Are We Music Editors?

In the intricate world of audio post-production, the boundaries between different roles can sometimes blur, especially when it comes to integrating music into a scene.

While traditionally music composition falls under the purview of a composer, there are instances where sound editors find themselves tasked with infusing a scene with the right musical ambiance.

Let's delve into a scenario where sound editing intersects with music selection to enhance storytelling.

Setting the Scene: Phone Call in a Music Recording Studio

While working on the backgrounds for feature film YesterYear, Alma, our protagonist, is calling her boyfriend who is currently in a recording music studio room.

While inside the studio, it makes sense for it to feel more isolated and quiet.

However, we have Alma’s boyfriend exit the recording room and walk down the hallway, where we see other recording room doors.

You ever step into a multi-room recording facility? Instrument bleed goes crazy in those hallways.

Crafting Musical Backdrops

So, I took it upon myself to have some music playing as if something was being tracked behind some of those doors. Thankfully, there are many copyright/royalty-free resources available. 

First I looked what was available through Soundly.

On Freesound, there’s a lot more authentic recordings that are freely available.

I found some already futzed drums going on and cut that in. 

Then, I searched through YouTube for any copyright-free folk/country drum tracks.

After finding a few selects that varied in energy, I audiosuited a futz to make it sound like it’s coming from behind a door.

I use the stock plugin Space, however Soundly’s Place It is free and does a great simple job of dialing in the sound you want. I would also add in the tracks unaltered in case the mixer wants to play with it on their own.

Strategic Considerations: Balancing Dialogue and Music

There’s a reason I chose drum-tracking as opposed to a whole live band recording or another solo instrument.

Firstly, bleed from drums tend to be heard more outside of a recording space than other instruments.

And secondly, this is a very intimate conversation that will also have some phone futzing on the dialogue.

This means other frequencies will be competing to be heard if it was a live band or another tonal instrument.

It is easier for the viewer to separate transients and tonal information than tonal on tonal information.

Something to consider when crafting soundscapes with dialogue in mind!

Collaboration and Communication

So, are we music editors?

Not in the credits sense, but at the end of the day, whatever paints the full picture of the story!

Thorough communication with the director and post-audio teams is highly encouraged, so don't be afraid to ask.

There is a chance the director would want the composer to whip up something custom in scenes like this.

Thankfully, by having a spotting session beforehand, the director and I were clear about what I would be adding to the picture.

When searching for musical alts, think about story, personality/setting, and tonal balance with dialogue.

And, of course, make sure you’re cleared to use any musical samples!

P.S. You can see what this process was like by shadowing Session 14 from my YesterYear series at Post Audio Pro!