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It looks like you're trying to roll Audio Engineer, Producer, Strategist, Proofreader and at least 2 Business Manager positions into one entry-level (only one year of pro experience required?) job opening. Is there anyone else in the broadcast production department?

it looks like you may have dropped the package you put inside the box before you put it in the box

Sounds like you're selling to a guy I sold to awhile back! Same thing; item was damaged in shipping, I get accused of selling him broken stuff. This sucks, man; I'm sorry this is happening.

I'm hoping to put together a surround setup soon, since I do broadcast/film mixes. It's a little embarrassing that I have to keep saying to clients, "I hope you only want a stereo mix of your movie..." Either I'll finally convince the day job to do it, or I may have to do it at my home studio. I do ...

At work I use an Avid D-Command control surface with ProTools 10. At home, a 002 with PT9.

To me his production style reminds me of a really great lead guitar player. An instantly recognizable player, that you can pick out of a song within a second or two of listening. Jeff's production technique is the same way,especially with that snappy snare sound he has become known for. I feel that...

MoreSpaceEcho wrote:totally makes sense. but wouldn't you think if they had the budget to go to skywalker sound in the first place, they could swing the extra bucks for the home mix?

A valid question.

I suppose it's possible that an indie release like Sound City (or the Sofia Coppola flick) might not have had the budget for a separate home video mix. In the theater you can have the loud excitey parts considerably louder than the dialog bits, and still run the show hot enough that people can hear ...

drumsound wrote:

G&Ls all day long, eh? Nice.

Be very careful what brand of wiring lube you use. Some of it dries out over time and becomes a solid mass of ha ha! now you can't get the wires out of the wall if you need to re-wire or move!

Don't ask how I know, and don't ask what those useless pipes in the studio ceiling are for.

Half my artists have been able to place their music commercially, or have had "different" type gigs which required stems / consolidated multitracks. As someone who constantly uses music from bands, music houses or libraries in commercials, this is key. I love when I can get stems for a track. I hav...

losthighway wrote: I think one part of this conversation is that the circumstances are different depending on how hard you're leaning towards pure engineer, or producer.

A great many threads on TOMB deal pretty fundamentally with this, whether we know it or not.

Lori and Stevie Nicks' backgrounds on "Edge of Seventeen" are fantastic.

Plus, and maybe this wasn't clear earlier ??I'm not talking about checking emails through the entire process. One run through. The rest of the time I'm watching the show as well as listening.

quick anecdote: I was overseas for the past two weeks, and while I was gone a client for whom I'd done two film trailers emailed asking for stems because they'd secured international distribution and needed to redub the trailers in other languages. For reasons unknown this had to be done immediately...

I do think distractions can be valuable. Sometimes I might intentional do something else while listening and I notice something new. Frequently during tech week for theatre designs I will listen to at least one run of the show without looking at the stage. I'll be on FB or reading TOMB or something...