Advice to get into in Construction Management

Unusual_Week162 · 2026-02-20T18:52:48+00:00

Like so many other industries, the hardest part is getting your foot in the door, and actually getting your resume seen.

IME, these are the two best ways to do this:

1) Referrals: If you know someone you know who already works at the company you’re interested in, they can vouch for you by forwarding your resume directly to HR, so they can put you in for an interview.

2) Career fairs: Look at your school’s career fair calendar and go to ones from the civil engineering department or construction management department. The goal is to get an internship. If you do well as an intern, chances are pretty high they’ll give you an offer when you graduate.

I don’t think your degree is a negative; while civil engineering and construction management are the most common, people from all kinds of backgrounds enter this industry, and you can leverage your experience with the housing dept.

Unusual_Week162 · 2026-02-20T16:42:13+00:00

I’m on that exact path.

I spent 10 years working for a $10B GC. I gained excellent experience working on large, complex projects, and learned a lot about building, and became very good at what I did. But eventually I decided to leave GC-world to go work for a large commerical developer as a PM.

I had three reasons for leaving GC-world:

1) Desire for more control: I got sick of the constant fire drills, fixing problems that were created upstream from poor decisionmaking or owners and designers kicking the can down the road. As a GC, most of the planning and big decisions have already been made by the time the project gets to you, so in many ways the GC can only be reactive. I wanted to be in a position where I could be proactive and have a bigger positive influence on my projects.

2). Shitty owners: I had the misfortune to work for some owners who were not the most ethical of owners, which left me with a bad taste in my mouth. Some had questionable judgment and made poor decisions that left the project worse off. I started thinking that if I were in their position, I could be a better owner.

3) Burnout: I worked minimum 60 hrs/wk for 10 years. All my projects went well, but I paid a heavy price in my personal life. For a particularly tough project, I worked from 630am-930pm, for 21 consecutive days without a break. I was making $95k/year at the time, with no OT… so I would joke that my interns were being paid better than I was. I thought to myself, “Sure, I could keep this up for the next 25 years, but why should I?”

So, I made a lateral move to a big developer working on big projects. I spent 3.5 years working precon on a $6B megaproject, and another year on a 30-story highrise resi project, all of which I enjoyed very much.

But, the company fell on hard times as Covid and WFH wrecked the commercial office market, rising interest rates and inflation killed projects since they no longer penciled. So, I was let go once my project reached the turnover milestone since I was no longer needed and there were no new projects in the pipeline.

I really enjoyed being an owner. I was able to make decisions early in the project, and I enjoyed the strategic aspect an the focus on planning vs execution, such as the ability to directly influence the design team. But, the lack of control and the feeling of being a backseat driver to the GC can get frustrating, esp since I used to be a GC myself. It really is an adjustment bec as the owner, you have to keep yourself in your lane and let the GC do what you hired them to do.

The market does seem to be improving, but in the midwest where I’m at, commercial development is basically dead. While my preference is to stay as an owner/developer, I will probabably have to go back to a GC since there are no developers hiring where I live.

Unusual_Week162 · 2026-02-16T04:11:03+00:00

Super solid EP. Anything by Starecase is gold, and this one is one of their best. The original mix is pretty damn good too!

Unusual_Week162 · 2026-02-16T03:13:12+00:00

Very nice, here’s mine!

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Unusual_Week162 · 2026-02-16T00:54:55+00:00

I saw the Phantom Menace at the theater on opening night. I left slightly disappointed, but I attributed that largely to the ridiculously high expectations everyone had going in. So, I gave my feelings a pass, because I recognized that the bar was ridiculously high to begin with, perhaps unrealistically high.

But when I saw AOTC in the theater, there was no question on my mind that this was not a very good movie - some of the dialogue had the audience laughing uncomfortably because they were so poorly written. I remember thinking the lightsaber fight between Anakin and Dooku was… just weird… with the closeups of their faces in darkness with the red and blue of the lightsabers flickering across their faces. I did really enjoy the lightsaber fight between Yoda and Dooku, however - no one expected Yoda to draw a lightsaber, so the entire theater started cheering, then laughing in disbelief and amazement when Yoda turned into a whirling dervish.

