Nes Music Editor

[Toney Talbot]

Iwant to accept more pitches and publish more stories, though. I want to publish so much good music writing that we are bathing in a digital ocean of perfect word choices and beautifully crafted metaphors about songs. So in my small effort to combat this bad pitching epidemic, here are a few tips that might help you not blow it with editors.

Different pitches have different lifespans. A long, well-researched investigative piece has the potential to live on forever and ever in the ethers of the interwebs. But something quick and dumb about the Left Shark or escaped llamas has a shelf-life of a day, if that. Send a pitch about a day-old meme and prepare to have your email printed out and passed around the Secret Society of Editors to be mocked while you are forever branded as that freelancer who wanted to write something about the IKEA monkey.

I can't for the life of me figure out how sound effects or music editing works! Does anyone have any information anywhere? I suspect that if I already knew how any other tracker worked I would be able to understand this, but I do not.

The sfx editor is quite easy to use. In graph mode you have choose the instrument (the small figures) and "draw" the sound and its volume on the 2 bar charts.

I did not try the tracker for now, but I planed to. I believe it's like the trackers we had on Amiga.

the sfx editor allows you to assemble 1-page-sequences of music. you enter notes there including gain level, effect and sound for each note (thats one line then). on top you have speed for the whole sfx and an option for looping.

It took me a little while to realize that the same set of patterns can be used for sound effects or music, so you can use either editor to make music. I kind of prefer the visual editor for writing out notes but the tracker-style editor lets you use the keyboard as a piano which can be useful.

@movAX13h: I'm not worried about breaking stuff :P I just can't even figure out how to hear what I've done. I've pressed all the buttons and read the manual. I will post another question after I've carefully read these answers and looked at the manual that Mozz posted.

frew, load up one of the demo songs (I think woo.p8 was one of them) and see what they did. You can make up to 64 tracks of 32 notes in the fourth tab (switch mode to tracker in the upper left, the grid icon), then assemble those measures in the fifth tab into the four audio channels of the PICO-8.

Left and right click are used a lot to increment/decrement the pattern #, spd is the delay (starts at 1 and makes almost no sound at this speed, set it to 16 for most music), oct is the octave (0-3), the wave icons are instruments, and the other icons are effects.

Hello My name is Zis Guerrero I am attending to Full Sail University for Music Production and we are reading your post as part of the assignment

These are VERY VALUABLE lessons for me Thank you and I will continue reading more

This is very interesting. I am a freshman Recording Arts major/Music Minor at Loyola Marymount University. I am very interested in becoming a music editor. I wanted to know your advice if I did want to pursue that. I looked at your body of work and it is incredible.

Jim Harrison is an award-winning music editor, whose credits comprise The Greatest Showman, The Jungle Book, Houdini, Ice Age: Collision Course, Harry Potter and the Chamber of Secrets, Purple Rain and many more.

In this interview Jim talks to us about the music editing process between pop and classical music for The Greatest Showman, as well as the challenges he and his team faced to make the soundtrack fluid and cohesive. Furthermore, and in great detail, he shares with us his experience with both the business and the artistic sides of music editing.

In preparation for the dub, after final scoring, mixing down the score, we then cut and prepare our final sessions using Pro Tools. In addition, we do any final conforming; we also cut song masters and improve any edits from editorial if needed. In the case of The Greatest Showman, the files were so big that we had separate Pro Tools sessions because Jen Monnar was working night and day on songs and I was working night and day on the score. This also allowed us to go to various overdub sessions and such while the other person continues to work on their particular area.

Once the film is completed, we create the final print master for the film, in addition to an M&E (music and effects) pass that is utilized in foreign territories so they can create various versions of the movie in different languages.

DS: The music of The Greatest Showman gathers both classical and pop music. Could you comment on the complexity of editing both genres as a means of building a cohesive support to the narrative?

The final dubbing / mixing process began the beginning of November 2017. We had only 3 weeks to mix the film. During this time, Jen Monnar was continuing to update the final song mixes, in addition was music editor Peter Myles, who worked with editorial on the final lip-sync for the on-camera performances. On the score front, we continued to have orchestral sessions on the Twentieth Century Fox scoring stage, which conveniently was in the next building close to the dubbing stage. As a music editor, I attended both the final dub and additional recording sessions to ensure that all of the latest versions of music cues were being addressed, mixed down, and prepared for the dubbing stage.

