The Mix Is the Movement
Final mastering pass notes for the movement-film score sessions. The rule that survived every revision: if a transition cannot be felt in the body before it is heard in headphones, it goes back.
Low-end carries the rope cadence; hats mark footfall. Anything that fights the jump cycle gets muted regardless of how well it behaves melodically.
Three clocks run through the score — low-end, hats, jump cycle — and the mix lets each stay audible. Every transition was auditioned against that cycle rather than against the bar lines; a change that read cleanly in isolation failed here if the rope cadence lost its place.
Notes stopped where revisions stopped. What shipped is the pass where nothing argued back.
The register closes on the rule, restated: the mix serves the movement first, and every surviving decision in these sessions can be traced to it.