Each element should be present but not poking out, with the exception of dialogue and featured elements. The end result is a sonic tapestry revealing all of the elements. It goes without saying-there is never enough time for the composer. As victims of the end of the budget and accelerated post production schedules, the amount of music preparation a music editor can perform is directly related to the amount of time available between receipt of the score and the start of the dub. Speed and creativity are useful.
Audio fidelity is always important, and can be preserved through quality transfers.
Digital to digital transfers are a plus, and the higher the bit rate the better. Communication about sample rates between the music editor, composer, and the dub stage is also helpful in preserving fidelity. Including reference tones on the music tapes not only makes the recordist smile but allows machine levels to be adjusted so that playback will be the same on the dub stage as it was in the composer's studio. The music editor will also prepare in advance the placement of logo music and source cues. The source cues may need to be perspective cut by editing the music into sections and then placing these sections onto tracks dedicated to specific locations per the picture.