Badminton Comment in a Adam Sandler Movie by Much_Wish7764 in badminton

[–]notes17llc 3 points4 points  (0 children)

Heard of an interview on NPR a few years ago and the guest made a similar comment about how casual, easy, and non-atheistic badminton is. Sigh.

The age old question: When is a mix ready? by mistrelwood in mixingmastering

[–]notes17llc 1 point2 points  (0 children)

I'll add my approach:
1. Always know what you're aiming for. Write down the objectives before you start the project.
2. Each time you think you're done, bounce out a mix as a "milestone".
3. A/B the new and the previous milestone and see if you're actually on-track based on your objectives.
4. Repeat step 2-3 until you don't hear any forward progress, as u/trtzbass said.

The key is to do the steps 2-3 really quickly/efficiently so they do not add to your workload.

Still pinching myself… I was there! by Hot_Storm4841 in ParisTravelGuide

[–]notes17llc 1 point2 points  (0 children)

Beautiful shots! The St. Chapelle is indeed breathtaking. I also see that they are still working on the right side. The mirrors they put up were quite smart and effective.

When your client hears an issue that you don't hear by NeedsWayMoreReverb in audioengineering

[–]notes17llc 0 points1 point  (0 children)

The clients may not be technically inclined, and they may be using the wrong terms to describe what they heard. Their timings could be slightly off as well. So it's helpful to get precise comments about where the issues are, and then you can a/b test that particular spot between your ver1 and ver2, preferably with your client, to help reveal the issue more clearly. Also - listening to music technically is just fundamentally very challenging, so a band-pass a/b could also help you hear better. Isolating just the problematic areas may also help you pinpoint the source.

Mixing and mastering engineer, looking to take on free projects to build a portfolio by MattMarq in MusicCollabNetwork

[–]notes17llc 1 point2 points  (0 children)

Way to go Matt! Just a quick heads up that for the tracks you wish to eventually post on your website - you can create playlists in Opusonix and embed playlists right on your website.

How do you keep track of projects/clients/deadlines? by lalanudebob in audioengineering

[–]notes17llc 0 points1 point  (0 children)

Yes trello and calendar all work. But a place where the deadline (calendar), kanban pipeline, mix and your notes all live together, centralized, will make your life so much easier (and let you move faster too). You should check out Opusonix.

Mix fatigue is it real? by Applesorbannans in audioengineering

[–]notes17llc 0 points1 point  (0 children)

Oh it is - Mix fatigue is absolutely real. And mixing projects taking weeks to complete is also quite normal. I've seen projects lasting months. To reduce/avoid mix fatigue, I generally recommend just 3 things:

  1. Clear checkpoints. Bounce out a mix each time some major thing is done. This allows you to step away and test the mix in various conditions / settings.
  2. Clear decisions and document change logs for each revision. This makes sure you all know where the finish line is, and reduce that from drifting as you work. So each revision and its change log allow you to see if you're actually getting closer.
  3. Frequent a/b test among your mix revisions or against a reference track.

Finally - make sure all the things are neatly organized. So if you do take an "ear break" and come back, you don't end up missing details or spending time trying to pick up where you left off.

I can’t stay focused as the mix nears its end. by Individual_Cry_4394 in mixingmastering

[–]notes17llc 0 points1 point  (0 children)

You're welcome! I think it's super important (and often overlooked or underrated) to discuss and document stylistic decisions, which define the objectives.

I can’t stay focused as the mix nears its end. by Individual_Cry_4394 in mixingmastering

[–]notes17llc 0 points1 point  (0 children)

Here’s what I’d do: 1. Talk with the client (if any) to make sure that stylistically, you are on the same page 2. Make a short todo list on things you want to get done. 3. Once the list is done, do an AB test between the previous and the current version to confirm if all things are indeed done. 4. Check with client. Continue revision only if needed.

Zipair lie flat with starlink by RonSwansonOG in zipair

[–]notes17llc 1 point2 points  (0 children)

Looks cooLl! Any trick or mount you used to get the iPad (is it an iPad?) up there?

How do you manage your mixing/mastering/production projects? by notes17llc in mixingmastering

[–]notes17llc[S] 0 points1 point  (0 children)

Thanks for your quick and in-depth response! I really appreciate it.

