Recording - October 2021 - 66

Continued from page 65
the director and say, " I found you the perfect
guy. " The same thing is absolutely applicable to
music, and I don't know why it's so hard for
musicians to understand that it's not about the
best actor, it's about the right actor.
I do understand why, and it's desperation.
And this year it might be even harder on people,
because of the craziness of this year.
We're all feeling a little bit desperate. But that
goes for any year. You have to believe that
what you have is great. So, I understand it. I
do take the weight of what I do also, that I feel
like I can affect someone's life by saying yes.
Yeah, I understand that.
And you can crush them by saying, " no. "
Well, what I would hope that people would
know is that if you're in this for the long
game, not for the quick hit, don't be crushed
" So, the yes can change your mind
and change your life. It may not be a
big change, it might be a tiny change,
but it's a step. Don't let a no change
your life, because you're in the same
place as you were the day before. "
-Mason Cooper
by no. Yes is gonna change your life; no doesn't,
because you're in the same place that you
were the day before, right?
Great perspective.
We've all heard the clichés of, if you don't get
up to bat, you can't get a hit. You might strike
out, but if you don't get up to bat, you're
guaranteed not to get the hit. So, take your
time; don't get frustrated. It's about building
relationships and building an understanding
about things. Everybody that's watching this
right now, is one tiny step ahead of the people
who aren't watching this. Because I might
say one thing that just makes them have
insight, which makes them go, " Okay, it's
okay that I'm doing this. "
So, the yes can change your mind and change
your life. It may not be a big change, it might
be a tiny change, but it's a step. Don't let a no
change your life, because you're in the same
place as you were the day before. Keep writing
another song. Always write another song. I've
heard this about screenwriters and all of that:
If you write a song, you're not a songwriter,
you wrote a song. If you write two songs,
you're becoming a songwriter. And as you start
to write more songs... Because if you write
one, you've written a song; you are not a song66
RECORDING October 2021
writer. The more you do it, now you can say
you're a songwriter. I do this; this is what I
do. You are also adding numbers in your
favor. Ralph Murphy used to say, " I've got to
write a hundred songs to make sure I have 10
good ones, so hopefully one is a hit. "
Let's go back to the process. So now you've [the
music supervisor] got your basket of music;
you've gotten the mandate from the Executive
Producer; you've selected stuff that you think is
going to work based on what you know about
the upcoming episode for next week. What day
of the week is it when you turn it in? Let's say
the show airs every Monday, so now you are
working late into the night on this Sunday night
preparing music for the following Monday, not
the one that is the day after today, but like a
week down the road or two weeks down the
road. What's the timeline on your prep window?
This is a little bit different than it used to be.
If you talk to people like Kevin Edelman, or
some others that do network traditional television,
and right now with all the
binge-watching, we're doing 10-episode arcs
very often, almost like a film. They will shoot
all 10 episodes; then they'll have one or two
editors editing teams do every other episode.
And I work with them, but we're not broadcasting
any of them until they're going to post
at some point later. So, it's a little bit different
from the traditional...
And it could be that all 10 go up at the same
time and they don't drip-feed them, right?
Correct. So, we have time to just go through
them. Now, on my side, it will lock, because
the process of television is that you have a
studio involved, more so even than on film,
where you have the studio brass and the suits
that want to check and see the editor's cut,
the director's cut, and then the director goes
away. Then, the showrunner (executive producer)
comes in and says, " Whatever you
directed, this is what the story is, and I'll correct
it. Then the cut goes to the studio, the
studio gives notes and then they argue back
and forth. " It's my show; I'm the
showrunner. " " Yes, but we're not going to
broadcast it unless you listen to our notes. "
And that goes on.
What I try to do is avoid putting too much
music in beyond 10 episodes. I won't clear
songs fully on until I know it's gone at least to
the broadcast studio side for notes just in case
they say they want to cut that scene, or that
they want a diametrically different sound, or
else we just wasted time. But once it gets
pretty close, then we have about a week or
two that we'll just work it to just find it and
lock it.
I tend to be a music supervisor that also oversees
composers, and I'll work with the
composer, because I love when score songs
work seamlessly together. Now, musically, I
mean, it's storylines; the storyline will work
accomplishing the same thing.
So, the schedule isn't as hectic as if you were
doing it for traditional TV. That does happen
when you're doing episodic TV for ABC, CBS,
NBC... the broadcast networks. There was,
however, a series I did for AT&T. They moved
up the broadcast [date], and it was the first
season of the show, and it just... All of a sudden,
we were chasing our tail because we were
broadcasting Monday, whether it was finished
or not!
So yes, I would have the week. I would get it
on a Monday or Tuesday... And now, with
television again-other than the unique
scene-you just put its source music in. For
those who don't know what source music is;
it's what comes from a source [in the scene],
like a stereo or a car radio, or if they're at a
nightclub or a diner with a little overhead
speaker-whatever the source is. I'll know
[what those scenes and locations and settings
are] pretty much ahead of time, so that's what
I'll work up first, and just put the settings
in-the car, the house, whatever it is.
So, through the week I have to find that other
song [for a particular scene]. When I did the
" One thing I had to keep in mind was
the sonics of the song... where it is
going to distract from the scene. "
-Mason Cooper
series Rogue, which lasted about five seasons...
It's on Direct TV's Audience Network; now it's
on Netflix a lot around the world. It's a great
series... a big drama series. We also had a different
end-credit song every single week.
There were times when we were right up
against the broadcast date without a song.
But I came up against a studio executive that
just knew exactly what he wanted-better
[music] for less [money].
Of course, that was the direction. It was me
working with the showrunner, and we decided
on a method that whatever the last scene is,
we didn't want to break the mood. So, basically,
in the end credits you want to be able to
keep the mood. You don't want to break the
mood with a standard end-credit song that is
the same every week. This was a cliffhanger
every episode, whether it was love or a thriller
or a killing or suspense, you just wanted to
stick with that mood. But that would run up
against deadlines sometimes, so it could be
really challenging.
Continued on page 69

