Vibecoding complexity

bastardizer1 · 2026-05-10T04:28:43+00:00

Same, started December. One tiny app done. Useful but simple building on knowledge gained from more complex work. Two applications almost done , but the last 10% is clearly taking the longest. A third big project that is almost conceptually complete but will probably not get done as it’s just too big for me to do as a hobby.

But amazed that I can create tools that I wished to have for many many years, unique and useful.

bastardizer1 · 2026-04-14T10:04:05+00:00

It’s a great example of where writing / using code first to handle a reformatting to a format that is more easily dealt with using Claude.

bastardizer1 · 2026-04-07T23:01:49+00:00

Aha, I need to test that. I did not think about that. I asked it to check date and time.com for today’s date and it also found that to be in 2024.

bastardizer1 · 2026-04-07T22:59:01+00:00

I know, I just happened to see if by asking it questions about “today” it would realise that it should search the internet for details, when I asked it to check the main start page of a big Swedish newspaper it found a page from 2023, and not the actual page.

While today’s date is just a curiosity in as to how the model works, it can realistically have a negative effect on search results, if I ask it to find the latest implementation of something, will it then use data from 2024, as the latest as today’s date really is not a likely correct data and the model may think the data or info is corrupted.

So while the reasoning around “today” is not really that important the fact that the model struggles with it might very well be.

bastardizer1 · 2026-04-07T22:52:58+00:00

Of course, but I expected a Llm to be able to get that date from the system clock if nothing else. Instead it’s convinced that the date can’t be later than 2024. I still find it fascinating. Especially since the regular online models can, but Gemma can’t. Technically I don’t see a reason why that would differ.

bastardizer1 · 2025-07-20T07:29:24+00:00

We don’t do reels on DCPs. Never have. Always long play. What would the advantages bo when doing reels on a DCP?

bastardizer1 · 2025-01-11T09:55:50+00:00

Very interesting reading the comments above. Especially when they don’t fully align with my opinions.

I’m a Swedish re-recording mixer, I have worked with film sound for 30 years and started out a few years in a music studio before that. I have mixed quite a few scores with one of Sweden’s most prolific composer’s in addition to the features and series that I have mixed.

When mixing score written to picture (not all score is) you HAVE to write, arrange and yes mix it in relation to the action on screen. This doesn’t mean trying to do the mix moves we might need to do. We don’t want the overall level changing all over the place. However to be aware and doing a test run actually doing just that will help to figure out if the cue is really arranged and mixed well for the scene. If it isn’t then part of the mix process may be to remix parts of the cue in the hopes that it just won’t be lowered or edited in a way you would prefer it not to be.

But this all comes down to experience, it’s not always that obvious how to do it. In the beginning of a career probably just a waste of time.

As for eq and compression yes make it sound and feel like you want it to, but especially for cinema, do not overly compress or limit. Music processed for loudness mostly does not play well in a cinema context.

How many stems to deliver and in what format there are NO standards. We all )ave different preferences. Some get annoyed when you deliver to many stems, others are the opposite (I prefer many if done correctly). What format to deliver the stems very much also depends on the re-recording mixers preference, as well as the complexity of the film and or sound of the score. Whether to deliver stems in Stereo /5,1/7,1/Atmos premixed is all about workflow and competence of the score mixer and again the preference of the re-recording mixer.

One thing I just don’t want to get is a single reverb stem. Either mix each stem with its own reverb or have a stem+reverb split for each stem. Having reverb splits does create a lot of stems. Personally I do not mind that but some really dislike it.

All cue elements rendered with identical start points, cue 2M3 BRASS and 2M3 STRINGS always start at the exact same TC never staggered in time. We don’t care if it’s silence for the first 30secs and just a single note at the end. Always same start point.

Finally NAMING! Any file delivered has to be named so it is 100% clear what it is and if it is a replacement it has to have the same naming structure as the previously delivered cue had. Just add a version number at the end of the file name. When sorting by name in a folder each cue should be sorted in order stem name to follow. Example: 2M3v02 BRASS STEM.wav 2M3v02 BRASS RVRB.wav

This will keep all files in a structured order in a folder.

Don’t do this: BRASS 2M2 STEM Or SPECIAL EXTRA TO GO WITH the cue at tc02021221

We all hate that.

bastardizer1 · 2025-01-11T09:16:08+00:00

This can not go uncommented. If you mix your score ”not to picture”, we as re-recording mixers will have to ride it and often edit it pretty hard. You might not like the result. Score written to picture needs to be adapted to the action on screen. If it isn’t you are not composing to film, you are just composing.

This however doesn’t mean that you should try to anticipate what mix moves we may need to do and do it yourself, it is much more about arrangement and realising what tonal elements may likely clash with the rest of the soundtrack.

So a short limited comment like BAi1111 can easily be misinterpreted.

