Recording - June 2010 - 53

Continued from page 51 So it’s a process. Inon: Exactly. That is the funny or sad part about it. Because, like Bob said, when you get to compose music for a film, generally it’s locked. I remember I worked three years ago on Shadow Ops, and it took me about three months to compose like two campaigns. It’s like you were running between states and fighting bad guys. So I worked really hard to compose a campaign for Russia and for Romania, and then one day they called me and said, “The Russia/Romania got canceled. They became Congo and Syria. Can you adapt the music?” And it’s like, “Sure, bring me the darbuka (drum) and it’s gonna be OK.” That brings up an interesting question. What if they throw a big change at you that causes you to spend a lot more of your time—because of their nutty changes—and you’re getting paid by the finished, used minute. Bob, do you renegotiate at that point? If they throw a curveball at one of these guys, it’s gonna cost them three more weeks of their time because the game’s designer, the writer, or whoever, had a change of heart and decides to go with the Congo instead of Russia. It doesn’t seem very fair that these guys do twice the work for the same amount of money. So are you able to renegotiate, or do the companies call and say, “Look, we know we just threw a curveball, we’ll throw another 20 grand at them”? Bob: It depends on who we’re dealing with. And there’s a whole other aspect that I’d like to talk about later relative to being a composer in our industry. It depends on who it is … No, it really doesn’t. We have a really good relationship with everybody we work with—we really do. And if somebody keeps abusing that and abusing it and abusing it, we just say, “Enough. Stop. Renegotiate.” This is the way it is. The kind of relationships that these gentlemen, and a few others, have been able to develop with major corporations… These are the go-to guys, and they could say to somebody—or even the client will suggest—“You know, I’ve made too many changes. I really think we should pony up with some more money for you.” But a lot of times, if there are just little changes here and there and we have a great relationship, we just do it. We hardly run into a situation where somebody is abusive that way. There are some really nice people in the game industry, on both sides of the fence. That’s good to know. Film industry friends of mine are constantly driven insane with changes, especially the guys who work on TV stuff. The worst part of their existence is they get the phone call with the change at 8:00 at night on a Thursday night and they need it by Friday morning at 7:30 to present to the boss. Then they stay up all night to make that change, then they have to make another change three days later, wiping out the

part they just did. That’s just the nature of the beast, and it’s nice to hear that your relationships with these companies are a little friendlier, a little more respectful, I guess I should say. Inon: The whole rhythm is totally different because, when you write a cue for a game, they have even maybe a month to play with this cue until they decide that this is really what’s working for them. The whole process is much longer and slower, so you have more time to develop what you want. No, it’s not by Friday. The film and TV industry people often don’t know much about music. They can’t describe what they want. Do the people you work with speak enough of your language to give you some sort of direction? Cris: Yeah, there is usually pretty specific direc-

tion. But when Sascha and I work with a lot of our clients, usually it’s repeat business and they trust us, where if they’re having a difficult time explaining what they want, they know that we’re gonna take care of it, and we’ll say, “We’re gonna do it like this and see what you think.” And then usually it’s like, “Oh yeah, that’s perfect.” That’s why you’re the go-to guys. Sascha: But they do sing sometimes. [laughter] Especially Ubisoft. Oh yeah, they do. You know? The time difference; it’s like midnight, you’re tired, they call you … Cris: Yeah, they just don’t care. They call you; it’s like 4 in the morning, “Oh, were you sleeping?” “Ah…no.” [laughter]

53



Recording - June 2010

Table of Contents for the Digital Edition of Recording - June 2010

Recording - June 2010
Fade In
Contents
Talkback
Fast Forward
Cloud Microphones JRS-34-P, JRS-34, and Cloudlifter
Mics, Mechanisms, and Myths—A Meditation
DPA Microphones 4099 Series
Chandler Limited Little Devils
A Studio Miking Primer
Sontronics Orpheus and Sigma
Zoom Q3 Video Recorder
Superscope Elevation—A Walking Tour
Recording’s Guitar Column
Reviewed and Revisited: Ableton Live Intro
Recording’s Keyboard Column
Avid M-Audio Fast Track and Pro Tools M-Powered Essential
It’s Your Music—Know Your Rights. Chapter 3: Recording Issues
ART M-Three and M-Five Microphones
Shure SRH440 and SRH840 Headphones
Readers' Tapes
Advertiser Index
Fade Out
Recording - June 2010 - Recording - June 2010
Recording - June 2010 - Cover2
Recording - June 2010 - 1
Recording - June 2010 - Fade In
Recording - June 2010 - 3
Recording - June 2010 - Contents
Recording - June 2010 - 5
Recording - June 2010 - Talkback
Recording - June 2010 - 7
Recording - June 2010 - Fast Forward
Recording - June 2010 - 9
Recording - June 2010 - 10
Recording - June 2010 - 11
Recording - June 2010 - Cloud Microphones JRS-34-P, JRS-34, and Cloudlifter
Recording - June 2010 - 13
Recording - June 2010 - 14
Recording - June 2010 - 15
Recording - June 2010 - Mics, Mechanisms, and Myths—A Meditation
Recording - June 2010 - 17
Recording - June 2010 - 18
Recording - June 2010 - 19
Recording - June 2010 - 20
Recording - June 2010 - 21
Recording - June 2010 - 22
Recording - June 2010 - 23
Recording - June 2010 - DPA Microphones 4099 Series
Recording - June 2010 - 25
Recording - June 2010 - Chandler Limited Little Devils
Recording - June 2010 - 27
Recording - June 2010 - A Studio Miking Primer
Recording - June 2010 - 29
Recording - June 2010 - 30
Recording - June 2010 - 31
Recording - June 2010 - 32
Recording - June 2010 - 33
Recording - June 2010 - 34
Recording - June 2010 - 35
Recording - June 2010 - Sontronics Orpheus and Sigma
Recording - June 2010 - 37
Recording - June 2010 - Zoom Q3 Video Recorder
Recording - June 2010 - 39
Recording - June 2010 - Superscope Elevation—A Walking Tour
Recording - June 2010 - 41
Recording - June 2010 - Recording’s Guitar Column
Recording - June 2010 - 43
Recording - June 2010 - Reviewed and Revisited: Ableton Live Intro
Recording - June 2010 - 45
Recording - June 2010 - Recording’s Keyboard Column
Recording - June 2010 - 47
Recording - June 2010 - Avid M-Audio Fast Track and Pro Tools M-Powered Essential
Recording - June 2010 - 49
Recording - June 2010 - 50
Recording - June 2010 - 51
Recording - June 2010 - 52
Recording - June 2010 - 53
Recording - June 2010 - It’s Your Music—Know Your Rights. Chapter 3: Recording Issues
Recording - June 2010 - 55
Recording - June 2010 - 56
Recording - June 2010 - 57
Recording - June 2010 - 58
Recording - June 2010 - 59
Recording - June 2010 - ART M-Three and M-Five Microphones
Recording - June 2010 - 61
Recording - June 2010 - Shure SRH440 and SRH840 Headphones
Recording - June 2010 - 63
Recording - June 2010 - Readers' Tapes
Recording - June 2010 - Advertiser Index
Recording - June 2010 - 66
Recording - June 2010 - 67
Recording - June 2010 - 68
Recording - June 2010 - 69
Recording - June 2010 - 70
Recording - June 2010 - 71
Recording - June 2010 - Fade Out
Recording - June 2010 - Cover3
Recording - June 2010 - Cover4
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