Recording January 2022 - 61

JANU ARY 2022
TAXI Road Rally 2021
Mary Ramos, Music Supervisor
Keynote Interview at TAXI's 25th Annual Road Rally
Interviewed by Michael Laskow
Ladies and gentlemen, Mary Ramos. Good morning,
Mary. How are you?
I'm good, thanks. How are you?
Good! Good to talk to you again twice in a 10- or 12hour
period. I'm really excited to have you here and
thank you for doing this. I know your schedule is
insanely busy all the time, and I want to mention
at the top of the interview that Mary has got to
duck out at 10:15 because she's got to go to a spotting
session, and she's already pushing it a little bit.
I want to give you a little background on Mary.
She's an award-winning music supervisor who has
helped create the musical identity for over 100
films in nearly 30 years. She's helped to shape the
music for blockbuster features, award-winning
independents, passionate documentaries, episodic
TV, commercials, and video games as well. She's
worked on Grammy-nominated soundtracks and
won two Guild of Music Supervisors' awards for
Django Unchained and The Hateful Eight. And while
she might be best known for her work with Quentin
Tarantino, what makes Mary fascinating to us is the
wide range of projects that she's worked on, including
one of my all-time favorites, Happy Gilmore,
Bride of Chucky, South Park, Chef, Kill Bill: Volumes
One and Two, Mrs. America, which had an Emmynominated
score, Little Fires Everywhere, which also
had an Emmy-nominated score, Wu-Tang: American
Saga Season 2, Wasteland 3, which is a video game,
and Stillwater, which was just out like a month or
two ago.
So welcome, Mary. It's really, really good having
you here.
Thank you. Thanks for having me. I can't believe
you've been doing this for 25 years and I haven't
done one yet.
I couldn't find any documentation, but I swear we
had you and one other supervisor like 23 years ago.
I think it was our second year that we did this. And I
just remember the two of you really hit it off on the
Michael Laskow and Mary Ramos during TAXI's Virtual Road Rally
panel, and you guys were like a little silly, but
really informative, and everybody in the room
loved it. So I've always had it in the back of my
mind to bring you back. But I went to look for the
documentation of that year, and because it was 23
years ago, I couldn't find anything. So maybe I'm
hallucinating, but I'm pretty sure I'm right.
Anyway, you work on so many different things.
Everybody says, " Oh, she's Quentin Tarantino's
music supervisor, " but you are much more-you are
a consummate music supervisor. And I have music
supervisor friends that just do reality TV or just do
episodic dramas. They tend to kind of do one thing
a lot, and you've done pretty much everything.
I want our audience to think about sync from the
perspective of the end users. I know it's very easy
for music creators to just think of " It's my song, it's
my baby, I created it. " But they really need to see it
from the other side of the fence as well, because I
believe that that will help them create music that's
more " sync-able. "
So, let's jump right in. What is music's job when it's
married to picture?
Ah, that's a really great question. And music in
general adds a personality to an entire project. It
can warm up the scene; it can deflate some
clunky acting. I mean, it can do a lot in postproduction,
and it's been a very interesting part
of my job to kind of come in and see how we
can smooth things out and add something here.
I mean, the script is one thing, but once you see
what has been shot, it could need a whole different
style of music to really work with what they
shot. It's one thing on a page, and you can say,
" Oh, this is all going to be hair-band rock. " But
when you see what they shot, it's like, " Oh, this
is bossa nova. " It really takes being keen on
what the actual work is, what the actual job is,
what the actual needs are on a project. Does
that answer your question? I kind of went all
over the place.
Yeah, it does. Because you hit on maybe the most
important point of this entire interview already,
which is that you never really know until you
know.
By virtue of the fact that you've worked on all
these different types of projects-big-budget feaContinued
on page 62
RECORDING January 2022 61