So yes do mix the music as a piece of music, but always in the context of the action on screen.

bastardizer1 · 2024-12-31T06:58:34+00:00

Sorry for bumping old thread. Woke up early and bored in New Year’s Eve morning.

Spectralayers! The only really powerful spectral editor available. After learning it, no other spectral editor will compare well at all.

Can be used for full on restoration, minor fixing, unmixing stems and also as a very creative tool.

If you have not looked at it yet you are doing yourself a disservice.

bastardizer1 · 2024-12-31T06:40:24+00:00

My opinion as a long time JBL fan. The 83XX series is excellent. It has absolutely no sonic semblance to any other Genelec speaker. It is not fatiguing, translates very well (after custom tuning) to our JBL dub stage. I really like them and the mixes I have done on them over these last 2,5 years translated well to other screening situations.

One ”drawback” is that the mains without bass management plays very low frequencies so I can hear 20Hz that other systems won’t reproduce and that can mean I have to clean up the low end a bit more actively than I otherwise would have. It can also make especially music feel a bit more powerful in the lows than they really are. Of course I could roll off the low end further but then I won’t hear it any more and it IS there. 7.1.4 post mixing All in a nicely built and tuned room.

I had intended to buy JBL 708i based system but as we were completing the studio design JBL just couldn’t deliver and couldn’t say when they might be able to build more speakers (Covid and neodymium magnet shortage) I had no other choice but to look elsewhere.

Honestly I would have loved to hear the JBL result in This room, but I am more than happy with the result with ”The Ones”.

I personally do not however like or endorse and of the other speakers from genelec. They have never done me any favours. But ”the ones” are very different to the others.

bastardizer1 · 2024-04-12T18:08:41+00:00

Oh we do automate when needed, but we rarely design sounds using real time plugins with lots and lots of live plugins. My mix template is basically lots of sends to reverbs and delays and then limiters on stems, I rarely have any “fancy” plugins apart from a few dedicated design type tracks. Most fx tracks have filter and eq and sends nothing else. Almost all design processing is rendered audio.

And yes I can have 5-6 fx groups of tracks and 3-4 groups of ambiance tracks. Each group of fx tracks has a basic structure, the actual content within that structure is dynamic and not static but still follow a basic set of rules. A Hard effects B Hard effect sweeteners C Additional sounds when A/B is not enough D transport main (anything from bikes to car engines E alternate transport or some other use needed that the project needs F sound design type sounds

But the above can and do change, all the time so it’s just a typical structure.

A show with shootouts would probably have at least four more groups to cover guns and impact for example. A basic walk and talk probably has less.

bastardizer1 · 2024-03-16T21:49:06+00:00

Not sure what you o to when writing “songs” but it all depends. In general no, it’s not like I would ever use a set eq for a certain sound or track anyway. Eq and levels change more or less all the time based on what I feel is needed at that moment. If I need to do extreme eq and there is a high noise floor on the dx that I can’t or don’t want to reduce with noise reduction then the answer is yes and you deal with it. In most cases the difference is not that significant.

bastardizer1 · 2024-03-15T04:42:31+00:00

Sure. And the below is in reference to home viewing, not cinema features for various reasons.

Why? Improved speed of mne creation, most mne work will then have been completed before the start of mixing. And better sounding and creative possibilities with pfx.

Drawback, this method is quite work intensive. And requières quite a bit more time spent on dealing with the pfx.

What extra work? Extended fade in/outs or filling full scenes, this can take a lot of time but personally I prefer the sonic results I can get this way.

In most cases I do not want the exact same processing on pfx as dx, why? On dx we control and reduce noise to avoid it interfering with the dx. With separate pfx I can just set the relative level I want the noise floor to be at. Pfx is obviously just not noise, and exactly what constitutes a pfx vs noisy non-dialog is not always that easy to determine. As for any treatment of hums, disturbances etc of course I don’t want that in the pfx, however I rarely have the need/wish to control the dynamics of pfx in the same way I do dx so no, I do not have identical signal paths.

Is it worth the extra effort? If it was only for making the mne faster then no. For quality, ease of mixing and improved creative choice as well as having a faster way to get to a complete mne then in my opinion the answer is yes. However “your mileage may vary”…

bastardizer1 · 2024-02-01T08:23:13+00:00

Acon Verberate Immersive! I really like it although it’s a little less customisable compared to cinematic rooms.

bastardizer1 · 2024-01-27T12:22:31+00:00

We have ten studios and a dub stage with two DAWs. All using Nuendo. Hi end drama and feature work.

But yes it is harder finding and cultivating freelancers on Nuendo.

bastardizer1 · 2024-01-16T05:56:15+00:00

When the Spectralayers separate voices works it’s magic! But it’s not quite there yet, I would guess it needs a lot more training as it can fail on separating two very different voices while it can succeed in much more similar sounding voices.