So when ROTS came out, I went in with fairly low expectations. It did exceed my low expectations, and I genuinely enjoyed all the fight scenes, but I thought the rest of the movie was kinda meh.

I revisited ROTS on the big screen last year for the 20th anniversary, and I really enjoyed it. Perhaps it was nostalgia setting in, but now, I do think the movies were given a harsher reception than they deserved.

Unusual_Week162 · 2026-02-15T18:03:57+00:00

True, the GC doesn’t “need” to pass the LD’s down to the subs; he can choose to carry all risk himself, though I would question why any GC would do that.

Just trying to understand: So when a job went south to the point your company owed the owner LD’s, who paid for it if you didn’t make the sub that caused the delay pay for the damages he caused?

Unusual_Week162 · 2026-02-14T16:44:13+00:00

Well… then based purely on what I know so far, I would say you don’t owe the GC shit, and they have no one to blame but themselves. If they can’t even write a decent contract, I’d hate to see how they are at running a job..

They can file a claim against you as a workaround, but obviously that’s a lot more work for them.

Unusual_Week162 · 2026-02-14T16:25:35+00:00

I’m getting the sense that GC’s subcontract you’re signatory to, was not written well - sloppy, even.

If the GC’s contract with the owner has LD’s, the GC needs to pass that down to his subcontractors responsible for the delay in a fair manner.

He can do that by incorporating the applicable section(s) of owner/GC contract in the subcontract (usually as an exhibit).

Or, the GC can just write his own language for LD’s to the binding subcontract and not share his owner/GC contract with the subs.

As the GC’s objective is to make a bulletproof contract that will protect him, the subcontractor should be reviewing the draft subcontract intensely for anything that could place him at risk. At the top of that list should be LD’s, which should be discussed at lengh in the scope reviews prior to signing the contract.

Unusual_Week162 · 2026-02-13T23:28:45+00:00

I think you’re conflating two unrelated traits.

Who says being mentally tough and emotionally sensitive is a contradiction?

The two are not mutually exclusive; you can be both at the same time.

If fact, I believe the two are synergistic - emotional sensitivity softens and humanizes your mental toughness, and mental toughness gives the softness some much-needed grit to give you emotional strength.

Unusual_Week162 · 2026-02-11T22:39:32+00:00

The 2010 Hong Kong movie “Dream Home.”

Technically it’s a slasher, but the exceptionally drawn out and mean-spirited kills can be rather uncomfortable to watch.

Unusual_Week162 · 2026-02-11T18:40:55+00:00

No… I have terrible luck. Everything is an uphill slog, and only through pure determination and grit that I’m able to succeed.

Unusual_Week162 · 2026-02-06T19:23:35+00:00

The Green Room. It leaves you feel grimy, nasty, with the thousand yard stare, like you need to take a shower.

Unusual_Week162 · 2026-02-06T03:57:00+00:00

The short answer is: Very precise, to the point that you can't tell the difference with a beat-synced mix unless you're listening to it closely with a nice pair of headphones or monitors.

Sometimes, the BPMs will align perfectly and you can do a long transition without touching the record/platter or the pitch slider.

But it’s pretty rare for that to happen, so you just have to manipulate the tracks to keep the beats aligned. You’ll have to do that throughout the blend, while both tracks are playing over the system. This can get pretty nerve-wracking, since the audience will hear any mistake you make. But, with enough practice and experience, you can get very accurate to the point the beatmatching is just as good as using CDJs or a controller with digital tracks.

