Beyond the Technical: The Importance of Real-World Experience in Music Editing

As 15 eager students of various ages and nationalities sat in front of me in a basement classroom in Los Angeles, I wondered, what can I teach or show them that they can’t find on YouTube? My course at UCLA Extension—Recording, Mixing, and Editing Techniques for Film Composers—is a real-world, intensive core class in the two-year film scoring certificate program. In it, I share a wealth of experience as a music editor who has been in the trenches, wrangling all the music for a film: the technical and interpersonal challenges of working with the composer, editors, director, music supervisors, and mixers on a project through to its completion.

Over the years, I have found that in our work there’s so much more than just knowing how to do the operations; it’s the behind-the-scenes and the personal interactions that contribute to our successful careers. I believe it is these untold and unwritten stories that are missing from music education today. These are the experiences that inform us—beyond the technical knowledge—of the intricacies of working within the industry and that inspired me last year to write my second book, The Music of Film: Collaborations and Conversations, which opens up the world of film music from the inside through personal narratives drawn from a series of interviews and conversations with professional composers, music supervisors, music editors, and picture editors. The book demonstrates how music for film and television works according to insiders in the industry. Here are a few excerpts:

Nathan Barr, composer, on helping a friend move: “I left my job, bought a school bus…and we drove 16,300 miles from New York to Brazil. It seemed like a lark at the time and a big distraction…from any meaningful movement in the direction of a job. But when I got back, a friend passed along a job listing that read, ‘Prominent Hollywood film composer seeking driver/assistant’ …the composer turned out to be Hans Zimmer. I didn’t find out until years later that the reason I got the job was because of that trip—[Zimmer] thought anyone capable of a trip like that was worth getting to know better.”

William Ross, composer and orchestrator: “I believe that all of us are lifted to whatever level of success we achieve by the people we encounter in life. I can’t think of any exceptions to that principle.”

Rupert Gregson-Williams, composer: “I would always advise a young, inexperienced composer to do as much as possible, to work deadlines and different genres—and often for nothing—all this is useful for practice at the craft. You may collaborate with the next young Spielberg, too. I’ve met many young composers who aren’t prepared to do this, and want to jump straight into a career.”

Many of these stories I relate to and often pass along. I recently spoke with a young bassist with two music degrees who asked me how she could find out more about music editing and perhaps enter the field. Here are a few tips I shared with her:

• Find someone in the field to shadow as they work. You may be surprised that even very successful people will be happy to invite you. Sometimes it takes an intermediary who has a direct contact to open a door. As you find professionals to introduce yourself to, they may not be able to help you directly but ask them for someone else who may be more accessible or have more time for mentoring.
• I constantly cross paths with Berklee alumni. There are so many in composing, sound editing, mixing, and music editing that it’s a constant reminder that these connections are invaluable for us. When you talk with colleagues and mention you are from Berklee, you’ll find an instant connection that can not only open doors but also bring friendships.
• And yes, being in the right place at the right time is important, but there’s no way to plan or predict this one!

I hope these tips and stories can help us all navigate those paths that intersect with our careers and our lives.

Steven A Saltzman B.M. '77 is the author of The Music of Film: Collaborations and Conversations (which can be bought from routledge.pub/music-of-film(Opens in a new window) for 20 percent off until June 20 with discount code AFL01) and Music Editing for Film and Television: The Art and the Process.