[tomcat]

just wanted to relay a success story. I designed a TINY mix room for my friend's post shop last summer. It is small and we had to do a tremendous amount of bass absorbtion treatment. There is a lot to the story, but i will keep to the point here. After much research and implementation the room was finished and i tweaked it using a rented spectrum analyzer, a radioshack spl meter and the blue-sky test tones.

A few weeks ago, we had our first film mix that was definately going to go to theatres. A VERY interesting film, btw: Todd Solandz's "Palindromes" We mixed for 11 days in the little room then went for a day to sound one in NY to make a dolby digital printmaster from my stems.

I was thrilled to see that Riley Steele, the mixer in charge of the printmastering session did not touch a fader, panner, trim or anything. The mix sounded almost exactly the same in big studio F at sound one as it did in the super small mix room.

Thanks to Marty and all the contributors to this and other forums. This stuff really does work!

Cheers,