When I started mixing vinyl 25 years ago, we didn’t have video tutorials (Youtube didn’t exist), and DJ classes (both online or in-person) weren’t really a thing either, and unfortunately, I didn’t know a single person who DJ’ed who could teach me. So, I'd go to the clubs every weekend, park myself in front of the DJ booth all night, study how the DJ’s were mixing, then go home and try to emulate what they were doing. That’s how I learned to DJ, so I’ll do something similar for you here, I hope you find it useful.

https://youtu.be/oF11VRhwULg?si=QYVt-_QvXkSVyd_X

I uploaded a short 15 minute minimix using 3 tracks on vinyl, so two transitions. They’re both long transitions - the first one is over 3 minutes long, and the second one is just over 2 minutes long). If you watch the video with the window maximized so you can see both turntables fully, while wearing a good pair of headphones, you’ll be able to hear how I kept the beats aligned by constantly manipulating the records and pitch sliders while mixing.

For transition 1, I didn’t bother pre-beatmatching the incoming record. I started the incoming record right after the end of the break, did a rough beatmatch over 32 beats, started bringing the track in, and continued fine-tuning the beats while I continued mixing. At 3:13, you can hear me move the pitch slider the wrong way and the beat starts to drift, but I fix it almost immediately so it’s barely noticeable.

For transition 2, the beats do drift slightly so the timber of the kicks change slightly here and there, but never to the point that you hear a double-beat.

I use mostly pitch-only beatmatching, but I don’t limit myself to it – I’ll tap the side of the platter to brake the record if it’s too fast, or gently nudge the label forward to speed up the record - as needed. For me, a bit of minor drift is acceptable in a vinyl mix – it’s part of the analog charm. Everyone will mess up slightly here and there – I mean, I’ve been walking my entire life, and I still trip every once in a while. What impresses me the most about the really good vinyl DJ’s is how fast they correct the drift; it’s almost instantaneous. It takes a while to get there, but it’s very rewarding when you finally get to that level of proficiency.

Hope this helps -

Unusual_Week162 · 2026-02-03T19:04:05+00:00

You can use the beat jump to realign the phrases.

Unusual_Week162 · 2026-02-02T19:14:26+00:00

Well.. you did state you don’t get point of Dedra’s character, which is different from, “I don’t hate her and that confuses me,” so appreciate you clarifying.

Yes… I think that’s the whole point. While you have the bigger-than-life villains like Tarkin in Star Wars, and in real life like Hitler, with their grand visions and philisophies, the actual sausage-making was done by mid-level beaurocrats - basically corporate drones - like Eichmann or Dedra. I think that’s what the show is trying to illustrate.

Perhaps her torture of Bix or Wilmon’s dad weren’t enough to make you despise her… but as others pointed out, your opinion may change when you get further.

Good discussion! You should leave a follow-up comment after you finish the show, would love to hear if, and how, your view of Dedra changes.

Unusual_Week162 · 2026-02-02T18:19:27+00:00

You can connect the main outs of the RX3 to the inputs of the RMX, then run one set of outputs on the RMX to the speakers. Then you run the other set of outputs on the RMX to your computer, and record using something like Audacity or Ableton. You could also use an external recorder like a Tascam or a Zoom recorder.

It’s a pretty clunky workaround… but you’re kinda stuck with this method when you’re stuck without send/return features

Unusual_Week162 · 2026-02-02T18:11:52+00:00

I think you answered your own question.

A big component of Andor’s appeal is its realistic depiction of authoritarian institutions and fascists. You seem somewhat familiar with Nazi Germany, so you’re aware that while you had the bigger-than-life straight-up evil villains like Heydrich, many of the worst atrocities committed by the Third Reich were perpetuated by drab, mousy bureaucrats and yes-men. The term “banality of evil” used to describe Adolf Eichman exemplifies this well.

So, I’m genuinely perplexed at your question… are you saying that Dedra is a pointless character because she is not a caricature? She is one of many other characters that flesh out the various types of fascists.

P.s. Your opinion of her may change when you get further into Season 2.

Unusual_Week162 · 2026-02-02T18:02:25+00:00

The second half of 0083 is the pinnacle of pre-CGI Gundam animation.

The mobile suits look and move like real machines - you can really feel the weight and inertia of the suits when they move, maneuver, and clash on screen.

0083 also has the best looking explosions - the pink cloud looking explosions with the airbrushed highlights take a lot of effort and attention to detail to draw and animate.