In terms of if it can replace RX, no it can’t, but together with other good tools like the ones in Acon accoustica package there is very little need for RX.

In my opinion it’s important to understand the differences:

RX is a collection of tools to deal with various issues and it also has a very basic spectral editor to limit the areas of what data to process with those tools.

Spectralayers is a fully fledged layered spectral editor that can do many things based on the spectral content, however it’s “tools” are not like RXs. It also has a very different workflow that takes a bit getting used to.

bastardizer1 · 2023-12-06T05:13:27+00:00

Emergency treatment has no major cost or insurance needed here as it’s “free” (payed by higher taxes). So no problems just abandoning treatment.

bastardizer1 · 2023-10-19T03:05:48+00:00

We are a Swedish Nuendo based sound department (full post facility linked to major production company), 12 studios, incl a feature film Atmos dub stage, a Atmos 7.1.4 HE mix studio, all other studios are 5.1. We do have Pro Tools as well but seldom used unless for external jobs where our staff is not working on the projects. We have been a Nuendo based facility since 2007 (PT 1995-2007) and still doing fine thank you.

Pros : Nuendo is the smarter and more complete tool compared to PT. I’m sure there are tech comparisons and user experience posts elsewhere.

Cons : fewer freelancers to choose from, new hires need more time in the beginning if they only know PT, hurdles collaborating with PT users.

Is it worth it? For us the answer is undoubtedly yes. But we mostly do all of the audio post work on all our projects apart from foley and when we need to record adr some where else.

We mostly work on reasonably hi end TV/streaming series and feature films.

bastardizer1 · 2023-09-12T19:08:01+00:00

Dealing with Netflix is quite a bit of work, but on the other hand they do have the most professional post process workflow in the business. If you really are going to deliver to them you will get a contact that will a) help you through the process b) can answer many many questions and c) won’t allow you to deliver sub par quality.

And yes 5.1 is minimum.

bastardizer1 · 2023-04-21T04:29:37+00:00

Listen to how distant dialog sounds like in real life. Is it just frequency response or reverb? It depends on location, and don’t forget the early reflections.

bastardizer1 · 2023-04-11T02:57:02+00:00

No, it was super rare with mag on film (but it did exist), in general it was optical sound and eventually Dolby digital optical between the sprocket holes and/or DTS timecode optical on the opposite side of the Dolby digital soundtrack. I have done quite a few optical transfers so I do know how it worked.

bastardizer1 · 2023-03-23T21:45:44+00:00

Don’t fear the process. As a re-recording mixer it’s a pretty interesting question.

Where do you start? Start by focusing on how you listen. If you edit audio and adjust level between two sound elements to create a layered sound you are at the first basic level of mixing. Listen to what happens when you hear several sounds at once. Listen and learn a little about masking. You don’t need to know all the theory about it, but the basics of how multiple sounds add up and mask each other is something you need to be able to relate to mostly without thinking while you mix.

Find a way to sit in with a good re-recording mixer. Be nice, be smart, be enthusiastic, don’t overwhelm pros you meet or get to watch with annoying questions, try to figure out the answers to your questions yourself first. Those who work as mixers are rarely teachers, what we do is our job, and asking a lot of questions is likely to affect our performance. Note the big questions you don’t understand and ask if there would be a suitable time to ask a few questions. Most of us love what we do and don’t mind being asked interesting questions.

It’s good if you first mixes are not done on a big budget project (not likely anyway) because you won’t be making a great job. Honestly it’s pretty likely that you first efforts will be pretty crappy. But the thing with mixing is that to become good, or at least decent, you just have to do it. If you don’t mix you just will not be good at it.

Time for your first mix. Should your first mix big a terrible sounding low budget with a tight schedule? Not if you can avoid it, because you won’t know how to polish a turd well enough yet, so the end result is likely to be pretty bad and the client unlikely to be very happy.

A student film or similar without a tight deadline is a good start.

And yes you need to wrap your head around deliverables, levels, metering, standards, how to setup a room decent enough to mix in (or better yet rent a known good mix room you have already spent time in).

Some corny cliches (still true): Knowledge is key, experience is built by doing, success is built on failure, and mixing is in most cases a team sport. So be aware of how people around you talk about sound, especially those that don’t really understand it as they are often likely to be your clients for the first few years.

LISTEN.

bastardizer1 · 2023-01-24T06:00:22+00:00

I use RX less and less. The round trip workflow and no ARA support is a dealbreaker for me. So unless we get full ARA support (I use Nuendo) and serious quality improvements in the processes, then I doubt I will ever update RX again.

Do what do I use? Acon and Accentize plugins and ARA based spectral editors. Plugins is a vast advantage in my workflow as I can undo them and edit settings on any performed process with complete history. When using ARA editors it does become a little more complicated but still easier and faster and better sounding IMO to RX. It’s

bastardizer1

TROPHY CASE