RECORDING October 2022 - 66
Continued from page 65
somebody has a show that's set in a time
period from 15-years-ago.
" I drive my wife nuts when we're
watching TV together, because I'm
always picking out the sounds. I
really have developed a habit of listening
to the underscore behind the
action. "
-Dean Krippaehne
Absolutely. I've been saying this for 20 years easily,
maybe 25, that the roadmap to making TV
music is staring you in the face every day. It's
your TV set. And if you find yourself watching any
form of TV and not actually noticing the type of
music, it will at least help you understand how
music supervisors use it, and how they chop it up
to use it. " Oh, look at that, it's got a stinger ending,
and that sting lands right on the scene edit
where it goes from the car door slamming to getting
out of the car. " You can learn so much by
watching TV. Who the hell knew that your
mother was wrong all those years ago when she
said, " Turn off the damn TV " ? Now it's, " You're
wrong, Mom. Turn on the TV; just take notes. "
I drive my wife crazy. Just last night we were
watching a show and there was a little bit of a
tense scene on there, and we're all into the
show, and I said, " Oh, that's an Omnisphere
pad they're using there. " And she said, " You
know, you just ruined the whole thing for me. "
Yeah, I drive my wife nuts when we're watching
TV together, because I'm always picking
out the sounds. I really have developed a habit
of listening to the underscore behind the
action.
I drive my wife crazy as well. For the first 20some
years of owning TAXI, my wife really had
nothing to do with the industry. Now she's very
heavily involved, and we work together. When
we're watching TV, no matter what we're watching,
if we're binging a series on Netflix or
whatever, I'm constantly asking her, " What kind
of cue is that? " And teaching her about
background source music, which would be coming
out of a jukebox in a bar, or maybe a car
radio, and I'll say to her, " What genre is that? " " I
don't know-tension? " " Yes, you got it! "
People always ask me what format, what audio
format, digital-audio format libraries want. Do
they want AIFF, WAV, high-quality MP3s? What do
you think is kind of the norm?
They'll tell you what they want. And as a good
friend of mine says, " Whatever they want,
66 RECORDING October 2022
give it to them. " I have libraries that want
AIFF, that want WAV, that want... Sometimes
just to screen something, they'll want an MP3,
or they will want an MP3 in addition to one of
those. But I don't think they ever just want an
MP3-only at the end when you're turning in
some. But they might want a WAV file at 44116,
44-24, 48-24, and almost all of our stems
you can now export in any format that they
want. But whatever they want-and they will
tell you what they want-and about the specs
of how they want it, and then you just do that.
Do whatever they want.
Some of our members that are new to TAXI will
say, " I can't believe that you guys are sending
MP3s-and yes, they're high-quality MP3s-but
that doesn't represent my music well. " Well,
when you are using a high-quality MP3, you can
pretty much hear everything you need. And as
Dean just pointed out, when the library is ready
to put your stuff in their catalog, they'll tell you
what format they want, and they usually do
want an upgrade. But I've known plenty of people...
I hate to publicly admit this, but I know
music supervisors that are very happy to take a
high-quality MP3 and put that in a show,
because they assume that nobody at home is
going to hear it like we all hear it.
Yeah. I guess that has happened to me a couple
of times, and I'm like, " No, you won't want
that. Okay, whatever you want. If you're okay
with the MP3... " Whatever they want, give it
to them.
" But whatever they want-and they
will tell you what they want-and
about the specs of how they want it,
and then you just do that. Do whatever
they want. "
-Dean Krippaehne
Can you please tell everybody what a PRO-performing-rights
organization-is, and why they
should be affiliated with one if they want to do
music for any form of media?
Yeah, PROs, performing-rights organizations,
they are basically the ones that collect your
performance royalties when your music is in a
TV show, on the radio, etc. Every TV show,
film, ad is going to submit production cue
sheets of all the music that is played, and the
PRO-whether it's ASCAP, BMI, SOCAN in
Canada and a whole bunch of them in different
other countries, they're going to collect
that money, and based on their rates that you
get paid, they're going to send you a check.
And they also will collect the money from foreign
countries. Every international statement I
get probably has somewhere between 50-plus
countries that I'm getting performance income
from, and my PRO is getting all their affiliated
performing-rights agencies in other countries,
and they'll collect the money and give it to me
in international royalties. So that's what they
do; eventually you'll have to join one. Should
you do it ahead of time or not, I just say,
" Why not join one? " Do some research and
figure out what you want to be in and join one.
And there are a couple libraries that want...
One that I'm thinking of in particular, and I
think it's because they have been sued so
much, they want to make sure that you have
already registered your stuff with ASCAP or
BMI or SOCAN or whatever. For most of the
libraries that I work with, I don't register my
songs or my cues ahead of time. They'll register
[the music] once I've signed it with them.
Unless I'm going to release it on a CD myself
and I've worked out that deal with them, they
will register the stuff with ASCAP, BMI...
