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these cases, the Auricle operator will build warning clicks to prepare the musicians for the incoming section of music.
Session/Composer Engineer: In the current era of hybrid scores, and the need to demo each cue for the direc- tor and studio prior to recording, nearly all composers now employ assistants and in-house engineers to facilitate this process. The composer’s engineer typically prepares the pre- record playback machine, lays out the demo tracks to picture, and builds the tempo map for each cue. This engineer often attends the session to operate the pre-lay/playback worksta- tion in order to edit “on the fly” any material subject to change, or to include any alternates included in the session. Since this engineer has been associated with the initial com- position and construction of the cue, she/he is often the best reference for questions regarding sync and musical content of the pre-orchestrated cue.
Music Editor: Described in some detail earlier, the Music Editor takes the score from the earliest conceptual stages through composition, demos, recording, editing and final mix. The Music Editor is usually the final word involving sync and
picture changes/adjustments. Many Music Editors are com- posers themselves, and are capable of sophisticated sync and musical adjustments if required to do so by picture changes. The Music Editor confers with the Scoring Mixers regarding stem layouts for dubbing, and arranges for final print takes and alter- nates to be included in the final mix session. The Music Editor usually is the designator of take numbers and session notation regarding best takes, director and producer requests and desires regarding music, and dubbing notes.
Assistant Music Editor: The Assistant Music Editor manages the data from the recording and mix sessions and sets up the final music mix material in picture sync sessions to be played back in dubbing. The assistant typically keeps track of updated picture and change notes and manages the input of updated mixes into the dub sessions. The Assistant Music Editor often handles the technical interface with the Digital Recordist and the final dub stage. This position requires a very detail-oriented approach to the project involving multiple mixes, stems and alternate takes and choices requested by the director.
While often commuting between the Pacific Northwest, Los Angeles, Boston, and Chicago, Shawn Murphy actually does enjoy listening to music (all types) as well as cycling and snow skiing. He resides in Seattle with his wife and two canine children.
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