Tim Steve Assignment 4: Roles in the Music Department

Composer:

Once hired, the film composer firstly discusses - with the director and producers -

the style, mood and tone of the music for the film. Then he/she composes themes and

suites before (or as) they are sent the film cues that they are to score to. By the time

they receive the cues, they would’ve prepared music themes for the important charac-

ters, the main theme of the movie, and themes for the events, places and other signifi-

cant elements in the film. Frequent conversation with the director at this point

would’ve ensured clarity on the style of music. Then as the film cues are sent in and

the picture is in “lock”, the composer lays out the themes and works to capture “sync”

points and other dramatic moments onscreen, and to ensure an even musical ‘at-

mosphere’ from the start of the film to the end. Once the pictured is scored using

demo techniques like software instruments, or piano or smaller ensembles, and

changes are made, the entire score is approved and sent for live recording. In the

recording stage, the composer is in charge of any last minute changes for the music.

Past the recording, some composers are involved with the mixing stage, and some

persistent ones up-to the final dubbing.

Orchestrator:

Ideally a composer would orchestrate their own scores, however due to con-

straints in time, film composers hire orchestrators to arrange and adapt their themes

and sketches to the orchestra. This process is fast and cheaper, especially when major

changes in the last minute are made to the music. Their task is to essentially adapt of

melody, harmony and rhythm from the sketches, to the woodwind, brass, string and

percussion sections of the orchestra. Since the orchestrator holds the ‘colors’ of the or-

chestra and thus the music in hand, they are in frequent collaboration with the com-

posers to convey the composer’s intentions and style of music. Orchestrators also

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commonly accompany the composer during the recording stage, to help in any

changes in the music score or alteration in the orchestration.

Arranger:

At first glance the role of an arranger might seem similar to that of an orchestrator,

however the difference is vast. Since unlike the orchestrator, the arranger is allowed or

expected to adapt the music in a different key, form, tempo, harmonization, instru-

mentation or even in a new style of music. Orchestration is but one of the options

available to the arranger who “rearranges” any aspect of the music. The arranger’s

process is similar to that of re-composition; to convert the music to a new style and fit

it into a new context, using all the options that are available to a composer.

Copyist:

The role of the copyist is to transcribe the final score of the music - that is ap-

proved by the director and composer - for the conductor, and instrument and parts.

They are to ensure preciseness in the score as any error would be undesired. Transpo-

sition of instruments, accurate dynamics, articulations, bars of rest, layout and read-

ability are some of their important tasks.

Music Director:

The music director works as the supervisor of the music department. They work

with the composer to hire and oversee the other professionals like orchestrators, engi-

neers and many other assistants in the entire music division. Broadly their task is to

oversee most, if not everything related to music during the production of the film. But

their main work is in advising the composers and help them make decisions, consult-

ing the recording engineer while recording, and finding the proper balance between

the director, the producers and the composer’s visions for the film. They act as com-

municator between the studio, and the composer and music creatives, and guiding

the music department to ensure productivity and quality.

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 Sideline Musician:

Often times films feature pianists or other musicians playing instruments onscreen.

These musicians’ performances are not recorded in audio as it would increase cost of

production and efficiency to maintain quality across the film takes; it is hard to ensure

the music recording be of same quality when it is recorded in different takes or shots,

and especially in different locations. Instead these sideline musicians ‘act’ like they are

performing and the music is added later in the studio. Usually they play along (inaudi-

bly) to a written piece of music but the actual music is recorded or added in later.

Music Editor:

Generally the music editor works to ensure that all the music used in the film, orig-

inal and sourced music, are synced and work perfectly with film. They work with the di-

rector and the video editor to determine the length of “cues” so that the composer

can score them, and once the cue is done, the editor compiles the cues to make a

complete start to finish score for the film. They also deal with external or sourced mu-

sic like band or record songs, or any other music not composed by the composer.