In general, most final dubs can take approximately two weeks to six weeks depending on budget and the task on hand. In the case of The Greatest Showman, three weeks was short, but with the help of the amazing crew, we pulled together and helped create a film that we were all proud of.

DS: The director envisions how the story is going to be, and the film editor assembles it. Is this relationship similar to that of the composer and the music editor, in this case John Debney and yourself?

I would say that the difference between a musical and regular film, with just underscore for instance, is the amount of session maintenance in the tracking of sessions involved for each recording event, so it does amp up the workload. But, technically, the work is the same.

JH: Jon Favreau, the director, wanted to do something a little more modern but we used a little bit of the original themes. The original Jungle Book was more of a classical score and Jon wanted the new one to have more contemporary elements to it. It was also a little bit darker than the original, which allowed us to take advantage by using percussion and driving orchestra, as well as sinister sounds.

After three months of waking up in night sweats of anger and frustration, I spoke with the assistant editor on that pilot. He convinced me to call the union. And the breathtaking simplicity of his logic finally resonated with me.

The comedy of my meeting with Christine Wenc (editor in chief) was that she was unduly impressed that I'd had some short blurbs in the Seattle Weekly, and wanted to warn me that I was joining a much-less-respectable operation.

At the start, I sometimes had to beg to get advance or promo copies of CDs from major labels, and was last in line to get interview time. But within a year, we were inundated with CDs, tickets, interviews, and photo passes, along with flattery, pleas, and even mild bribes to get coverage.

Some nights I plowed through a stack of them at the office late at night, and farmed out the rest to the growing cluster of contributors (including current editor in chief Tricia Romano). Other nights I went to shows with sets by three bands. At the Off Ramp, I once stood five feet from an unknown PJ Harvey on her first American tour. When she broke a string in the middle of her set, she went from being a thundering force of nature on the guitar to a shy musician waiting for several agonizing minutes until someone brought her a new D-string.

After Mia was killed, we covered the many benefit shows devoted to raising money for the investigation, and the Home Alive movement, which grew out of that, to teach women self-defense and provide discussion forums and rides home. Our editor at the time also wrote a critical piece about what she felt were their unnecessarily grim scare tactics.

The burgeoning rock scene meant you were often witnessing unknowns developing into superstars. I once gave a rave review to a record by punk band out of Olympia, Excuse 17, and a few days later the phone rang. Mike Nipper at the front desk told me, "It's Carrie Brownstein from Excuse 17." I picked up.

"Hey," she said, quickly, "That was cool how you described our sound. But listen, that band's finished. I've got a new band called Sleater-Kinney and we're playing in a friend's basement tonight, can you come?"

There was tough competition for space in the section; I tried to balance local bands with jazz and world music acts touring Seattle: Max Roach, Nusrat Fateh Ali Khan, Ladysmith Black Mambazo, the klezmer revival. I interviewed Tricky, the triphop artist, as we walked up to the now-nonexistent Piecora's. Half of what he said went up in smoke; he sparked up a joint sitting outside right in front of the restaurant. I hired Trey Hatch and he began covering avant-jazz and new genre-free music, including promising local musicians the Young Composers Collective, Gamelan Pacifica, Stuart Dempster, and Wally Shoup.

Often people will ask if I met Nirvana. While I later met Krist Novoselic during his work against censorship, and informed Dave Grohl about Dan Savage's crush on him, I only had one encounter with Kurt Cobain: at Ernie Steele's Tavern, where he was drinking with Courtney Love and Mark Lanegan. As he was standing alone by the jukebox for a moment, I introduced myself and tried to hit him up to do a guest column for us. "The Stranger," he said, reflectively. "You guys have some really cool artwork." I never got that guest column.

Part sound editor, part project manager, and part musician, the music editor is an all-rounder who oversees the creative, technical, and logistical aspects of composing and implementing music in film and TV. With numerous duties including attending the initial spotting sessions, keeping the composer updated on picture edits, creating temporary soundtracks to assist in test screenings, and representing the interests of the composer in the final dubbing sessions, music editors guide the music from its conception to the final mix.

3a8082e126