shieroz

Remote Recording Setup & Audio Delivery Tips

Since the pandemic hit, remote recording oneself for film/TV/Video Game scores has become very common. I wrote a detailed blog entry about Home Recording Basics that may be of interest, and most musicians I know have some sort of recording setup at home these days. I think this trend is here to stay. For composers, the ability to simply have soloists record themselves and send back tracks is a wonderful convenience. With that in mind here are some thoughts on how to make the process work as smoothly as possible.

Pro Tools

First, my top recommendation for musicians is to get Pro Tools, and use that for your recording sessions. Pro Tools is the industry standard audio software, most of the time that’s where your audio will end up, in a Pro Tools session. Furthermore, there’s a good chance that the person preparing things for you is already working in Pro Tools, in which case s/he can provide you with a Pro Tools session so all you’d have to do is open it, add your empty record tracks and go – so much less work than having to setup sessions manually on the DAW of your choice. And when you’re done you can simply send back a session of your new tracks (more on that below). So working in Pro Tools is the most efficient way to go.

I know the subscription model sucks, but for most, if not all of you, Pro Tools Artist is all you need. At 9.99/month or $99.00 a year if paid annually, the cost of the software should be covered by your first hour of recording. Most musicians I know charge from $100-$250/hour. Even if you chose to get Pro Tools Studio, which gives you more features (which you likely don’t need for home recording) it’s just $31.99/month or just $319 if paid annually (at the time of writing this blog post, it’s on sale for just $199 if paid annually). Once again your first session should cover the cost for a full year. Either way, I think that’s a very minimal investment.

If you’re working in Pro Tools, the composer (or his/her asst. or music editor or whomever is preparing your materials) can create a Pro Tools session for you. This means that you don’t have to deal with setting up a new sessions in the DAW of your choice, importing MIDI or audio files, worrying about correct settings & correct timecodes (in my experience receiving audio recordings timecode is not setup correctly more often than not). Opening an existing Pro Tools session ensures all the settings are correct, and it takes you seconds, all you have to do is open the session, setup some new tracks and you’re off to the races.

When recording in Pro Tools, I recommend using playlists for different takes. Simply go to the little caret (the small triangle) to the right of the track name, click it and then either duplicate your existing playlist to make a copy of it, where you can then keep recording, or make a new playlist, which will create a fresh empty one instead. If you think of a track being a notepad, you can think of playlists as pages on that pad. Creating new playlists is like adding pages to the notepad, changing playlists is like flipping pages. Simple.

When you’re done recording hit save. Then highlight your track(s), go to the File menu, click Export and then Selected Tracks as New Session… This will bring up the Save Copy In… popup window. Make sure you check the Audio Files checkbox and that Selected Tracks Only is checked (it should be by default). Then click OK, name your sessions and you’re done. You’ve just created a new Pro Tools session of just the tracks you recorded, which you can send back to your client. Zip it and ship it. No need to consolidate audio, rename audio files. Importing those tracks on the receiving end is super-easy, it takes seconds.

Other DAWs

If you’re using a DAW other than Pro Tools, you’ll have to setup your own sessions. Again, I highly recommend using Pro Tools, it’s faster and more efficient, but if you are on another DAW here are things to double check when setting up your sessions:

1. Import the MIDI file first. When importing MIDI it tends to automatically change the frame rate in some DAWs, so by doing this first you’re making sure that the frame rate won’t accidentally change at any later point in the setup process.
   
2. Set your project’s frame rate to the correct frame rate (you need this information from your client).
   
3. Set your project’s timecode start time. This ensures that the timestamps in the files you will eventually export are correct. Once again, you’ll need this information from your client. If you don’t have the timecodes from your client, set the project to start at 0:00:00:00. That way if the client looks at the timestamp, it’s obvious that there isn’t one.
   
4. Set your project’s sample rate and bit rate. Make sure this matches the specs the client requested. Their guide tracks should be in those specs, which is a great way to double check.
   
5. Import the audio guide tracks.
   
6. Setup your empty recording tracks.

And here are considerations when delivering your files back to the client:

1. Make sure you clean up your work, trim any noises on the track.
   
2. Do your own comping. If your performance is made up of several takes, edit them together into a single continuous performance that plays as you intend.
   
3. Consolidate the audio starting at Bar 1. Different DAWs use different terminology, it may be called merge, or something else, but what you’re looking to do is create a continuous audio file that begins at bar 1, even if your take doesn’t start until much later. This way when the client receives the files they can simply put them in their DAW of choice starting at bar 1 and everything will line up correctly. I recommend using the duration of the guide tracks to determine the start and stop of the new audio files you’re creating. That way when the client brings them in they’re exactly the same length as the tracks they sent you.
   
