Christopher Milam's List: Introduction to the Audio Arts

• A film or television show is not complete without a variety of music cues. The composer’s melodies flowing beneath the visuals lend emotion, suspense, and a depth of experience, as do source cues (heard when an actor turns on the radio or walks into a nightclub), or songs performed on camera. Part of the post-production department under the supervising sound editor, the music editor is responsible for editing all music for a film or television show’s sound environment, including the original score, source music, and songs.
• The music editor will monitor the completion of the score and attends all recording sessions. This person does not supervise the composer, but is there to offer assistance and act as a liaison between the post-production staff and musicians. If editing changes take place that will affect scoring, it is the music editor’s task to make the composer aware and quickly make the appropriate revisions to the cue breakdown and click track. Once all original music is recorded, the music editor works closely with a mix engineer (also known as a music mixer in film) to balance the score with the picture and strip in music at emotionally appropriate and impactful moments. He or she must take special care to consider the volume of the background score to ensure that dialogue is still clearly understood above the underlying music. Upon completion, he or she will be responsible for delivering cue sheets, necessary for calculating royalties owed for the use of copyright music.

• Skills & Education

   

  A formal education in film and television production with an emphasis on post-production sound editing is recommended. A college degree in music production would also be applicable. Coursework should include training on mixing and editing consoles, as well as software like Pro Tools. Additional study of composition, music history, and film history is also beneficial. The music editor should have a terrific sense of story and how music can emotionally support the visual action. Similarly, he or she must have a thorough understanding of musical styles and genres. The ability to clearly communicate abstract ideas in the creative environment and to interpret a director’s vision is crucial.

• What to Expect

   

  A path toward a career as a music editor may begin with work in post-production sound editing, or through employment as a mix engineer, recording engineer, or similar recording industry position. Entry-level, full-time positions exist at independent post-production studios that cater to the film and television industry, as well as in the post-production facilities of major studios. Additionally, major motion pictures and television series employ union trainees and non-union interns. Perhaps the easiest—or at least the most abundant—source of post-production work is on reality series. With experience, a post sound crew member can advance to the role of music editor. From there, future opportunities may lead to freelance or permanent employment as a supervising sound editor in sound design.

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• Duties

   

  On a play or musical revue, the musical director begins work by attending creative meetings with the director and choreographer to develop the overall vision of the show and determine the mood and theme to be portrayed. This person studies the script and music, then participates in auditions to evaluate the vocal abilities of each potential cast member and offer suggestions on which individuals might be best suited for a particular role, based on the vocal performance required. He or she will also audition and hire musicians with the approval of the director and producer.
• After the production is cast, the musical director is tasked with teaching the music to the cast and musicians, then rehearsing their performance. These sessions will take place separately in the initial stages of rehearsal, and then the cast and band or orchestra will be combined to fully develop the sound. The musical director will lead regular warm-ups with the cast and musicians before each show, and will hold continuity rehearsals on a regular basis to maintain consistency and work on performance notes from the stage manager. This person usually serves as the conductor during live performances, directing the orchestra and cueing the cast’s intro to a number. On a smaller show, he or she might also perform as a musician during the show, playing the piano or keyboard.
• On variety or comedy sketch shows, like the nightly Second City stage shows, many times it’s just the musical director and a keyboard. Duties are similar to those on a stage musical, but it can be grueling to keep up with unpredictable action on stage. It is a superb training ground, however, and many successful composers and musical directors start in this kind of small show and work up to full-band situations like late-night TV or televised awards shows.

• Skills & Education

   

  A college degree in music or musical theater is highly recommended as preparation for this career, and an MFA degree is preferred. Courses in composition, orchestration, and conducting will impart required skills, as will training in musicianship, voice, and acting. The musical director must be proficient at sight-reading music, should be able to write at least simple tunes or cues, and is generally expected to be able to play the piano—ability to play additional instruments is a bonus.

• What to Expect

   

  Both permanent and freelance positions are available for musical directors, who can choose to pursue a career in traditional musical theater, with recording artists on touring concerts, or with an opera or orchestra company. This is a senior-level management role that requires several years of experience in performance and musicianship and a strong résumé of credits. An apprenticeship under a veteran musical director is a great way to develop your craft and propel your career forward. Many begin to build skills in local community theater before moving on to college orchestra or musical theater programs, and eventually regional theater and professional gigs. Networking and cultivating professional industry contacts is your most helpful tool is establishing a career in the entertainment industry as a musical director.

