Issue link: https://digital.copcomm.com/i/1487666
back, and do a music pass, and then find out the effects are too loud, and then have to do another effects pass, and then go back and do another music pass. I really do miss that, and it's not like it costs that much more. And I think the other factor is the time factor. There's a certain number of hours allocated to a dub, whether it's television or features. And if the person is doing dialogue and music, they're obvious emphasis is going to be on the dialogue. It has to be. The dialogue has to be done right. It has to be properly matched and put in proper perspective and be clear and understandable. So, if push comes to shove at the end of the day and the hours are running out, the attention is going to be on the dialogue and not on the music, in a lot of cases. Talking to re-recording mixers, they say, "We got the music." Despite the fact that it's been split out, effectively giving us lots of control, we basically stick it on a VCA. We wave it around. We don't spend much time listening to it separately. We don't spend much time equalizing it or matching it to the room. We just basically put it in at the last minute and wave it around. And if it's too loud or in the way, we just turned down. That's what happens a lot of times. Not always, but that's what happens a lot of times nowadays. If I'm on a two-mixer dub, I do dialogue and music, and the only thing I like about it is that I'm able to get the music out of the way of the dialogue quickly. Otherwise, I would much rather have the time to mix the music correctly. There are mixers who are dialogue mixers who are also music experts. And we know who they are and who does a great job. I appreciate those men and women. But it's not universal. It's not the case in every dub. So that does sometimes affect how we prepare the tracks. If I know the tracks are going to go to a person who may not take the time to EQ them and listen to them separately, I might stem it out differently, or I might equalize it differently. I know that I better do it because they're not going to have the time to do it right. I'm surprised that you would want re-recording mixers to EQ. It seems like your mixes would be pretty darned good! We have the delivery curves. We try to mix to a curve and a level that's going to be appropriate for the project. But all these rooms sound different, and particularly in the low end they can sound very, very