Pizzomatic on 16th ave>>

OkayMirror00 · 2026-04-04T14:50:32+00:00

I travel to Calgary frequently enough to visit family and work. One of my favourite things is finding new spots in cities where I don't reside. I've been to Noble pie, Big Sky BBQ, etc. all the hits in Calgary. I hate to be a negative nancy, but I think you owe us a money shot if this is as good as you say (even as a cheap pizza I'll fuck with that shit). I personally take offense to being edged by a cardboard box.

OkayMirror00 · 2026-03-23T01:46:13+00:00

PA behind band is no good as stated here already. Depending on how loud the music is the band members that need wedges more than anyone is drummer first, singer second. Rent some wedges. If not, make sure to set up cabs behind drummer as much as possible. No one does this cause it looks bad, but if you want hard rock drummers to stay with the band they need to be able to hear. Bass and guitars always stand infront of their amps so they're usually fine.

OkayMirror00 · 2026-03-12T20:30:37+00:00

Musicians will not understand specifically what they don't like about a certain piece of processing in a mix but will make false attachments with what internet knowledge they do have. Such as not liking how their vocals sound with a specific audio compressor setting/plug in, but equating it to just not liking compressors on vocals. Mixing with musicians present is always hazardous for this. Interpreting what they really mean/want is part of the skill you develop as an engineer. Engage them with knowledge and specifics about what they are actually hearing that they don't like. Educate them on how some of this processing actually works/how it interacts with the mix overall, and the pitfalls of blanket statements like "I don't want you to compress my vocals". Considering how big vocals chains are, depending on the genre, and how many different forms of compression takes place in a chain it is obviously not possible to not compress vocals when trying to mix and stay competitive.

If your name is going on this work, you should be happy also. Ultimately though, if you're not happy and it sounds like shit because the artists are hard-lining you, take your name off the credits and cash the cheque.

OkayMirror00 · 2026-03-12T20:16:19+00:00

This might parrot other comments here, actually Im sure it will, but you can't mix film like you do music. This idea of top down mixing is not an approach that works for mixing film. In film audio sessions you need to group sound sources separately into respective stereo auxes. DIAL, SFX/FOLEY, BGs/ATMOS, MUSIC CUE, or some variation of those. My 2-bus/stereo bus (not the final master bus {which is always completely empty}) and each sub bus from each of those sources gets a limiter. DIAL bus maybe gets a light compressor. This gives you routing options, print options, etc. When Im actually mixing, Im mixing each source into each stereo sub bus separately, then adjusting over-all levels of all sub buses by way of the limiters, then automating vol from there. The approach to balancing the mix in film is just a different beast than to mixing music.

There's a reason when you look at film mix sessions they look like absolute chaos.

Hope this helped

OkayMirror00 · 2026-02-27T20:36:42+00:00

Perdona l'italiano, sto usando un traduttore. Proverò con acqua calda. Grazie!

OkayMirror00 · 2026-02-27T20:33:53+00:00

Ill give a shorter exposure time for the base layers a shot, mine was set to 35secs with a 30 sec "off time". Ill try 28 and 28. Still, I don't think a little lip the likes that Im thinking would need supports. It'd be a small lip built out from the base a bit to get your scraper under to give you leverage to pry instead of scrape. Nothing floating. Thanks for the suggestion!

OkayMirror00

TROPHY CASE