How Artist Management Skills Aid Music Editors' Products

This month I'm studying more about artist and product management. A music editor may have to work with artists and composers if they're working on films, but not in a managerial position. While I can pull some information from certain aspects of artist management to improve my communication and workflow when dealing with these types of people to make sure we collaborate and create something that sounds amazing, it's the end product I would be worried with. Of course there are manager characteristics a music editor would have to have to have some control over the sound department.

One of the books I'm currently reading is called, "This Business of Artist Management," by Xavier M. Frascogna, Jr. and H. Lee Hetherington. While the main focus is on artist management from both perspectives, they mention some great points I can use toward a music editing position. For example, they state artist managers are planners. I agree with this completely. The position calls for a creative mind to make sure the audio in the film is not only believable and realistic, but also draws the viewer and listener in and evoke emotion. Under strict deadlines and budgets, it's an absolute must that someone in the position be, not only a great planner, but a proactive problem solver. When someone puts you in charge of song selection and placement, as well as having input on an original motion picture soundtrack, things can get really crazy really fast. If you're unorganized and don't plan for potential problems, you'll be in big trouble.

The authors of the book wrote, "they are also catalysts that make things happen; movers, motivators, and communicators who work with record companies, producers, agents, promoters, publicists, and anyone else with a stake in the artist's career. The objective is simple: To make sure everyone pulls together with effectiveness and enthusiasm to make the artist shine," (pg. 13). I take this as a fantastic interpretation of my prospective career. If you were to view the term "artist's career" as a current "film project" you were working on under certain direction, it could still be taken the same way. You want to make sure the "artist," or "film project" stands out amongst the others once released, while also pleasing the directors and producers in charge. To do that, you'll need to be all those things they claim managers are to make sure your sound section is, well…sound. I will write again when I have some more information and ways of conveying how a music editor's work takes "artist management" skills to make sure their product succeeds.