Recording January 2022

Table of Contents for the Digital Edition of Recording January 2022

Fade In
Fast Forward
Soundware Showcase: Toontrack Fields of Rock SDX
A Family of Microphones Compared: The AKG P Series
Austrian Audio CC8
Stewart Copeland: Don’t kill the talent with the technology…
Akai MPC Studio Controller and MPC 2 Software
Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Inside the Box with Joe Albano: Drum Plugins and Processing
Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Plugin Outlet: PSP Audioware Saturator
Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Soundware Showcase: Spitfire Audio Hammers
API Select T12 Tube Mic Preamp
Session Log: Frank Kimbrough tribute recording session
Audio-Technica AT2040
Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Readers' Tracks
sE Electronics V Pack Arena Drum Microphone Package
Plugin Outlet: BABY Audio TAIP
Fade Out: Both Sides of the Glass Things
Recording January 2022 - Intro
Recording January 2022 - Cover1
Recording January 2022 - Cover2
Recording January 2022 - 1
Recording January 2022 - 2
Recording January 2022 - 3
Recording January 2022 - Fade In
Recording January 2022 - 5
Recording January 2022 - 6
Recording January 2022 - 7
Recording January 2022 - Fast Forward
Recording January 2022 - 9
Recording January 2022 - Soundware Showcase: Toontrack Fields of Rock SDX
Recording January 2022 - 11
Recording January 2022 - 12
Recording January 2022 - 13
Recording January 2022 - A Family of Microphones Compared: The AKG P Series
Recording January 2022 - 15
Recording January 2022 - 16
Recording January 2022 - 17
Recording January 2022 - 18
Recording January 2022 - 19
Recording January 2022 - 20
Recording January 2022 - 21
Recording January 2022 - 22
Recording January 2022 - 23
Recording January 2022 - Austrian Audio CC8
Recording January 2022 - 25
Recording January 2022 - Stewart Copeland: Don’t kill the talent with the technology…
Recording January 2022 - 27
Recording January 2022 - 28
Recording January 2022 - 29
Recording January 2022 - 30
Recording January 2022 - 31
Recording January 2022 - 32
Recording January 2022 - 33
Recording January 2022 - Akai MPC Studio Controller and MPC 2 Software
Recording January 2022 - 35
Recording January 2022 - Soundware Showcase: Boz Digital Labs Claps, Stomps and Snaps Bundle
Recording January 2022 - 37
Recording January 2022 - Inside the Box with Joe Albano: Drum Plugins and Processing
Recording January 2022 - 39
Recording January 2022 - 40
Recording January 2022 - 41
Recording January 2022 - Avantone Pro: Gauss 7 Two-way Powered Reference Monitor
Recording January 2022 - 43
Recording January 2022 - Plugin Outlet: PSP Audioware Saturator
Recording January 2022 - 45
Recording January 2022 - Inside the Studio with Mark Hornsby: The Memphis Drum Sound
Recording January 2022 - 47
Recording January 2022 - Soundware Showcase: Spitfire Audio Hammers
Recording January 2022 - 49
Recording January 2022 - API Select T12 Tube Mic Preamp
Recording January 2022 - 51
Recording January 2022 - Session Log: Frank Kimbrough tribute recording session
Recording January 2022 - 53
Recording January 2022 - 54
Recording January 2022 - 55
Recording January 2022 - Audio-Technica AT2040
Recording January 2022 - 57
Recording January 2022 - Plugin Outlet: IK Multimedia T-RackS TASCAM Tape Collection
Recording January 2022 - 59
Recording January 2022 - Readers' Tracks
Recording January 2022 - 61
Recording January 2022 - 62
Recording January 2022 - 63
Recording January 2022 - 64
Recording January 2022 - 65
Recording January 2022 - sE Electronics V Pack Arena Drum Microphone Package
Recording January 2022 - 67
Recording January 2022 - Plugin Outlet: BABY Audio TAIP
Recording January 2022 - 69
Recording January 2022 - 70
Recording January 2022 - 71
Recording January 2022 - Fade Out: Both Sides of the Glass Things
Recording January 2022 - Cover3
Recording January 2022 - Cover4
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