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• Duties

   

  Upon securing a new project for the studio, the music publishing coordinator will communicate extensively with the client to process contracts, maintain record production schedule deadlines, and input billing information. If the studio elects to source music for the client’s production, the coordinator will also process the licensing agreements, ensuring that the composer and other copyright holders are paid the appropriate royalty fees. If necessary, this person uses proprietary catalogue search engines to hunt for appropriate songs for the client. In the event that the studio commissions a composer to write and record new material, the coordinator is responsible for obtaining licensing or work-for-hire agreements for the songwriter. The coordinator maintains an in-house database of licensed material and compositions produced under contract with the publishing company.
• An important function of the music publishing coordinator is the preparation of cue sheets, worksheets that identify information for clearing the copyrights. Information will include the songwriter/composer name, contact, song title, duration, as well as a breakdown of when and for how long the song(s) is used in the film, video, or advertisement. The cue sheets must be accurate in order to determine the proper splits of royalty payments, seeing that the artists, publishing company, and any other copyright holder are paid appropriately. Other functions of this position include supervising recording sessions on behalf of senior management (if requested) and overseeing revisions in collaboration with the composer. When a project is complete, the coordinator delivers final tracks to the client and follows up to ensure that royalties have been paid.

• Skills & Education

   

  A specific degree is not required for this position, though an education in entertainment business with a concentration in communication law, including copyright and licensing agreements, is encouraged. The music publishing assistant should have a basic knowledge of the music production process (mixing, producing) and music publishing as it relates to film, television, and advertising. This person must be Internet-savvy, familiar with Word and Excel, and able to quickly adapt to in-house and proprietary software tools like Soundminer. Excellent written and verbal communication skills are essential.

• What to Expect

   

  Specific working conditions vary by company, but you can anticipate a fast-paced environment in which you juggle several competing priorities simultaneously. In this role, you must operate efficiently under tight deadlines and with minimal supervision. This is an office job with a standard 40-hour workweek, though some overtime or weekend hours may be necessary to accommodate clients. During the course of your employment as a music publishing coordinator, you will have the opportunity to work closely with music supervisors, song pluggers, and composers, and to gain extensive experience in both music production and the process of film and television scoring. This position can lead to a career as an independent music publisher or senior-level manager within a large publishing house. This career can also lead to opportunities within performing rights organizations like BMI or ASCAP or, alternatively, provide the expertise necessary to transition to a role as a song plugger or music supervisor. 

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• Duties

   

  Music screeners are typically part-time employees who work on a contract basis with independent A&R companies, media advertising agencies, and other organizations that connect music makers with those interested in licensing their recorded work—for instance, a music supervisor seeking a background tune for a TV show title sequence. These individuals assist A&R professionals in listening to samples of work sent in by songwriters and their agents. Unlike record labels, which generally do not accept unsolicited material, these independent companies take in hundreds or thousands of demos every year. Music screeners sift through the submissions to identify songs that have the potential to fill a particular need for a specific client. When the screener lands on a possible match, he or she sends that demo to the A&R executive for further review and approval.
• The workday is typically only two to four hours and consists entirely of sitting down at a computer or in a listening lounge with a set of headphones and listening to one pre-selected song after another. When listening for a specific project, the screener will be given instructions as to what characteristics and style are sought. He or she will be asked to record his or her impressions of the song and how closely it meets the criteria set forth. In some cases, the screener is simply listening to music that has recently been submitted and logging pertinent information concerning genre, style, voice, subject, etc. The job is similar to that of script readers for film studios and or manuscript readers at book publishers.

• Skills & Education

   

  A degree in music, recording arts, or music business is preferred, but not required. A music screener should have a vast knowledge and appreciation of different genres of music, as well as a keen ear for tonal quality and that “it” factor of a memorable tune. Courses in music history and composition are helpful. The gig is aurally stimulating at times, but finding a gem requires tolerating a lot of hack jobs. Not every song is a great listen, so the screener will have to exercise patience and persistence to stick with the job. The ability to intelligently communicate with your colleagues concerning the screened samples is an absolute necessity.

• What to Expect

   

  This is an entry-level position and is typically a temporary one that becomes available only a few times a year as music companies prepare to accept new clients and recruit new songwriters. Positions may also be available on a limited basis with agencies that represent songwriters and composers. Salaries and hours will vary greatly based on the employer, but individuals can make as much as $30 per hour, excellent income for those in need of extra cash, and it’s one way to make connections in the music business in preparation for a career. Like the mailroom, though, once you’re in the screener farm you’ll be itching to get out. It can be difficult to seek promotion from this position, but it is a great addition to a résumé if you want a job at a record label or music publishing house.