4. Clearly label the consolidated audio files. This is crucial, make sure the files are clearly labeled. Make sure the project name (or shortcut for the name) is at the beginning of your file name. Enter the cue name exactly as it appears in your parts, then the instrument you recorded. If there are multiple tracks add 1, 2, 3. If you’re using multiple mics indicate which mic is being used. So if you’re working on My Awesome Project cue 3m12 Best Scene Ever and recorded with a close mic and a room mic you’d want to label your track like this:
   MAP 3m12 Best Scene Ever Close
   MAP 3m12 Best Scene Ever Room
   
   If you’re sending multiple takes add tk1, tk 2, tk3, etc. to the filenames.

Dos and Don’ts

Do

• Unless you’re sending back a Pro Tools sessions, do make sure all your audio files start exactly at Bar 1
• Make sure if you have multiple audio files within the same session (same cue) the audio files are all the same length. When your client imports your tracks that consistency is reassuring that nothing is amyss.
• Make sure your filenames have all the necessary information and are consistently labeled.

Don’t

• Don’t forget to check your session settings before you get started. Don’t send files in the wrong sample or bit rate.
• Don’t send audio snippets that don’t start at Bar 1
• Avoid using special characters like # or & in your filenames. Some people like using underscores instead of spaces, I personally hate it. I think it’s a remnant of the earliest days of computing, when spaces weren’t allowed in file names. Spaces are fine. However, if the client is using them, then go ahead and use them, too, you want to be consistent with the client’s preferences
• Don’t hesitate to ask questions if you have any while recording. Better to email/text/call and ask the question, than make the wrong decision, which would inevitably result in having to redo things.

Shie Interviewed for Composing for the Screen Book by Scott W. Hallgren

I had the honor of being interviewed by Scott W. Hallgren for his new book Composing for the Screen, which is now available via Routledge publishing.

This book is a collection of essays written by and interviews with working composers for film and television, and video games, exploring the business side of composing, addressing the lack of understanding about career development and business responsibilities as they relate to composers.

Over 30 industry professionals, composers, directors, educators and business agents at all levels dispel myths about the industry and provide practical advice on topics such as how to break into the field; how to develop, nurture, and navigate business relationships; and how to do creative work under pressure. Readers will also learn about the entrepreneurial expectations in relation to marketing, strategies for contending with the emotional highs and lows of　composing, and money management whilst pursuing a career in composing.　

Written for undergraduates and graduates studying composing, sound production, and filmmaking, as well as aspiring　composers for film, TV, and games, this book provides readers with a wealth of first-hand information that will help them create their own opportunities and pursue a career in film and television.

You can purchase your copy here https://www.routledge.com/Composing-for-the-Screen/Hallgren/p/book/9781032004426

2021 A Year in Review

2021 was a challenging year for all of us with the worldwide Covid-19 pandemic and the havoc it created in our lives. As we end our second year living with the pandemic, I look back at a year that once again was filled with both challenges and triumphs.

Despite all the challenges, there’s been a lot of good happening in the world. Over 8 billion Covid-19 vaccinations were administered around the world. These vaccines have saved countless lives and will likely make this disease one we can live with, much like the common flu, rather than the deadly scourge that it has been thus far.  A new HIV vaccine has shown incredible results in early trials. Philanthropic efforts continue to grow after reaching record highs last year. China eliminated Malaria and the World Health Organization is working to rid more countries from this horrible disease. Work by thousands of people in the Netherlands has helped bee populations remain stable. NASA made oxygen on Mars and launched the James Webb telescope was launched. More electric vehicles were sold in Europe than diesel fueled cars for the first time ever. Renewable energy generation reached all-time highs. The global economy is recovering from the effects of last year’s shutdowns and the ongoing pandemic. The world is generally heading towards some sense of post-pandemic normalcy.

Looking inward, while two of my nephews & a cousin had Covid, I’m grateful all three had mild cases and have made full recoveries and the rest of my near and extended family have stayed healthy. We’ve all been vaccinated (or fullinated as Zach likes to say. According to him when you get the first shot, you’re halfcinated, when you get the 2^nd you’re vaccinated and two weeks later as it takes full effect you’re fullinated. And now people are getting boostinated, too).

In February for my birthday, I decided that the best gift I could get was to give. Inspired by my friend Paul Leonard Morgan who does an annual fundraiser, I decided to do a fundraiser walk to support Children’s Hospital of Los Angeles, a place that has done a lot for our son, Ethan, not to mention the thousands of other children and families who deal with much more serious medical challenges than we do. I was able to secure sponsors who offered cash donations and/or offer products to be raffled among donors including AVID, Bandana Doods, Budapest Scoring, Cinesamples, Extreme Music, Hilary Blaha, LA Percussion & Backline Rentals, Lumos PR, Megatrax, Orchestral Tools, Soundiron and The Amazonic. My plan was to walk 11 miles (in honor of my 11 year old Ethan) and raise $1,000 per mile. Thanks to the generosity of nearly 200 donors we raised $16,000 and I walked 16 miles instead.

