recording - February 2013 - Sonodyne SM200Ak Studio Monitors.
Recording - February 2013 - 31
Recording - February 2013 - AKG D12 VR Reference Kick Drum Microphone.
Recording - February 2013 - 33
Recording - February 2013 - 34
Recording - February 2013 - 35
Recording - February 2013 - Shure KSM9HS.
Recording - February 2013 - 37
Recording - February 2013 - Radial Engineering Firefly Tube DI.
Recording - February 2013 - 39
Recording - February 2013 - Audio-Technica AT4047MP.
Recording - February 2013 - 41
Recording - February 2013 - Zoom Q2HD Handy Video Recorder.
Recording - February 2013 - 43
Recording - February 2013 - iOS Music Tools: Take Control!
Recording - February 2013 - 45
Recording - February 2013 - 46
Recording - February 2013 - 47
Recording - February 2013 - Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
Recording - February 2013 - 49
Recording - February 2013 - DPA Microphones Reference Standard Mics.
Recording - February 2013 - 51
Recording - February 2013 - Sony Creative Software Sound Forge Pro Mac.
Recording - February 2013 - 53
Recording - February 2013 - Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Recording - February 2013 - 55
Recording - February 2013 - Readers’ Tapes.
Recording - February 2013 - 57
Recording - February 2013 - 58
Recording - February 2013 - 59
Recording - February 2013 - 60
Recording - February 2013 - 61
Recording - February 2013 - Miking An Orchestra—Rock Band And Symphony.
Recording - February 2013 - 63
Recording - February 2013 - 64
Recording - February 2013 - 65
Recording - February 2013 - 66
Recording - February 2013 - 67
Recording - February 2013 - 68
Recording - February 2013 - 69
Recording - February 2013 - Stereo From A Mono Mic.
Recording - February 2013 - 71
Recording - February 2013 - 72
Recording - February 2013 - Advertiser Index.
Recording - February 2013 - 74
Recording - February 2013 - 75
Recording - February 2013 - 76
Recording - February 2013 - 77
Recording - February 2013 - 78
Recording - February 2013 - 79
Recording - February 2013 - Fade Out.
Recording - February 2013 - Cover3
Recording - February 2013 - Cover4
http://www.nxtbook.com/musicmaker/musicmaker/recording_202002
http://www.nxtbook.com/musicmaker/musicmaker/recording_202001
http://www.nxtbook.com/musicmaker/musicmaker/recording_201912
http://www.nxtbook.com/musicmaker/musicmaker/recording_201911
http://www.nxtbook.com/musicmaker/musicmaker/recording_201910
http://www.nxtbook.com/musicmaker/musicmaker/recording_201909
http://www.nxtbook.com/musicmaker/musicmaker/recording_201908
http://www.nxtbook.com/musicmaker/musicmaker/recording_201907
http://www.nxtbook.com/musicmaker/musicmaker/recording_201906
http://www.nxtbook.com/musicmaker/musicmaker/recording_201905
http://www.nxtbook.com/musicmaker/musicmaker/recording_201904
http://www.nxtbook.com/musicmaker/musicmaker/recording_201903
http://www.nxtbook.com/musicmaker/musicmaker/recording_201902
http://www.nxtbook.com/musicmaker/musicmaker/recording_201901
http://www.nxtbook.com/musicmaker/musicmaker/recording_201812
http://www.nxtbook.com/musicmaker/musicmaker/recording_201811
http://www.nxtbook.com/musicmaker/musicmaker/recording_201810
http://www.nxtbook.com/musicmaker/musicmaker/recording_201809
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201808
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201807
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201806
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201805
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201804
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201803
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201802
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201801
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201712
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201711
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201710
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201709
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201708
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201707
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201706
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201705
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201704
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201703
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201702
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201701
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201612
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201611
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201610
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201609
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201608
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201607
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201606
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201605
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201604
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201603
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201602
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201601
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201512
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201511
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201510
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201509
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201508
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201507
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201506
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201505
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201504
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201503
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201502
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201501
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201412
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201411
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201410
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201409
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201408
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201407
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201406
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201405
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201404
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201403
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201402
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201401
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201312
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201311
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201310
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201309
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201308
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201307
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201306
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201305
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201304
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201303
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201302
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201301
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201212
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201211
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201210
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201209
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201208
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201207
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201206
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201205
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201204
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201203
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201202
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201201
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201112
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201111
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201110
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201109
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201108
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201107
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201106
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201105
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201104
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201103
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201102
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201101
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201012
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201011
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201010
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201009
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201008
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201007
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201006
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201005
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201004
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201003
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201002
http://www.nxtbook.com/nxtbooks/musicmaker/recording_201001
http://www.nxtbook.com/nxtbooks/musicmaker/recording_200912
http://www.nxtbook.com/nxtbooks/musicmaker/recording_200911
http://www.nxtbook.com/nxtbooks/musicmaker/recording_200910
http://www.nxtbook.com/nxtbooks/musicmaker/nxtd
http://www.nxtbookMEDIA.com