bblackwood wrote on Thu, 03 June 2004 16:23 |
jfrigo wrote on Thu, 03 June 2004 15:13 | Notice the "we" as I imagine you must have. It was one of the sessions DC ("Dave Collins" for the acronym impaired) and I worked on together a little while after he made Mastersuite's studio his home base, with Dave EQing and me editing.
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Nice. How much editing goes on during one of those YJ sessions? In my experince those jazz guys have their stuff down cold way before mastering...
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It depends...sometimes it's quite a bit. Let's take a few edit projects I did with Dave as an example. The X-Men 2 soundtrack ended up actually having quite a bit of editing. I sat with Casey Stone, the scoring mixer, for at least a couple hours dealing with little fine-tuning, enhancements, volume rides etc. His quote to me at the end was, "You really earned your money today." Add to that the normal assembly, sequencing, and PQ coding and it's actually more work than just throwing some start IDs on there.
With Sandro Albert, another jazz project mixed by Rich Breen, the artist and producer stayed for quite a while trying different sequences, fades, spacings, crossfades, volume adjustments etc, so again it wasn't just a simple PQ job. I also had to come back for a resequence a couple weeks later. Sometimes the artists can't quite make up their minds, but the material was nice as was the artist, so no big deal.
For the War remasters for Rhino/Warner, the original producer was in attendance and he kept me quite late doing "new, never before released edits" of a couple songs (but they left the classic "Lowrider" alone), plus copying the edit from an earlier release of another song, plus the two CDs worth of assembly that there were changes on, and multiple refs of alternate versions of things. Again, a fair amount of work for an "edit" session.
As for the Yellowjackets, we did the normal amount of messing around with spacing and fades and maybe tried an alternative here or there, but in their case, I'd say they were pretty well prepared and it went pretty quickly. I did have to come back and babysit a second Genex transfer for some reason, but I can't remember if we had to change something or fix something or if they needed another copy or what - I just remember that I had to meet the mixer again the next day to do some more work.
So, sometimes edit session are quite involved, sometimes not so involved, but they seldom turn out to be a simple Sequencing and assembly anymore. But hey, billable hours are billable hours. Do you get lots of simple edits, or are people getting pretty creative? It sure seems that many if not most of my clients enjoy the positive difference we can make during the editing stage.