Issue link: http://digital.copcomm.com/i/681510
C A S Q U A R T E R L Y S P R I N G 2 0 1 6 45 actually takes some time to accomplish. "Kill the high- level broadband noise on an off-mike line? Well, let me work on that one." Sometimes the client can "hear" the desired result so clearly in their head—and doesn't understand why we, as mixers, cannot simply WILL it into being, like all those other times. They usually don't comprehend the time and manipulation required to make that dream come true. During those periods of sonic surgery, with the seemingly relentless over-and-over looping of a track, it's important to at least briefly keep your client aware of what you're attempting to do, or suggest they take a break. Even the die-hard technically intrigued have a limit in watching the fly specks get picked out of the pepper. THE CABBIE AND THE TIMEKEEPER On a less glamorous level, the mixer can also be con- sidered somewhat of a taxi driver. The meter is running while we navigate through the myriad tracks before us—fixing, blending, smoothing into a sleek ride down all the avenues your client wants to go, navigating obsta- cles, stopping at all the landmarks and finally arriving at the desired destination at the appointed time. It's a challenge, as you're not totally in control of the route you are taking, and have to deal with the sudden "make a left turn here!" If you spend too much time trying to make Reel 1 perfect, you may end up "settling" on Reels 2 through 5. Don't end up swallowing elephants because you choked on ants. If you feel like you're get- ting bogged down, perhaps it's better to move on to another section and come back later to that whiz-bang complex opening, when you can put it in perspective. That's the miracle our nonlinear, non-destructive world offers—we are freed from proceeding in a step-by-step fashion (it's a mixed blessing). I can't tell you how many times I've started a mix with Reel 2. Just make certain the client is aware of what the plan is. THE PSYCHOLOGIST AND THE REFEREE Rarely is the work that you do under the direction of only one person. Normally, you can also expect input from anyone from the picture editor, sound supervi- sor, post supervisor, composer, assorted producers, or others. In any case, there is invariably the "playback for the suits." Invariably, this is the wild card in the mix session. You find yourself with dwindling time to accomplish these "tweaks." It becomes critical to have proper time management and perspective. Try and make sure the "debates" happen at lunchtime, or while you are performing other adjustments. If it seems there