Sometimes the music editor is hired even before a composer is brought in, to lay

down preexisting music as “temp tracks” so that the director might have some music

to work with while editing the film. While the director might speak in nonmusical

terms with the composers, the editor conveys specific details that they might want to

change in the music; like if a film cue has been changed or shortened in length, they

might suggest reducing a bar or so to end the cue in sync.

Rehearsal Pianist:

The rehearsal pianist plays a reduced version of the film score either for the direc-

tors to get an idea of the score, or for the session musicians while recording.

Before being played by the orchestra, composers have no other way of letting the

directors hear their score; however in present day music is being “demoed” using

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sample libraries in sequencing software. Rehearsal pianists are also important in a

recording session when only one section is being recorded; for example the string

section might be recorded separate from the woodwind and brass, and the rehearsal

pianist can help the string player ‘hear’ the parts that the woodwinds and brass would

be playing if they were recorded together. Sometimes even when the full orchestra is

present, they are instructed and used by composers to show any new alterations or

changes in the articulation or dynamics for the orchestra to follow.

Pre-recording Engineer:

Setting up of microphones, positioning instrument “chairs” or order of instru-

ments, checking the levels and volumes, checking the working of recording equip-

ment, testing the sound of instruments, and generally overseeing the sound of the

recording hall before the orchestra records any cue is an important part of the record-

ing procedure. The pre-recording engineer’s preparation of the recording studio and

setup creates an overall efficient and fluid process for the musicians, composer,

recording engineer and others.

Playback Operator:

The playback operator is in charge of the level of music, the dialogue and sound

effects, and the video cue being played while recording. They control what the direc-

tor, the composer and the producers hear while the orchestra is being recorded. Their

task is more technical that creative. While the recording engineer is focused on the

quality of the sound of the orchestra, the playback operator works to ensure that all

the elements of sound are heard and the correct audio track and video is heard and

played during a recording. Sometimes they also control the microphone that connects

the recording booth and the session hall, but that is more likely handled by the

recording engineer for convenience.

Scoring Engineer:

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 During the recording process, the scoring engineer is as important as the players

playing. It is their skillset that allows the performances of the players being captured

into audio in the highest quality. They control the levels of the microphones, which al-

lows them to control the sound of the orchestra; for example using more volume from

the “outrigger” microphones might increase the reverb sound of the hall, whereas the

“close” microphones might increase the proximity of the instrument sounds. They also

control other equipment like equalizer, compressors and send effects. All these op-

tions allows them to capture and ‘craft’ the sound of the orchestra being recorded.

Studio Musician:

Studio musicians are professional players of either solo or ensemble instruments

who are hired to perform the original music composed for the film. Usually they are

part of a group or orchestra that is under contract to a recording studio or agent com-

pany, that contacts them when they are required to play for a recording session. Since

they are virtuosic, most of the time they can sight read the music while rehearsing it

once or twice before the recording. Session musicians are capable of following the in-

structions of the conductor, music supervisor or composer, who in-between recording

takes might want to try a different version of dynamics, articulation or playing style; it

is not uncommon for a composer - on hearing the orchestra - to change a few details

in the score that they feel suits the film better. Studio musicians are usually hired by

the hour, and expected to record for about three to six hours a day, until all the cues

are recorded for the hour or so original music in the film.

Dubbing Mixer:

After the music is record by the recording engineer, and then mixed to the tastes

of the mixing engineer, it is the task of the dubbing engineer to combine the music,

sound effects, and dialogues to create a unified sonic atmosphere for the film. They

work close with the director during the final stages of post-production, when all the

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film and music editing is done, and they watch and listen to the film and decide which

‘track’ of sound - dialogue, sound effects or music - should be more present that the

other. They work to make sure that the dialogue is clear against the music and sound

effects, that the sound effects is effective set against the others, and that the music is

heard as well. It is also their ‘style’ and choice to decide if the music should take over

when the scene is dramatic or to have more sound effects in an ambient scene.