Recording January 2022 - 62

different in the different things. Also, video
games are entirely different too.
Continued from page 61
tures, indie films, episodic TV, all the stuff-how
different is the job description and work flow from,
let's say, a big-budget feature to episodic drama?
How do they vary?
Well, first the basic nature of the job for me from
my perspective is the same on all projects: It's to
serve the project, and to serve what's going to
tell this story the best. So that's always the underlying
job for me. But it's the way the job pans out;
the workload is entirely different. I haven't done a
lot of television until recently, and then I did two
jobs right at the same time, which was Little Fires
Everywhere and Mrs. America, which were both
very music-driven.
They're not doing these little movies every week.
You know, you could be working on a movie for
years. If I'm working on a Quentin movie, it
could be two years. So, you've got a lot of time to
" When we get something from TAXI,
we know that it's good, it's clearable,
and we can do it right away. I can't
say enough about how important
that is. "
-Mary Ramos
really grow ideas and really work with the
director.
Sometimes in television you don't get that luxury,
so it really calls for you to be on your toes. It
really calls for you to have an arsenal of music,
you know, because oftentimes in television, budget
comes into play. So, it calls for you to have... I
call it an arsenal, and that's a bad way of putting
it. But having a bunch of music that you know is
easily shareable, that's really good, and that you
can put in without any hassles at the last minute,
and you know what it's gonna cost, and you
know you're going to be able to get it signed off
on right away. Those are absolutely essential,
and that's what has been really fun about working
in television. Because in film you don't get a
lot of opportunities to use up-and-coming
artists.
But in television, because it's so voracious, and
because there are oftentimes scenes that take
place in a bar, and what bar do you know that
doesn't have music playing? Even sports bars,
even if the TV is on, there's music playing. So
you really need to be able to have great music at
the ready, and that's what's great about what you
guys do. When we get something from TAXI, we
know that it's good, it's clearable, and we can do
it right away. I can't say enough about how
important that is. So anyway, the workflow is
62 RECORDING January 2022
Yeah, I don't know enough about video games. But
I've had Inon Zur on panels with me before, and it's
a whole different world. And the scoring and making
all the different... You know like if the
character goes left, it's this; if the character opens
the door, it's that cue. It's like who could keep track
of all that stuff?
Well, one thing I'll tell you is that one thing in
video games that might be of use to artists that
might be listening. I did a video game called
Voicemail 3. They had a need of songs that fit the
world of the game, but they also had a need of
not using copyrights because of wanting their
users to be able to put their videos of themselves
playing the game up on Twitch and the various
streaming services, and they didn't want their
videos to be taken down, because that's a major
way of getting word out about the game. So, one
thing that I kind of suggested was-this world
has sort of a mythology to it-so I suggested
let's do psychobilly covers of public-domain
songs. So that was a really great opportunity to
work with some up-and-coming artists who create
these covers. It's not a publishing thing, but
it is an opportunity to do a cover of something
and have it get used in a video game. It was an
interesting clearance thing to work on. It's a
whole other world that I wasn't used to.
A lot of people think that music supervisors are like
A&R people. They sit around with their feet up on
the desk, doing bong hits, listening to music and
going, " Oh, man, I love this. I've got to put it in a
movie; I've got to put it in a TV show. " But really,
the music supervisor is suggesting options more
than making the final decisions. Who do you present
those options to in each scenario that makes
the final decision on which music gets used?
We're like casting directors in a way, for songs as
well as composers. For instance, when I come on
a project, I like to meet with the director or the
showrunner. And I will have read the script and
have an idea when I come in and will talk about
their goals and dreams, their adjectives for the
show or what they want it to be, and we'll come
up with a concept for [the music in] it. But I can
really suggest something-and I have, I'm very
opinionated-but at the end of the day, it's
really not my decision. It's a collaborative
medium, but in film the director has the final
say, and in television it's the showrunner.
Is it torturous for you when you know something
works better in a scene than what is going to go in
there, and you fight the good fight, but at the end
they choose the wrong thing?
Yeah. Yes, it drives me crazy. Because when you
hire a music supervisor, you're hiring a specialist,
right? I'm a specialist. I've had 30 years of
experience in what I do, and I'm not just choosing
a song because I like it; I'm choosing it
because it fits the character, it does what it needs
to do to the scene, it fits the [time] period, it
doesn't throw the story out of whack because it's
from a different time period or it doesn't fit the
character. Those are all these things; you hire me
because you don't have to think about those
things. It's my job to think about those things
and present you things that are working within
the world you want to create.
Everybody has music that they love. Music
belongs to everyone. Everyone has their
favorites, and everyone has their playlists. What
music supervisors do is always tied to what's
gonna make the story better? What's gonna
make this story work? What's gonna make the
film work the best? So yeah, when I suggest
something, there's a whole reason behind it.
Because I've tried a hundred things to picture,
and this one actually makes her look brighter,
him look... And finally, when it's not chosen for
whatever reason, I'm sad.
When you work on a film not with Quentin, is a big
part of your job translating the director's description
of what he or she needs into a brief that
people will send the right music in for?
Yes, absolutely. Yes. And a brief has to be... My
briefs are pretty wordy. I like to be very specific
about what I'm looking for, so I tend to give
examples, but not too many examples, because I
don't want people to replicate. I want to give
them descriptors. Oftentimes I'm working with
directors or showrunners who aren't musicians,
who aren't musical, so they don't know how to
articulate what they're looking for. I work with
music editors to create a temp score and temp
tracks to help create something for a map to give
" We're like casting directors in a
way, for songs as well as
composers. "
-Mary Ramos
directors the words and the tools to describe
what they like. " I like that instrumentation.
What's that instrument? I like the way this
makes me feel here. It's the tempo, it's the
mood, " you know?
When I come on a project, I'll spot the picture
for song cues and for score cues. And those sessions
can last hours upon hours, because that's
where it's a really good chance for the director
and the showrunner to articulate what they want
here and what they want there. I always try and
get them talking; every adjective that they give I
think is helpful for an artist or a composer to
help home in on what they're looking for.
We all know the phrase " temp love. " How much is
going on in your head when you're spotting and
putting in temp music, thinking, " Oh, this is so
good, but I know if I temp it, they're gonna fall in
Continued on page 65

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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