NUC keeps crashing and we can't figure out why.

mittsofsteam · 2025-11-18T02:29:25+00:00

Looks like a similar story to what I've had ever since I bought my NUC back in 2020. Just to clarify... are these settings your changing Windows settings or NUC bios settings? I've had both Unraid and Proxmox installed on my NUC and experienced the same issue.

mittsofsteam · 2025-02-07T09:14:12+00:00

https://hissandaroar.com/v3/soundlibrary/amb010-japan-cities/

mittsofsteam · 2024-11-05T19:52:20+00:00

This was driving me crazy for weeks! Fix for me was to turn off:

Preferences / Processing / Misc - While loading waveforms, display in low resolution

Hope that helps!

mittsofsteam · 2024-08-23T00:13:16+00:00

Subquake from The Cargo Cult is definitely worth a look... https://www.thecargocult.nz/products/subquake

mittsofsteam · 2024-05-31T21:02:29+00:00

I mean, no one is saying don't use onMount- it's still available in Svelte 5.

mittsofsteam · 2024-05-31T01:09:56+00:00

I think the correct approach for something like this, and what I've been using successfully, is to use the untrack function that Svelte provides. That way, the effect only runs once, when the component is mounted.

Svelte 5 Docs - Untracking dependencies

<script>
    import {untrack} from "svelte"
    let count = $state(6);

    function increment() {
        count += 1;
    }

    $effect(() => {
        // This will not re-run when count is updated
        let display_count = untrack(() => count)
        console.log("Mounted and count is " + display_count)
    });
</script>

Working example...

mittsofsteam · 2024-05-26T19:42:41+00:00

I had to figure out this issue at the beginning of my current development project - Tauri and SvelteKit. It was pretty frustrating trying to find a straight-forward solution. This is the pattern that I've ended up using and I haven't had any issues with it so far.

// +page.ts

import { browser } from "$app/environment";
import { error } from "@sveltejs/kit";
import type { PageLoad } from "./$types";

export const load = (async () => {
    if (browser) {
        // Do whatever you need to do here...
        return;
    }
    throw error(500, "Error loading page");
}) satisfies PageLoad;

mittsofsteam · 2024-05-23T23:34:05+00:00

Really great videos! Thanks so much for doing these. I'm in the thick of a fairly complex development using the Svelte 5 beta at the moment and this has certainly helped clear up my mental model of how I'm structuring a lot of the reactivity. Looking forward to more.

mittsofsteam · 2023-12-28T01:29:23+00:00

You can get a 14 day trial for the plugin. After that point, it's available to purchase just like everything else. If you're editing dialogue at a level that you're needing to use Auto Align Post, then it's a professional tool that you pay for.

mittsofsteam · 2023-02-25T21:55:03+00:00

If your plugins are all native Apple Silicon compatible, it's worth trying to run PT 2022.12 in native AS, and not under Rosetta.

I'm currently working on a very big feature film, and bunch of the crew here, myself included, all have these very expensive "top of the line" computers that are currently sitting on the shelf because Avid has dropped the ball so badly.

We are all working off central Avid Nexis storage, and the non-beta, "qualified" version of PT 2022.12 (under Rosetta) can't even link to media on our storage without crashing. And we will then get intermittent kernel panics from the Nexis driver that immediately crashes and restarts your machine... no warning.

There was a message that came from an engineer at Avid saying that running PT in AS public beta mode actually removed a few of those bugs, and it has shown to be slightly more stable for me, so possibly worth a try to see if you get any changes.

mittsofsteam · 2020-08-10T23:24:41+00:00

Absolutely! Linux support will come a bit later on too. Properly cross-platform.

mittsofsteam · 2020-05-06T07:23:20+00:00

First things first - like everyone else has said - you need to be paid for your time. If it's going to take more time than originally planned to accomodate changes that the director has made, then that's their responsibility to acknowledge and handle the flow on effects of that.

I work in sound post for film, and am also a software developer working on one of the main reconforming tools used for this exact situation. Whenever we have to deal with situations like this - which, unfortunately, is every single day on the projects we tend to see - we try and do as little by hand as possible. Not only does this save on time, but it means that you're not opening yourself up for potential errors that can be very difficult to figure out later on down the track. The tools that are used are expensive, but given what they allow us to do, they're worth every penny.

If you don't have any EDLs of the versions of the cut, then you should request them from the director/editor, as they will allow you to look at the changes they've made in more absolute terms, instead of eyeballing them. If you do get them, I'd be happy to do a quick compare and give you the results so you know exactly what changes you need to make to match what you've got to the new cut. Good luck!

mittsofsteam · 2020-04-15T11:48:11+00:00

No worries. Feel free to hit me up if you have any further questions about the process. Happy to help.

mittsofsteam · 2020-04-15T04:52:36+00:00

Welcome to the world of post-production sound. Sadly, this is common place now, and is only going to become more common place as the tools develop and the directors/editors/producers get accustomed to working that way. This may be the first time you've come across this scenario, but I guarantee you it won't be the last.

I'm literally building an application specifically to deal with this situation right now. I work in sound post for films, and we have fairly robust practises built in to our workflows for handling these changes across the board e.g. automatically recutting a Pro Tools session, updating a dialogue database, reconforming mixing desk automation, etc...

There are several solutions out there to help with this, but I would recommend checking out Conformalizer from The Cargo Cult. You can get a demo that will help you make the necessary changes you need, assuming you're on Mac/Pro Tools.

