In this episode
I want you to think about
how you edit your music
on your timeline.
Music on your timeline is King!
Time and care is vital
to allow you to mold it
into an appropriate complement
of your vision
for the project.
It's not a pebble dash
to be slapped in the timeline
to try and cover sloppy editing
which is sometimes
what I see delivered to me.
This episode covers the couple
of tips to help you
edit your music correctly
and be able to deliver
those music tracks professionally,
that any of the great
composers would be happy to hear.
Firstly music is not free.
There are a group of humans
out there they spend lots of time
and effort creating all this amazing
music and unfortunately they need to eat
and to live and to be able to keep doing it.
You're not actually allowed to go
online and rip what you want.
Not only are there copyright issues
but the quality is probably compromised
anyway as you'll have no idea
of how the files were compressed
during the upload
and the download.
You need to use original files
from the composer or the library
or whatever your source.
All at the resolution of your session
so for HD there will be 48k 24-bit
Then when you're finished
make sure you give the information
of which tracks you used
to the person responsible,
so they can make sure
that the music returns
are completed and returned
to the appropriate music rights body.
This is usually the responsibility
of the producer.
First things first rhythm.
Rhythm is the mechanics
of music. Ask yourself
what's the meter? Is it 4/4
like 1, 2, 3, 4
2,2,3,4,
3, 2, 3, 4,
or would it be like 3/4
1, 2, 3,
2, 2, 3,
3, 2, 3
These signatures can be seen
in your waves forms as Peaks
and as you listen to the music
you can see what you're looking at.
So if you need to cut
a piece of music firstly look
at the appropriate beat
that you're cutting into.
Generally at the end
of the bar,
the 4, 2, 3, 4
The next thing to watch out for
is the key of the music.
The key of the music
is the key in which it is played.
Now you're getting into musicality
most of you probably
know what I'm talking about
but if you don't
your ear will.
If it does not sound right,
it is not right.
Try to keep the piece of music
at the end of the edit point
consistent with the outgoing piece,
so that they are both the same key
unless it's deliberate,
it can be too jarring for the listener.
Of course I'm going to say it;
checkerboard everything
we've brushed on this before
it's imperative
that everything in the music tracks
are checkerboarded
so that the mixer
can create nice transitions
at the start and the end
of each piece
and sweeten cross fades
in between.
You should have delivered large handles
with the session
because large handles
on the music tracks
can be really handy
for the sound editor
in cleaning up music track problems.
It's also a good idea
that when you deliver the project
you send over a folder
containing all the music tracks used
in full resolution.
The mixer may need it
if there's a problem
with any of the music edits
or any of the files
on the timeline
has a technical problem
just before we go
if you're using temporary music
in your project
use it as such temporary.
If you're cutting to a certain piece of music,
make sure the piece you are going
to use is of the same tempo
otherwise the rhythm of your edits
will be off
and tragically for music composers
and I've seen it many times,
the editor and the director
fall and in love with the temp music
that they have used
in the edit.
When the composer delivers
the director and the editor
are bemused,
why the score
from the composer
is not a John Williams
or Ennio Morricone masterpiece?
Don't love your temp music.
It's temp music.
You've entrusted somebody
with your vision.
I'm sure they have your best
interests at heart.
Communication is key.
Find out at the
start of the process
the tempo or if possible
a sample of composed music,
so that you're editing to the same tempo.
I'm Keith Alexander
and you've been watching AdoramaTV.
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