During remote learning due to the pandemic, we discovered that Ethan liked remote learning and it suited his style of learning quite well. With his unique needs as a twice exceptional child, he switched to home schooling and has been thriving. We’ve built an entire support team around him to help him with his unique challenges since he’s on the autism spectrum and he’s come a long way this past year and is thriving. My wife, Sheri, has done an incredible job researching different things and finding him classes and services that meet his unique needs. Zach got back to in-person learning and started playing soccer, which he’s enjoying and is doing very well in both. The boys also started riding horses, which Ethan particularly enjoys.

In May I took Ethan to Yosemite for a weekend to celebrate his birthday and achieving a goal he’s been working on for years. It was the first time at the park for both of us. The majesty of nature was transcendent. Spending 4 days one-on-one with Ethan was magic. We made memories to last a lifetime.

One unexpected surprise came in late July when our landlord informed us that she intends to sell the house we were renting and so we were forced to move. As you know the housing market is quite challenging right now and there were only 4 suitable and affordable homes available for rent in the entire Santa Clarita Valley where we live. Thankfully, we were able to secure a lovely house that is even closer to Zach’s school so he can now walk to school, and we moved in August just a few days before Zach started the new school year. Once again Sheri was the hero doing the majority of the work since I was slammed with work. It also didn’t help that I had fractured my wrist and was wearing a brace at the time. But we got through it and are settled into the new home.

Professionally it has been the busiest year of my career, so much so that I realize I didn’t add any new blog posts at all in 2021. I continued my work with Christopher Drake on season 2 of Creepshow for Shudder and we finished season 2 and went straight on to do season 3. I was asked to music edit Mary J. Blige’s My Life musical documentary for Amazon with director Vanessa Roth, who I have wanted to work with for over a decade and composer Mervyn Warren. I was music editor on all 13 episodes of season 2 of Stargirl continuing my collaboration with composer Pinar Toprak and the best music team in television. I also music edited the remaining Welcome to the Blumhouse anthology of films Bingo Hell & Black as Night, which premiered on Amazon in time for Halloween along with The Manor & Madres, which I had worked on last year.

Thanks to Mervyn Warren, I had the opportunity to virtually meet the one and only Quincy Jones on an indie feature called Lola James, which Merv is scoring with Q executive producing the score. Thanks to my work on the Welcome to the Blumhouse anthology series, I was asked to music edit a series of films they were making for Epix. I was too busy to do the first two in the series but did help out a little bit on the first one – A House on the Bayou, which premiered on November 19^th. I did, however, do films 3 & 4, Unhuman and Torn Hearts, which are both scheduled to premiere on Epix next year and I’m scheduled to do 4 more later next year. In addition, I started work on season 3 of Stargirl and I also worked on 3 more feature films & a AAA video game that I’m afraid I cannot reveal yet but can’t wait to share with the world.

And if this abundance of work isn’t enough, I also scored several short films this year. Continuing my collaboration with director/producer Joe Ferro, I scored his short My Name is Mary, which premiered at the Culver City Film Festival earlier this month. I also scored the short documentary Legacy: The Life of Canto Robledo, which Joe produced, and Jason Peguero directed. Legacy and Choices, another Joe Ferro short that I scored last year, are both due to have their film-festival premieres in February. My dear friend Alexandra Fehrman, who is a great Emmy nominated re-recording mixer directed her first short film Untwined, which I scored. The film has been making its way through the film festival circuit and has already won several awards including for the score. Working with the talented Leo Pfiefer, I scored two short documentaries he made. One Day You’ll Go Blind tells the amazing story of skateboarder Justin Bishop is set to premiere on January 19^th, and Body Language: Bill Shannon (which you can watch by clicking the link) is a fascinated glimpse at Pittsburgh-based artist Bill Shannon’s work who’s singular style of dance combines choreography and skateboarding with rocker-bottom crutches. I’m also so proud of Leo, who’s short documentary Haven in the Booth, which I scored last year won a Telly Award. You can watch the film by clicking the link. I also scored a short film made for IATSE looking at the union movement and the film Norma Rae, which is yet to be released. And finally, in addition to these short films I also got to write 3 demos for Soundiron sample libraries (Hapi Drums, Hyperion Brass Elements, and Los Andes Pan Flutes).

As you can see it’s been an amazing year despite the challenges that we all face with the ongoing pandemic as well as personal ones. I’m extremely grateful for all that I have and have decided that with my birthday coming up in February I will once again do a fundraiser walk, this time for TACA, The Autism Community in Action. Aiming for 15 miles/$15K this time around and started walking again to get back in shape. Hopefully next year I’ll be able to report that I’ve me this goal or surpassed it.

Wishing you and yours all the best in 2022. I will repeat the wish I offered last year and have used often, may this year be the best you’ve ever had, but not as good as the years to follow.