RECORDING July 2022 - 64
Continued from page 63
number on this show, which episode, blah, blah,
blah. And that's how the musicians or the
creators ultimately get paid. Is it more often the
editor that is filling out the cue sheet, or an
assistant editor? Who does that?
Well, actually this would probably be a better
question for my husband, because editors typically
don't. It would probably be your
post-supervisor or your post-coordinator who
is working on that.
Wow. I know this isn't your area of expertise; I'm
tempted to say, " Go grab you husband. " I'm sure
he doesn't have his hair done and makeup hasn't
been done either. But he's probably not wearing
yellow, so we can't have him on today's show.
(laughter)
I'm trying to imagine if they use some sort of
audio-fingerprinting identification. How do they
know that it's this piece of music? I'm going to
have to interview your husband at some point,
now. How is he on camera? Is he equally as good?
Check in with us next year, next conference.
Anything that I didn't think to ask you that
you've mentioned in previous Rally sessions?
Because I think you're a cut above as far as editors
go. You explain it so well. So please feel free
to add whatever.
You're too kind. One thing that I was thinking
about as I was preparing for this is, is that as
" I also think that cues that use instruments
that sound dated are difficult,
because then the show is going to
sound exactly like every other show
from 10 years ago. "
-Laurel Ostrander
I'm listening to a cue, what will make me never
ever want to work with it, or never choose it,
which I think can be helpful to talk about.
We'd love to hear that!
If a cue doesn't have a sting at the end, then
that means that would be extra work for me to
go in and then create something. You know,
I've got to find my own drumbeat or my own
cymbal or my own sting, and that's too much
time that I don't have. So, if a cue doesn't have
a sting, then I'm probably not going to use it.
If a cue is the same four measures just repeating
for two minutes, then I'm not going to be
able to use it, because it's not dynamic and it'll
feel kind of boring as you're listening to it and
it doesn't really go anywhere. If the key
changes halfway through the cue, it's the
64 RECORDING July 2022
worst, because you'll be editing
along thinking, " OK, this cue is
great, it's exactly the mood that I
want and exactly the right tempo
and right attitude, and I'm going to
go put an explanation point at the
end of my sentence. " But, oh my
God, [part of] it's in a totally different
key, and it sounds like a
completely different song, so I
can't use it. And I've had that happen
multiple times, and it's so
frustrating. Then I've got to go
back and strip it out and redo all
this work that I've just done.
Laurel Ostrander at a previous TAXI Road Rally.
I also think that cues that use instruments that
sound dated are difficult, because then the
show is going to sound exactly like every other
show from 10 years ago, and we'll get a note
from the network that we need to update it.
Oftentimes I'm looking for cues that aren't just
[created using] synthesizers. I think that's a
good thing to think about.
I've noticed that I'm hearing more organic-based
music with like maybe real drums, acoustic guitars,
real pianos. Is that any sort of a trend, or is
it just me noticing that? Where people are getting
away from like really dance-y, poppy,
synth-y stuff to a degree. I would say it's probably
still 70% synthesized material and 30%
organic, but it feels like there's an increase. Is
that just me, or is that a thing?
I've noticed that as well, and I don't know. I
think it just makes episodes feel a little more
upscale if you feel like, OK, that's a real piano
lick, even though it's just amazing hip-hop.
You know, it might be this really cool hip-hop
beat, but if we're going for kind of a Chicago
sound, it's gonna have that really great
lyricism to it, so maybe you'll have some real
instruments in there, too.
Is hip-hop still as in demand as it has been over
the last 10 years? It's the most frequently askedfor
genre we get from libraries looking for new
tracks. It's still a big thing, huh?
Yeah, for sure.
OK, I'm gonna go to the chat room here and take
a couple of questions, a lot of questions actually,
because we've still got about 24 minutes.
Audience question for Laurel: Which instruments
should we avoid because they interfere with
dialogue?
I would say you don't necessarily have to be
afraid of any specific instrument, but shy away
from using all of the instruments at the same
time. You know, if you've got your guitar
melody going at the same time as a keys
melody and synthesizers, it ends up being a
lot. So don't be afraid to have a full version of
your track and, like Coco Chanel said, " Take a
piece of jewelry off. " Then give us a stripped
version, a light version and a drum-and-bass
version. I think that would be a lot more
versatile.
Engineering tip from me, and that is when you
guys are doing your alt mixes or breaking out
stems, keep all your faders exactly where they
are. Don't do anything except hit mute buttons,
even if the level looks low on your mix buss coming
out. It doesn't matter, because if you bring
that level up to adjust the overall level because
you've taken some stuff out, when an editor gets
it, they're going to be going along, " Da, da,
da... " You've got to keep the level the same with
or without those instruments. Just a little engineering
tip from an old audio-post guy.
Do editors ever add reverb?