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• Duties

   

  The production sound mixer is the head of the sound department on set, and is brought in during pre-production to collaborate with the director and production manager to choose what type of microphones to use and select additional audio gear. This person may also give input on crew members to fill additional audio roles, like sound assistant, equipment technician, boom operator or cable runner.
• During principal photography, the production sound mixer’s responsibilities are extensive. They include recording all sound on set: dialogue, sound effects, wild lines, live music, and room tone. He or she is also charged with maintaining log sheets for each roll of tape (or digitally formatted unit) recorded and marking printed takes, in conjunction with the camera assistant and script supervisor. The production sound mixer must make script notes to be used in case of reshooting (for continuity) and keep lists of wild tracks and sound effects that will be recorded later. This person will also direct the boom operator and design the placement of microphones and recording techniques for each shot—and keep an eye out for the dreaded boom shadow.

• Skills & Education

   

  College coursework in film and television production, recording arts, and communications are recommended but not required. Classes in these subjects can introduce you to the production process and give you hands-on experience in the use of sound equipment (microphones, mixing consoles) along with the required theoretical knowledge. To succeed in this role you must be a strong communicator and effective delegator, as well as having a highly trained ear. Work as a production assistant can get your foot in the door, and from there experience as a boom operator or sound assistant can lead to a gig as a production sound mixer. 

• What to Expect

   

  In this role you are ultimately responsible for the sound of the show or film. Getting the recording right the first time is important, because each scene or line which has to be dubbed later pushes up the project’s budget and deadline. A sound mixer who is consistent and reliable is a valuable asset to any crew. This is also a highly creative career that allows for experimentation in recording techniques and innovation in sound design. It will take time and experience to work your way up to the level of sound mixer, but from there you can move on to roles on larger projects, cross over into sound editing, or work as a sound designer.

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• Quick Facts: Musicians and Singers
• 2012 Median Pay      $23.50 per hour
• Entry-Level Education  High school diploma or equivalent
• Work Experience in a Related Occupation  None
• On-the-job Training  Long-term on-the-job training
• Actors
• Number of Jobs, 2012  167,400
• Job Outlook, 2012-22  5% (Slower than average)
• Employment Change, 2012-22  8,700
• Music Directors and Composers
• Producers and Directors

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• 2012 Median Pay    $47,350 per year 
  $22.77 per hour
• Entry-Level Education  Bachelor’s degree
• Work Experience in a Related Occupation  Less than 5 years
• On-the-job Training  None
• Number of Jobs, 2012  77,600
• Job Outlook, 2012-22  5% (Slower than average)
• Employment Change, 2012-22  3,500
• Music directors (also called conductors) lead orchestras and other musical groups during performances and recording sessions. Composers write and arrange original music in a variety of musical styles.

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• Consider Fair Use Before Requesting DMCA Takedown

  In 2008, a district court ruled that prior to requesting a takedown notice, a copyright owner must consider the likelihood of a claim of fair use. In that case, Universal Music issued a takedown notice for a video of a child dancing to the song, “Let’s Go Crazy,” by Prince. The owner of the video claimed that since Universal didn’t consider the issue of fair use, Universal could have not had a “good faith belief” they were entitled to a takedown. Faced with this novel issue a district court agreed that the failure to consider fair use when sending a DMCA notice could give rise to a claim of failing to act in good faith. (Lenz v. Universal Music Corp., 572 F. Supp 2d 1150 (N.D. Cal. 2008).)
• Fair use. A person running for political office used 15 seconds of his opponent’s campaign song in a political ad. Important factors: A small portion of the song was used and the purpose was for purposes of political debate. (Keep Thomson Governor Comm. v. Citizens for Gallen Comm., 457 F. Supp. 957 (D. N.H. 1978).)
• Fair use. A television film crew, covering an Italian festival in Manhattan, recorded a band playing a portion of a copyrighted song “Dove sta Zaza.” The music was replayed during a news broadcast. Important factors: Only a portion of the song was used, it was incidental to the news event, and it did not result in any actual damage to the composer or to the market for the work. (Italian Book Corp., v. American Broadcasting Co., 458 F. Supp. 65 (S.D. N.Y. 1978).)
• Not a fair use. Downloading songs is not a fair use. A woman was sued for copyright infringement for downloading 30 songs using peer-to-peer file sharing software. She argued that her activity was a fair use because she was downloading the songs to determine if she wanted to later buy them. Important factors: Since numerous sites, such as iTunes, permit listeners to sample and examine portions of songs without downloading, the court rejected this “sampling” defense. (BMG Music v. Gonzalez, 430 F.3d 888 (7th Cir. 2005).)
• Not a fair use. A defendant in a music file sharing case could not claim a fair use defense since he had failed to provide evidence that his copying of music files involved any transformative use (an essential element in proving fair use). Important factors: The court held that the defendant was confusing “fairness” and “fair use”–”In the end, fair use is not a referendum on fairness in the abstract …” (Capitol Records Inc. v. Alaujan, 2009 WL 5873136 (D. Mass., 7/27/09).)

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