Once all the paperwork is done and they've got
your tracks, what does the library do next? Do
" If I have a great connection with the
music supervisor for Grey's Anatomy,
every time I hear a great track, am I
gonna send it to them? No, I'm gonna
wait for them to ask me what they
want for a particular show... "
-Dean Krippaehne
they pick up the phone and send out emails to
every music supervisor in the industry saying,
" Hey, we just got a great new track from Deano. "
No. You know, I think it's really helpful for any
songwriter or any artist or any composer to
try to imagine that you are the music library,
the music-production company, and what am I
gonna do? If I have a great connection with
the music supervisor for Grey's Anatomy, every
time I hear a great track, am I gonna send it to
them? No, I'm gonna wait for them to ask me
what they want for a particular show, and if I
have that relationship, then I'll send them X
amount of tracks that might work for that particular
scene or that particular thing. And
there are some shows, especially cable shows,
that say they need these four or five types of
tension music, " so give us stuff like that. " So,
they might send 100 or more tracks to the
show or give them access to their hard drive
where the music supervisor can go hear it, and
see what might work for them. But no, they
are not going to pick up the phone and...
And you've talked about this before. I just
want to mention it now, because it's such a
common thing that people who are getting
into this aspect of business and they truly do
have a great song. Their song is great. I had
lunch with a guy recently who truly had some
great songs, but there's a big difference in film,
Continued on page 69
RECORDING October 2022
Table of Contents for the Digital Edition of RECORDING October 2022
Fade In
Fast Forward
Warm Audio WA-47F & WA-CX12X
The Nostalgic, Futurist Piano Man: Daniel Lanois Player, Piano
Focusrite Clarett+ OctoPre
Session Log: Ribbon Microphones
ADK Microphones: Munich-7-T T-FET
Moog Music Mavis
Inside The Studio With Mark Hornsby: Cool Mics by Non-Mic Companies
Heiserman Audio H251
Plugin Outlet: sonible smart:comp 2
AEA TRP500
Inside The Box with Joe Albano: Virtual Preamps
Pearlman Microphones TM-12A
MasterWriter
Sequential Take 5
Mojave MA-D
TIERRA Audio New Twenties
RECORDING October 2022 - Intro
RECORDING October 2022 - Cover1
RECORDING October 2022 - Cover2
RECORDING October 2022 - 1
RECORDING October 2022 - 2
RECORDING October 2022 - 3
RECORDING October 2022 - Fade In
RECORDING October 2022 - 5
RECORDING October 2022 - 6
RECORDING October 2022 - 7
RECORDING October 2022 - Fast Forward
RECORDING October 2022 - 9
RECORDING October 2022 - Warm Audio WA-47F & WA-CX12X
RECORDING October 2022 - 11
RECORDING October 2022 - 12
RECORDING October 2022 - 13
RECORDING October 2022 - 14
RECORDING October 2022 - 15
RECORDING October 2022 - The Nostalgic, Futurist Piano Man: Daniel Lanois Player, Piano
RECORDING October 2022 - 17
RECORDING October 2022 - 18
RECORDING October 2022 - 19
RECORDING October 2022 - 20
RECORDING October 2022 - 21
RECORDING October 2022 - 22
RECORDING October 2022 - 23
RECORDING October 2022 - 24
RECORDING October 2022 - 25
RECORDING October 2022 - Focusrite Clarett+ OctoPre
RECORDING October 2022 - 27
RECORDING October 2022 - 28
RECORDING October 2022 - 29
RECORDING October 2022 - Session Log: Ribbon Microphones
RECORDING October 2022 - 31
RECORDING October 2022 - 32
RECORDING October 2022 - 33
RECORDING October 2022 - 34
RECORDING October 2022 - 35
RECORDING October 2022 - 36
RECORDING October 2022 - 37
RECORDING October 2022 - 38
RECORDING October 2022 - 39
RECORDING October 2022 - ADK Microphones: Munich-7-T T-FET
RECORDING October 2022 - 41
RECORDING October 2022 - Moog Music Mavis
RECORDING October 2022 - 43
RECORDING October 2022 - Inside The Studio With Mark Hornsby: Cool Mics by Non-Mic Companies
RECORDING October 2022 - 45
RECORDING October 2022 - 46
RECORDING October 2022 - 47
RECORDING October 2022 - Heiserman Audio H251
RECORDING October 2022 - 49
RECORDING October 2022 - Plugin Outlet: sonible smart:comp 2
RECORDING October 2022 - 51
RECORDING October 2022 - AEA TRP500
RECORDING October 2022 - 53
RECORDING October 2022 - Inside The Box with Joe Albano: Virtual Preamps
RECORDING October 2022 - 55
RECORDING October 2022 - 56
RECORDING October 2022 - 57
RECORDING October 2022 - Pearlman Microphones TM-12A
RECORDING October 2022 - 59
RECORDING October 2022 - MasterWriter
RECORDING October 2022 - 61
RECORDING October 2022 - Sequential Take 5
RECORDING October 2022 - 63
RECORDING October 2022 - Mojave MA-D
RECORDING October 2022 - 65
RECORDING October 2022 - 66
RECORDING October 2022 - 67
RECORDING October 2022 - 68
RECORDING October 2022 - 69
RECORDING October 2022 - 70
RECORDING October 2022 - 71
RECORDING October 2022 - TIERRA Audio New Twenties
RECORDING October 2022 - Cover3
RECORDING October 2022 - Cover4
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