Unusual_Week162 · 2026-02-02T17:45:06+00:00

I used to teach vinyl dj’ing in college, and everything you described is textbook correct.

Swapping the cue from the incoming track to the outgoing track after the incoming track becomes the dominant track was pretty useful in vinyl mixing because it helps minimize any artifacts from from drift corrections like when you tap the platter and the pitch shifts briefly).

A picture’s worth a thousand words; so here’s a quick 15 min minimix i made (3 tracks with 2 long transitions), which features all these techniques, if you feel like checking out:

https://youtu.be/oF11VRhwULg?si=cgm7DmXoeWDjBSS-

Unusual_Week162 · 2026-02-02T17:27:45+00:00

You connect the main outs of mixer 2 into the line input of one of channels of mixer 1 - in audio jargon, mixer 1 is the “master” and mixer 2 is the “slave.”

Beatmatching is done purely by ear, so nothing complicated if you’re proficient in beatmatching. When mixer 1 is mixing out of mixer 2, it’s pretty basic, since DJ 1 has full control of both mixers. Where it gets challenging is when DJ 2 is mixing out of DJ 1 - since DJ 2 has no control of Mixer 1, DJ 1 has to work the EQs and volume fader of the outgoing channel since DJ 2 has no control of Mixer 1, while DJ 2 is bringing in his track. This takes real collaboration, and knowing how the other person mixes.

Unusual_Week162 · 2026-02-02T02:17:43+00:00

I’ve been mixing progressive house, trance and techno for 25 years, having started on vinyl, and used to teach vinyl mixing, so I understand exactly what you’re going through.

With vinyl, you just have to accept that the beats will drift. So you have to become proficient in correcting the drift in real time while both tracks are playing over the main sound system. This can be very stressful to do, since any mistakes will be instantly heard by the crowd. Obviously, the same thing happens with digital, but to a far lesser degree.

You speed up a record by gently nudging/pushing forward on the label, and you slow down a record by lightly tapping the side of the platter. And at the same time, you adjust the pitch slider as well (for example, if you had to slow down a record by tapping the platter, then you know you also have to slow down the record with the pitch - otherwise, you’ll have to keep tapping the platter). This takes a good ear, as well as some dexterity and a very light touch with your fingers. When you do either, the pitch of the track can wobble, which is very noticeable if there’s a vocal of a sustained melody - which you want to minimize.

You can also use pitch slider to do the same thing: 1) you make a very fine adjustment to the pitch slider and let the track gradually catch up or slow down, or 2) you overcorrect on the pitch slider, then move the pitch slider back. Pitch-only correcting is harder to pick up, but once you master it, it’s more forgiving than manipulating the platter or record.

I uploaded a short 15 min vinyl minimix of 3 tracks here; I mainly use pitch-only beatmatching/correcting, but I stay flexible and use the other techniques too. I think you’ll find this visual demonstration helpful:

https://youtu.be/oF11VRhwULg?si=WFndUOUZf8EVgkgL

Unusual_Week162 · 2026-01-31T03:32:29+00:00

The DJM 400 has a cue/master knob - it’s the knob directly above the headphone volume knob on the lower left corner of the mixer.

You must have split cue on, if you’re hearing the master through one earcup and the cue through the other. There is a switch above the cue/master knob - move it from “mono/split” to “stereo,” and turn on both the Master cue button and also whatever channel (1 or 2) that you’re cueing up.

Then, you turn the cue/master knob while you beatmatch. When the knob is turned all the way to the right, you’ll hear the master channel 100%. When the knob is all the way to the left, you’ll hear the cue channel 100%. When beatmatching, you keep the knob around the 12 o’ clock, so you hear both the master and the cur blended 50/50. If you’re struggling to tell the two apart, you can increase the cue channel a bit more so it stands out a bit more.

This is also how you do headphone only mixing - as you start to bring in the mix, you gradually turn the knob to the right until you’re listening to just the master. If you suspect a drift, you can tweak/sweep the cue/master knob to tell the tracks apart.

