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Old January 8 2013, 06:34 PM   #1034
doubleohfive
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Re: La-La Land to release 15-disc original series score set

Christopher wrote: View Post
JimZipCode wrote: View Post
No, that's – ha, I feel a weird sense of displacement, like we've switched roles a few pages later in the thread from our previous argument – that seems an over-literal interpretation of what I was trying to say. Cleaning something up for quality is one thing; of course it's an editor's job to assemble the best version of a cue, say using the beginning of one take and the ending of another, also omitting that part where the percussionist knocked over the cymbal and it clattered on the floor, or the orchestra manager sneezed during a take, etc.
That's not what I'm talking about. There may have been two or more takes of a given cue that were all technically fine, but the composer, producer, and/or music editor may have felt that an early portion was performed better in one take while a later portion was performed better in a different take. After all, musicians do things a little differently every time, as we can hear in those cases where there are multiple takes of the same cue included on the discs. Editing in film and television is usually about piecing together the best available bits, not about faithfully preserving an entire uninterrupted take. And that's surely as true of music editing as of any other part of the process.


But going the extra mile and fading one completed cue into another so you lose the ending of one, that would be different.
I'm not crazy about that myself, but you don't really "lose" anything except the fadeout of the final note. You can still hear that last note, and you can still hear the first note of the next bit, so nothing's really missing. Essentially the main problem with it is that it prevents people from creating their own fan edits of tracked episode scores, and while I can sympathize with the desire to do that, let's face it, it's a luxury, not an entitlement.

Esp in working with material of great archival value; and especially where "the composer's intentions" are among the guiding values.
But the intention of a television composer is not to produce a pure, unadulterated piece of performance. The intention of a television composer is to contribute a piece of the final episode. And the composers probably worked with the producers and editors to take the raw recordings and refine them into the finished form that would work best in the episodes -- which might entail trimming notes, blending separately recorded cues together, adding sweeteners, etc. A given recorded take is intended to be merely raw material for the editors. The composers knew that going in and worked with that in mind. So a case could be made that recreating the aired versions of the cues, complete with edits and overlaps, is serving the composers' intention.
I've posted this before, detailing the score composing process for a weekly dramatic series today, but Christopher basically has it right here.

Granted, my experience is from the last four or five years, but based on Gerald Fried's commentary at the release/premiere event last month, things haven't changed all THAT much in the process. If anything, about the only difference I could tell based on his comments was simply that these days composers get to watch rough cuts of the shows they're scoring more than just the one time.
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