As the frenzy of the 2003 awards season begins and a flurry of call-for-entries postcards and e-mails are distributed to our colleagues industry-wide, I want to thank the Association of Music Producers (AMP) for the establishment of the West Coast Mixer Awards, which recognizes the creative contribution of the sound mixer—an important creative partner in advertising who’s overlooked by our industry’s major awards shows.
I’d also like to ask that the organizers of awards shows such as the Association of Independent Commercial Producers Show, the Cannes Lions, the Clios, and the London International Advertising Awards, consider the sound mixer as a new category.
A sound mixer makes a series of creative decisions throughout a session, sorting through and selecting the highest quality and best tracks of sound effects, sound design, music and dialogue. They are often called on for their creative input and an opinion on what the best selection is. It is then his or her responsibility to weave all of these elements together to create the best final product.
Sound mixers are also called on to keep up with the ever-evolving state of technology. With the advent of High Definition and Digital Television, this can be a daunting task. Many mixers are continually educating themselves on the newest technology available, keeping up with software developers and manufacturers and reading the industry’s trade magazines. They add this education in the newest technology to their bachelor’s and master’s degrees—oftentimes in music, computer science and/or engineering.
Besides being a creative partner and a technical wizard, a good sound mixer is also the consummate diplomat. No doubt, you have all experienced those last-minute mixing sessions with numerous creative cooks in attendance. The agency is there of course, but many times the editor, the director, the composer, the sound designer and the client are present, as well. Sitting center stage in front of the magical mixing board is the sound mixer, the talented person elected to listen to all sides. He or she must sort through the politics while still communicating what is best for the commercial and its final sound.
These last-minute sessions can also feature an impending airdate looming overhead with the budget and the timeline down to the wire. The mixer must be politically correct, yet still make the best recommendations for the final spot.
So, while you awards producers are contemplating the many creative contributions a sound mixer makes to commercials, and then wondering if their hard work justifies a new awards category, at the very least you might want to consider all those submission fees that you are currently missing out on.