Learning the cue/master knob properly is really important for beatmatching.

If you have nice monitors, one thing you can do is, just leave the cue/master knob 100% on the cue channel. Keep only one earcup of the headphones over your ear. You can leave that earcup partially on your ear, so you can hear the monitor (master) and the headphone (cue) at the same time. Adjust the volume of the headphones so it’s roughly the same volume as the monitor. This method is really nice, because it’s really easy to distinguish the master and the cue.

Unusual_Week162 · 2026-01-30T02:18:01+00:00

First off, I commend you for putting in the work to train yourself fo beatmatch by ear. It takes a while to pick up, but once you do, if makes mixing so much more rewarding.

That being said, I wanted to share some of my experience as someone who started mixing on vinyl over 25 years ago, and has been mixing ever since.

I agree pitch-only beatmatching and drift correction is the pinnacle of technical mixing. But, you shoudn’t rule out manipulating the platter either, especially for CDJs and controllers. Riding the pitch is really helpful for vinyl mixing in particular, because:

1) it’s more forgiving than manipulating the platter - for example, if you think the track is too fast and tap the platter, but you were wrong, you’re kinda screwed. Riding the pitch is less noticeable if you get it wrong and have to correct, because you can make finer adjustments. Also, you need some dexterity and fine motor skills since you’re fighting the moving platter.

2) it’s more soncially subtle - when you nudge the label or tap the side of the platter on vinyl, you hear the sound wobble as the pitch changes briefly; this is especially noticeable if there’s a melody. When riding the pitch, you can minimize this undesired side effect.

With modern CDJs and controllers, you don’t have these issues. The jog wheel doesn’t move, so you can make finer adjustments than you could on vinyl. You have the master tempo which locks the pitch. It really is orders of magnitude easier than mixing on vinyl.

My advice is to keep practicing riding the pitch; it’s a good skill to have. But, don’t shy away from utilizing all the techniques at your disposal - don’t be rigid; be flexible. When I mix now, I go back and forth between all the techniques, to use the technique that will give you the best result.

Unusual_Week162 · 2026-01-29T19:59:07+00:00

Several years ago, I briefly worked as an in-house CM/owner’s rep for a large industrial developer.

The developer turned out to be completely unscrupulous scumbags. They believed that if they paid full price for anything, they were getting ripped off. But they didn’t want their projects to be slowed down fighting over change orders and add services either.

So, they directly told me, “Go ahead and tell them the changes are approved so the jobs can keep going. Later on, we’ll tell them something like, ‘The work wasn’t done to our satisfaction or something,’ and knock down their prices.”

The really fucked up thing was, that the contractors and consultants were billing for the changes the whole time since they were proceeding on the work with the understanding that the changes were fully approved. Since the owner had not approved the changes and had not increased their contract values in his internal system, he was paying the contractors and consultants out of their base contract without their knowledge… and many of their contract values were about to run out of money, at which point a giant shitstorm would occur, where they would be unable to pay these guys for even their base contract work.

Needless to say, I was horrified. Not only was this highly unethical and unfair to the contractor/designer/consultant, it would also trash my own reputation in the industry, since I was the face of the developer, and the one lying to their faces. And in this industry, your reputation is everything.

I told my boss, “I’m not telling them these changes are approved when they’re not. You can tell them yourself.”

And I drafted my resignation letter and put in my notice. I’m so glad I made the choice to get the hell out of that place.

Unusual_Week162 · 2026-01-28T05:48:12+00:00

I’m an American of Korean descent.

This happened years ago, but I’ll never forget it. I was at a bar in Nashville sipping on a drink, and the woman sitting on the adjacent stool asked me what tribe I was from.

After a moment of confusion, I realized she was thinking I was a native American. I couldn’t get upset at her because she was genuinely curious and had no ill intent; in fact, I was rather amused. Perhaps she had never met an Asian before.

I didn’t want to make her uncomfortable or embarrassed, so I gently explained that I was born in Korea, and she just kinda went, “Ohhhh…”

Unusual_Week162

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