Recording - October 2021

Table of Contents for the Digital Edition of Recording - October 2021

Fade In
Tech 21: Bass Fly Rig v2
A Family of Microphones Compared: The Shure Unidyne... or, The SM57 & Friends
Soundware Showcase: Spitfire Audio Originals Jangle Box Piano
Closer to GWAR: Recording and remixing the masters of the Slave Pit, with Ronan Chris Murphy, Pustulus Maximus and the Berserker Blöthar
Zeppelin Design Labs: Cortado MkIII Contact Microphone
Session Log: The AngelHeaded Hipster, Part 10: Bass and Percussion
Plugin Outlet: Slate Digital FG-2A and Custom Opto
Morton Microphones: KickTone Microphone
Inside the Studio with Mark Hornsby: Nothing but the Mic
L-Acoustics: L-ISA Studio
KEMPER: PROFILER Head
Inside the Box with Joe Albano: Compression in the Box
Teegarden Audio: PPC-125 MD Condenser Microphone
Hit’n’Mix: RipX DeepAudio
Thirty-Five Years of RECORDING
Fade Out: The Right Mic for You!
Recording - October 2021 - Intro
Recording - October 2021 - Cover1
Recording - October 2021 - Cover2
Recording - October 2021 - 1
Recording - October 2021 - 2
Recording - October 2021 - 3
Recording - October 2021 - 4
Recording - October 2021 - 5
Recording - October 2021 - Fade In
Recording - October 2021 - 7
Recording - October 2021 - 8
Recording - October 2021 - 9
Recording - October 2021 - Tech 21: Bass Fly Rig v2
Recording - October 2021 - 11
Recording - October 2021 - A Family of Microphones Compared: The Shure Unidyne... or, The SM57 & Friends
Recording - October 2021 - 13
Recording - October 2021 - 14
Recording - October 2021 - 15
Recording - October 2021 - 16
Recording - October 2021 - 17
Recording - October 2021 - 18
Recording - October 2021 - 19
Recording - October 2021 - 20
Recording - October 2021 - 21
Recording - October 2021 - Soundware Showcase: Spitfire Audio Originals Jangle Box Piano
Recording - October 2021 - 23
Recording - October 2021 - Closer to GWAR: Recording and remixing the masters of the Slave Pit, with Ronan Chris Murphy, Pustulus Maximus and the Berserker Blöthar
Recording - October 2021 - 25
Recording - October 2021 - 26
Recording - October 2021 - 27
Recording - October 2021 - 28
Recording - October 2021 - 29
Recording - October 2021 - 30
Recording - October 2021 - 31
Recording - October 2021 - 32
Recording - October 2021 - 33
Recording - October 2021 - Zeppelin Design Labs: Cortado MkIII Contact Microphone
Recording - October 2021 - 35
Recording - October 2021 - Session Log: The AngelHeaded Hipster, Part 10: Bass and Percussion
Recording - October 2021 - 37
Recording - October 2021 - 38
Recording - October 2021 - 39
Recording - October 2021 - Plugin Outlet: Slate Digital FG-2A and Custom Opto
Recording - October 2021 - 41
Recording - October 2021 - Morton Microphones: KickTone Microphone
Recording - October 2021 - 43
Recording - October 2021 - Inside the Studio with Mark Hornsby: Nothing but the Mic
Recording - October 2021 - 45
Recording - October 2021 - 46
Recording - October 2021 - 47
Recording - October 2021 - L-Acoustics: L-ISA Studio
Recording - October 2021 - 49
Recording - October 2021 - KEMPER: PROFILER Head
Recording - October 2021 - 51
Recording - October 2021 - 52
Recording - October 2021 - 53
Recording - October 2021 - Inside the Box with Joe Albano: Compression in the Box
Recording - October 2021 - 55
Recording - October 2021 - 56
Recording - October 2021 - 57
Recording - October 2021 - Teegarden Audio: PPC-125 MD Condenser Microphone
Recording - October 2021 - 59
Recording - October 2021 - Hit’n’Mix: RipX DeepAudio
Recording - October 2021 - 61
Recording - October 2021 - Thirty-Five Years of RECORDING
Recording - October 2021 - 63
Recording - October 2021 - 64
Recording - October 2021 - 65
Recording - October 2021 - 66
Recording - October 2021 - 67
Recording - October 2021 - 68
Recording - October 2021 - 69
Recording - October 2021 - 70
Recording - October 2021 - 71
Recording - October 2021 - Fade Out: The Right Mic for You!
Recording - October 2021 - Cover3
Recording - October 2021 - Cover4
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