After watching the film through, Matt and I compare notes…
I should point out first that he began the day telling me he found three albums from The Replacements that I’d given him at the end of the FWB mix. “Let It Be, Tim, and Pleased To Meet Me?” I venture. He replies in the affirmative. And that he began playing them non-stop since working on the film. I promise him that I’ll complete his collection once we’re done.
Back to mix notes: they’re pretty much the same. A few spots are driving us crazy. And honestly I won’t mention them because I think that Matt and the HM3K did such and amazing job of smoothing them out, that Matt and I (and the HM3K) are really the only two people (and machine) in the world who would ever know what they were.
Volumes are adjusted in a few spots. One word playing just a little too loud. A few a little too soft. The background feedback and noise (from Dean Falcone) likewise a little too loud in spots, too quiet in others, and let’s swap out a few of the non-tunings with better choices from the tracks I brought with me.
By around 2 PM the tweaking is over. There’s nothing more left to do, except output the film, which is done in real time. So, I get to watch it again. Proud at what we’ve done. Hell, what Matt and the HM3K have done. My sound no longer requires apologies.
The mix is transferred to the drives I brought with me. Two drives, so I have two separate copies. Yeah, I’m anal that way. (And yes, I hear people who know me quoting Woody Allen, “Anal is a nice word for what you are.”)
And we’re done. I thank Matt and Carmen and tell them about the next projects, PIZZA, A LOVE STORY, my doc on the history of Sally’s, Pepe’s, and Modern, the three greatest pizza (appiza!) joints in the galaxy, and parts two and three of my Alone Trilogy: the horror film ONE NIGHT STAND and the dark road drama BROKEN SIDE OF TIME. Which will see the darkness of DuArt’s mixing suite and the genius of Matt Gundy next is anyone’s guess.
Guy With Typewriter 