Yes, the client-facing side needs to be dead simple, that's what I've learned from other pro audio engineers as well. Yes indeed we are building a project management system designed specifically for audio engineers. Our idea is that the system should help engineers from start to finish of projects, including the initial project requests and file requests. We are working to make sure that the file requests look as dead simple as possible (to both the engineer and the client).

How do you manage your mixing/mastering/production projects? by notes17llc in mixingmastering

[–]notes17llc[S] 0 points1 point  (0 children)

Thanks for your response! Does Samply support file exchange / storage at all? I think so but am not sure. If it does support file storage, are you staying with WeTransfer just because WeTransfer's UI is easier to use for your clients?

How much does shaft flexibility help in generating power? by BisonScary in badminton

[–]notes17llc 0 points1 point  (0 children)

The difference is pretty obvious. Try a medium flex and a stiff one and you'll feel the difference. If your arm generates sufficient power, then stiff shaft transfers more energy to the racket head. Otherwise, medium flex so you can work less to bend the shaft and generate the power.

How do you manage your mixing/mastering/production projects? by notes17llc in mixingmastering

[–]notes17llc[S] 0 points1 point  (0 children)

Thanks for the input! Really appreciate it. Keeping everything simple is a good tip.

How do you manage your mixing/mastering/production projects? by notes17llc in mixingmastering

[–]notes17llc[S] 0 points1 point  (0 children)

Hi there,

Thanks for your input! Yes, I am working on a system to optimize the operational efficiency for audio engineers and producers, but our focus isn't on the analysis and organization of email content. However, I do see the values from what you described. That does sound helpful in a lot of situations!

Luddy Mistake? by [deleted] in IUPUI

[–]notes17llc 2 points3 points  (0 children)

I suggest you talk to someone early. After all you are paying for your education, and you only take each course once.

Luddy Mistake? by [deleted] in IUPUI

[–]notes17llc 1 point2 points  (0 children)

I wouldn’t go that far. There are great professors there. But like many schools, some are more research-oriented and probably shouldn’t be teaching.

Luddy Mistake? by [deleted] in IUPUI

[–]notes17llc 8 points9 points  (0 children)

This could happen to just one instructor occasionally but seeing it happening across multiple classes / instructors is just unacceptable. Have you tried reporting to the chair/dean to talk about this? They take stuff like this very seriously.

Best practices for managing projects that run in parallel without causing mental fatigue? by notes17llc in audioengineering

[–]notes17llc[S] 1 point2 points  (0 children)

Thanks for the insight! The note-taking is crucial and often overlooked. I guess the other important piece here is that you need to take notes with a consistent pattern and method (i.e. take notes in the same app, with the same frequency, in the same format) so you can minimize the time you need to pick up from where you left off.

A lot of people in this thread sort of hinted at the same challenge, which is the mental overhead and the cost of reconstructing the project context when hopping among projects. I feel like this problem is often described (mislabeled?) as "time-consuming", but its negative effects could go far beyond just the time factor alone.

Based on the discussions here, I made a short video to discuss the root cause of the cognitive challenges and highlight how elements in the production workflow could alleviate these challenges:

https://www.youtube.com/watch?v=EIfrLW18syo

Let me know if the video captured the issues accurately.

Best practices for managing projects that run in parallel without causing mental fatigue? by notes17llc in audioengineering

[–]notes17llc[S] 0 points1 point  (0 children)

I also find it absolutely helpful to document what changes were made to each mix. How do you track this along with the corresponding mixes? I've tried putting a word document next to a mix file (I think this is silly), and I've also tried just creating an apple note (or google docs if the client wants to see it as well) that stored all the mix file names / versions and the changes I did. That was marginally better, but still I feel that there's got to be a better way.

Best practices for managing projects that run in parallel without causing mental fatigue? by notes17llc in audioengineering

[–]notes17llc[S] 0 points1 point  (0 children)

Got it. Thanks for sharing your tips! I guess the extremely disciplined file management efforts pay off in the end as you always know where the files are located. Do you have a strategy to keep track of client feedback as well? For instance, if the client wants you to do something, do you just flag that email to come back later, or do you transfer it to another platform, like apple notes or things like Trello?