# Subbing out work - help with cues - etc



## Bropecia (Sep 10, 2018)

Hi all, so I'll be starting my first composing gig on a comedy half hour shortly and feel as prepared as I suppose I can be, but if being honest, anxious too. My biggest concern will just be volume of cues and turnaround time -- I'm sure I'll be able to do it, but I haven't had a sit down with anyone on the production staff yet to know what the schedule will be, how much time per episode, so I'm just searching around online for industry precedent etc.. 

My main question for today: For those with TV composing experience, when you were first starting out, did you have a back-up composer/friend or the like to shuttle cues to if you felt the pinch was on? And in those situations, do you just have them fill out a work-for-hire agreement for the parts they deliver (and of course also add them to the respective cue sheets)? 

Alternatively, maybe it's better to just have a mixer/engineer a few hours here and there, to take over the mixing/exporting/delivery portion of time consuming tasks, instead of subbing out the _writing_ related tasks?

Of course I would prefer to write all the music myself, but having been a post production manager in another life I also have a -get shit done at all costs- ethic so I'm not above doing whatever it takes to get things done on time. 

Thanks for any insight.


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## NoamL (Sep 10, 2018)

Do you have a technology/productivity assistant? That could be much more useful than having a 2nd writer on call.


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## kurtvanzo (Sep 10, 2018)

Comedy TV is special, because many times cues can be reused. Many comedy composers save time by building a library of cues during or before season 1, then hire a mixer who can edit so you can send him notes where you want to try reusing a cue and have him cut it in (sometimes cut and paste, sometimes a speed up or slow down or edit is necessary, but it’s all with audio files). That way your handing him some editing work and the mixing/delivery work and saving some time during a crunch (which is always when your delivering or mixing). You will just need to be strick with yourself and what cues you really need to do, and which ones can be easily edited (especially short, reactionary cues). Give him notes and files to test him out early, many editors can surprise you how much they can do with an audio file and an afternoon. And if he’s a great mixer he will save you loads of time, and be your extra ears, when your too tired to comprehend good from bad sound. If you need suggestions for candidates in the Los Angeles area (or remote), PM me. 

For those that question cue reuse, I personally knew the music editor on Seinfeld, and claims after season 2 he began cutting 95% of the music himself from a library of cues the composer had built. Nothing wrong with that, just the reality of modern schedule and the client wanting the exact same cue (not uncommon in comedy- once they like a cue, they enjoy reusing it to death). The composer came in for special cues and to watch the mix (full rested ) and collected his check. What a gig (for my friend who go paid well and the compser who got much more). It’s still pretty common today (notice how many top composer do many shows at once- do it while your hot). It makes many tight schedules possible.

You can also hire ghost writers, but the problem becomes does that writer get your style AND does he have the same VI’s, can be tough if his sound is different, especially if the client loves it or hates it (you could lose the job either way). So it’s much tougher to find a ghost writer than a good mixer/editor.


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## studiostuff (Sep 10, 2018)

Depending on the load, I've had other composers write entire episodes, and/or just cues when necessary or the cue called for something your friend was especially suited for... Everyone DEFINITELY gets appropriate pay/credit and cue sheet attribution. 

Also, for all the mixes/sessions, I attended/supervised/conducted... but definitely had a pro second opinion to rely upon... so that I had time to leave the mixes (especially) for an hour or so to decompress, or take calls. 

Believe me, it's worth whatever it costs to not blow yourself out trying to do it all. You may make a little bit more money, but if it's a busy show, you'll lose your mind in no time unless you have reliable help!!

Having help also makes you look like you know what's up... whether that's a fact or a little fiction.


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## Saxer (Sep 10, 2018)

I'm often a co-writer / arranger / orchestrator / midi-polisher. It's simply nicer to have someone for exchange about the project and double output. Especially on rejected cues that come back for rewriting it's helpful to still have someone to share frustration with and two more fresh ears and a brain to bring in new ideas.

If you don't know if you need help or not, ask someone to be on stand by as a security backup.


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## Bropecia (Sep 10, 2018)

Wow everyone thanks for the thoughtful, detailed responses. Feeling better already. Yeah I guess having a few back-up scenarios / relationships in terms of writing AND tech will be the ticket. I'm being given an opportunity and definitely don't wanna flub it, so thanks for the help!


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## Bropecia (Sep 10, 2018)

NoamL said:


> Do you have a technology/productivity assistant? That could be much more useful than having a 2nd writer on call.



Not sure if there will be budget for this, but I imagine I can bring someone on at strategic points at my own expense. Probably how it's done anyway? Few hours at the end of each week or on/near delivery dates etc? Are we talking $35-$50 hour for these capable assistants? Sorry if I'm off.


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## Nick Batzdorf (Sep 10, 2018)

There's no shame in farming out cues. It's normal.


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