Yes! In fact, one of the interesting things
about the remote workflows that we are all
experiencing now, because most of us are
working from our houses, and we have to
share our timelines across different things, is
that we'll have dedicated reverb tracks. So, say
that I'm editing through a scene and
somebody tells a really, really great joke, I'm
gonna drop the cue out so that the punchline
of the joke lands, and then maybe I might
bring it back in for the, y'know, bah-dum sting
of the cue for the reaction. So, the audience is
like, " Hey, that was a joke. You should listen to
the joke. " And then, when they laugh, you're
supposed to laugh. So, I will drop out that cue,
" I think it's never, never a bad idea to
have different options within the
same cue. "
-Laurel Ostrander
and if there's a drumbeat there, then I'll drop
that drumbeat down to the reverb track so it
does a little bit of that buh-dum-shh!
This is a question from Jazz Stan: How big should
an ending be? I'm assuming he means the
stinger.
I think that there's never a wrong way to do it.
And I also think that one thing that you can do
to make your track a little more of a
Continued on page 67
RECORDING July 2022
Table of Contents for the Digital Edition of RECORDING July 2022
Fade In
Fast Forward
Toontrack EZdrummer 3
ESI U108 PRE USB Audio Interface
Inside The Studio with Mark Hornsby: Delays and Reverbs
Plugin Outlet: KIT Plugins Core Compressor
Steinberg Cubase Pro 12
Atmos Adventures with Matt Wallace and Will Kennedy
Plugin Outlet: FabFilter Volcano 3
Inside The Box with Joe Albano: Latency
Black Lion Audio Revolution 2x2
Musical Shape-Shifting: New PleasuresĀ in New Worlds with Arp
Soundware Showcase: Waves CR8 Creative Sampler & COSMOS AI-powered Sampler Finder
Solid State Logic UC1 Plug-in Controller
Session Log: Field Recordings & Live Recordings
M-Audio BX4 BT Multimedia Reference Monitors
Readers Tracks
Plugin Outlet: Audified Linda IronVerb
Fade Out
RECORDING July 2022 - Intro
RECORDING July 2022 - Cover1
RECORDING July 2022 - Cover2
RECORDING July 2022 - 1
RECORDING July 2022 - 2
RECORDING July 2022 - 3
RECORDING July 2022 - Fade In
RECORDING July 2022 - 5
RECORDING July 2022 - 6
RECORDING July 2022 - 7
RECORDING July 2022 - Fast Forward
RECORDING July 2022 - 9
RECORDING July 2022 - Toontrack EZdrummer 3
RECORDING July 2022 - 11
RECORDING July 2022 - 12
RECORDING July 2022 - 13
RECORDING July 2022 - ESI U108 PRE USB Audio Interface
RECORDING July 2022 - 15
RECORDING July 2022 - Inside The Studio with Mark Hornsby: Delays and Reverbs
RECORDING July 2022 - 17
RECORDING July 2022 - 18
RECORDING July 2022 - 19
RECORDING July 2022 - Plugin Outlet: KIT Plugins Core Compressor
RECORDING July 2022 - 21
RECORDING July 2022 - Steinberg Cubase Pro 12
RECORDING July 2022 - 23
RECORDING July 2022 - 24
RECORDING July 2022 - 25
RECORDING July 2022 - Atmos Adventures with Matt Wallace and Will Kennedy
RECORDING July 2022 - 27
RECORDING July 2022 - 28
RECORDING July 2022 - 29
RECORDING July 2022 - 30
RECORDING July 2022 - 31
RECORDING July 2022 - 32
RECORDING July 2022 - 33
RECORDING July 2022 - 34
RECORDING July 2022 - 35
RECORDING July 2022 - Plugin Outlet: FabFilter Volcano 3
RECORDING July 2022 - 37
RECORDING July 2022 - Inside The Box with Joe Albano: Latency
RECORDING July 2022 - 39
RECORDING July 2022 - 40
RECORDING July 2022 - 41
RECORDING July 2022 - Black Lion Audio Revolution 2x2
RECORDING July 2022 - 43
RECORDING July 2022 - Musical Shape-Shifting: New PleasuresĀ in New Worlds with Arp
RECORDING July 2022 - 45
RECORDING July 2022 - 46
RECORDING July 2022 - 47
RECORDING July 2022 - 48
RECORDING July 2022 - 49
RECORDING July 2022 - Soundware Showcase: Waves CR8 Creative Sampler & COSMOS AI-powered Sampler Finder
RECORDING July 2022 - 51
RECORDING July 2022 - Solid State Logic UC1 Plug-in Controller
RECORDING July 2022 - 53
RECORDING July 2022 - Session Log: Field Recordings & Live Recordings
RECORDING July 2022 - 55
RECORDING July 2022 - 56
RECORDING July 2022 - 57
RECORDING July 2022 - 58
RECORDING July 2022 - 59
RECORDING July 2022 - M-Audio BX4 BT Multimedia Reference Monitors
RECORDING July 2022 - 61
RECORDING July 2022 - Readers Tracks
RECORDING July 2022 - 63
RECORDING July 2022 - 64
RECORDING July 2022 - 65
RECORDING July 2022 - 66
RECORDING July 2022 - 67
RECORDING July 2022 - 68
RECORDING July 2022 - 69
RECORDING July 2022 - Plugin Outlet: Audified Linda IronVerb
RECORDING July 2022 - 71
RECORDING July 2022 - Fade Out
RECORDING July 2022 - Cover3
RECORDING July 2022 - Cover4
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