Page 35 - 2013 Spring

recording order, stage positioning and technical lash up. Confers with composers and orchestrators regarding sonic approach and recording quality. Balances musical elements and directs playbacks and editorial approach to score. The Scoring Mixer is responsible for the ultimate audio quality of the score, all technical and stage scheduling, and for the on- time delivery of mixes. The mixer is sometimes a trained musician and often utilizes a full score to reference musical elements in the original composition.
Stage Engineer: Chief Technical Engineer for the session and Stage. Otherwise known as the Maintenance Engineer, he/she is responsible for the actual technical wiring and hookup of all gear. This would include microphones, pre- amps, analog and digital consoles, recorders/workstations, clocking, communications, networking of control and audio, cue systems, monitor systems, projection systems, etc. The engineer solves all system problems and assists in the setup of rental and composer gear on the recording session. The engi- neer manages all outside setup of remote feeds via satellite or Internet, involving remote performers, directors or studio executives. The Stage Engineer is on hand to assist during sessions and to prevent any potential down time.
Digital Recordist: This is the recordist responsible for the main record/workstation systems. He/she sets up the ses- sions in the workstation, pre-programs the input/output con- figuration and operates the workstation on the session. Often, this person performs preliminary edits and organizes the tracks for overdubs and later mixing. This recordist inter- faces with the Stage Recordist regarding patching, clocking of digital gear, routing, etc. He/she also coordinates with the Music Editor and composer staff to load tempo maps and other session documents. She/he is responsible for data man- agement, backups and distribution of recorded material. This recordist normally follows the project through preparation, recording and mix down at numerous facilities.
Stage Recordist: The Stage Recordist manages the con- trol room portion of the Scoring Stage. This recordist is familiar with the in-house wiring, consoles, communications and playback systems. He/she works with the Digital Recordist and Music Editor to connect/patch all recording systems. This recordist often operates the backup worksta- tion and manages the picture playback workstation. He/she also coordinates with the stage crew to route all inputs and outputs as needed to the headphone console and main recording console. He/she also coordinates audio and video feeds to the outside world, such as telephone communication feeds to remote locations and Integrated Services Digital Network (ISDN) or synchronous feeds to overdub or record performers at other locations (Satellite or Internet feeds.)
Digital Editor/Conforming: The session and mix con- forming editor receives material from the session (via local network) and immediately edits this material for use in over- dubs or temporary mix situations. This editor also moves material musically to provide best sync and performance when the orchestral sections are recorded separately. Additionally, this editor checks sync with the prerecorded material from the composer’s studio to assure best musical performance when combined with the various live elements.
This editor works from the score and is usually a trained musician. He/she also follows the project through scoring and mix down.
Stage Manager: The Stage Manager handles the studio side of the glass. He/she is responsible for executing the setup of chairs, stands, headphones and microphones in the studio. Most importantly, this position deals directly with the musi- cians and their endless litany of requests and problems. (“It’s too hot/It’s too cold/Too much space/Too little space” etc.) The combination of setting up the stage for best recording results along with keeping the players happy is a real art. The Stage Manager also checks microphone positions—and repo- sitions microphones as needed (particularly percussion and keyboards) for each cue. The best Stage Managers can assist the Scoring Mixer in the choice of microphone type, seating position and stage layout with regards to their particular venue. If risers and baffles are needed, he/she places and/or supervises the placement of these elements.
Stage Assistant/Cue Mixer: The Stage Assistant also acts as the cue/headphone mixer on the session. On most Scoring Stages, the Cue Mixer is placed on stage, allowing easy com- munication between the players and mixer. The mixing con- soles have between 56-72 inputs and upwards of 32-48 out- puts, all for cue mixes and headphones. The sources are derived from the workstations and console in the control room and distributed to the cue mixer by the Stage Recordist. The Stage Assistant helps with microphone and headphone setup prior to the session. During the session he/she manages the multiple mixes going to the headphones and “rides” the click level to the headphones. The dynamics of the music determine the available headphone level allowed before leak- age into the microphone would occur. It is the duty of the Cue Mixer to set and constantly adjust this level to avoid click leakage, which could ruin the take.
Click/Auricle Operator: Most scoring sessions utilize both visual and audible cues to synchronize the music track being recorded with the picture. Computerization of this cueing has been systemized through the use of onboard gen- eration of clicks and streamers in the workstation and via outboard computer programs such as Auricle. Many sessions utilize both onboard and outboard systems. The Auricle operator has pre-programmed the cue marks and clicks prior to the session to correspond with the bars and beats of the recorded cue. The clicks can be subdivided to allow for easi- er performance of difficult time sequences. Picture cues are often determined both by the composer and conductor to assist in accurately placing musical emphasis with picture. The Auricle Operator can change any of these parameters on the spot to allow for instant music-to-picture adjustments. Music can be speeded up or slowed down, and bars and beats can be added or subtracted, all with corresponding click and picture cueing changes. This operator normally sits on the stage in proximity to the conductor. Changes in click con- struction are often ongoing in the recording process. Additionally, it is often desirable to free-time (conduct) a sec- tion of a cue (that is, to eliminate the click track and allow the conductor to perform the cue to picture only). In many cases, the cue will include sections of click and non-click bars. In
34 Acoustics Today, April 2013