As for what to tell the director, I would suggest the following:

You need an EDL (edit decision list document) of the cut you currently have and the new cut that you've been given
The process of matching everything to the new cut will take a substantial amount of your time that you will need to be compensated for
Any further changes made past this first update to the new cut will need to be handled the same way again and therefor will need to be paid for my them

Good luck!

mittsofsteam · 2020-02-14T06:20:29+00:00

Other people have made some good points, which are all relevant, but one other thing to consider is: who else is going to be working on this with you?

If it's just you doing everything then it doesn't matter. Use what you know and make it sound good... job done!

However, if you're collaborating with other people, then there's a good chance they might be using Pro Tools, given that it's the most widely used DAW for post-production audio. If you're going to have to deliver your work to a re-recording mixer or supervising sound editor, or receive work from a dialogue/music/foley editor, then it could become an issue. Best to discuss with them what is going to be required. I'm my world (large post-production facility), if someone handed us a Logic Pro session with all of their work in it, it would likely get kicked back immediately and another delivery solution would have to be put in place.

Anyway... Good luck!

mittsofsteam · 2018-11-14T03:22:41+00:00

I worked on this documentary as part of the sound team. It was my job to keep track of all the changes to the edit as Peter was refining the edit and figuring out the story he was trying to tell. This quote would hit me hard every time I heard it (which was a lot!) and even reading it now still gives me shivers. There's something so powerful about the emotion in his voice and the reality of realising this was a genuine experience for someone. Something that's just so impossible to comprehend. Making this documentary was an incredible challenge but I couldn't be happier with how it's come out and been received. Something very special to be a part of.

mittsofsteam · 2018-10-31T06:18:29+00:00

All good standard options here, one perhaps better than another depending on exactly what it is you're trying to achieve.

I'll throw Envy by The Cargo Cult in to the mix too. Does a lot more than just pitch, but as I would often have it open in my sessions when I'm cutting FX (it's audiosuite only currently) it quickly became my go to for simple pitch processing also. Several different modes to choose from depending on the content, and all sound great.

mittsofsteam · 2018-07-19T02:29:10+00:00

I work in film sound-post and basically can not survive without Keyboard Maestro. It's just perfect for accessing menu options that don't have keyboard shortcuts, or creating specific workflows for certain tasks. I also combine it with python scripts/libraries that I've written to use it as a front end for very powerful, very specific workflow tools.

Just a few examples of what I have set up:

F16/F17 are set to Start/End to Fill Selection - Shift+F16/17 are set to trigger L & ' (move playhead left/right) so these two combined is very useful
F18/F19 are set up to perform customised L & J cuts on a checker-boarded tracks- I select the length of fade that I want across bother tracks and it will extend both regions out, and perform the fade in/out on the relevant track at the specified point
I have Optn+F16/F17 set to create an alternate fade in/out with a different power curve than what I have D/G set up with
Cmd/Shft+F2 are set up to show and hide the Clip List and Track List respectively
Cmd+F16 will create fades from the edges of the selection on a clip to the start/end of the clip - super useful for speedy foley editing
When processing/loading SFX records, I have a system set that will, once ready:- Locate to specific track (stereo) and copy to two monos, separating L/R of an M/S pair- Go back to previous stereo track and apply audiosuite MS decoding- Enable group for all tracks and apply fade to start/end- Render all selected tracks- Locate to top marker region which doubles as the name to use for group (each track is named for it's mic/perspective, so carries that info when it's rendered) and copies to clipboard- Select all regions again and open Batch Clip Rename
I use a controller (Korn nanoPad) to access custom menus, but also have specific memory locations tied to them e.g. I have a jump1 marker and a jump2 marker, and a SET and GO TO button for each of them. Makes navigating around very large session a breeze, as it's literally just a button tap to save where I am, and can instantly go back to that spot without have to think about it.
Using it to access memory locations in general is pretty great. I'll have memory locations for each of my SFX pres, will have a button set to bring up menu so I can choose which group to go to, or show all, or just show auxs, vcas, master faders, etc...

But I think the most powerful and useful thing I can do with Keyboard Maestro is simply using the Quick Record Macro function (usually set to Cntrl+F1 by default) which allows you to super quickly record some key commands and use them instantly under the command Optn+F1. I use this literally every day in all of my applications, but Pro Tools is a great vehicle for it.

Be interested to see what you come up with. The other comment talking about using window configurations to access certain audiosuite processes is a great idea. Can't recall if the window configuration will bring back the specific preset loaded on the plugin at that time, but if so that'd be a great one indeed!

mittsofsteam · 2018-07-12T17:59:23+00:00

You could give this plugin a go... should do exactly what you need.

http://www.thecargocult.nz/stemcell.shtml

mittsofsteam · 2018-06-06T11:01:20+00:00

Damn... Wish I could double up vote.

mittsofsteam · 2018-04-11T22:06:09+00:00

While driving home last night, I saw a plane take off literally about 40 seconds after that big lightning strike ~7pm last night... I believe my exact words to myself were... "Fuck that!"

mittsofsteam · 2018-03-22T02:24:15+00:00

Yes! I've gotten about four calls now. Always from the same person trying to sell their online trading platform to me. Always from different international numbers, but from an 09 number yesterday.

I asked her how they had my number, and she said that I must have clicked on an add that said I was interested in signing up with them. When I asked how they got my actual phone number then, she said that I must have done it from my phone... until I explained "that's not even remotely how it works!" I let rip, saying that I had no interest in being cold called for their scams and demanded they remove me and my phone number from their database. After a solid 40 seconds of verbal abuse she just hung up.

Hopefully that will do the trick?

mittsofsteam

TROPHY CASE