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Matthew Manville

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About Matthew Manville

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  • Location
    New Mexico
  • About
    Student Mixer/boom op graduating in the Spring of 2017.
  • Interested in Sound for Picture

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  1. 633 is CERTAINLY the best mix recorder, by a long shot. But there's also cost as an important factor. If I were doing effects, interviews, or ambiance, I'd certainly go for the mix pre 6 or 3. The value is just amazing. I just think the f4 and f8 were designed with narrative production in mind, and so they work a little better for those situations. But also by going with the Zoom, you lose the trust of the Sound Devices name, which can go a long way with producers.
  2. That or27 is TINY. I have the 28 and that's already a tight fit for an f8, if rather have the extra bag room if I got the mix-pre6
  3. I'm staying away from this one. More specialty cables to be worried about? No thanks. I love my tentacle, and while I'm not a huge fan of the NanoLockit "3 big button" design, that wireless sync is something of note for its price point.
  4. Wow, awesome! I'm not sure I'm a huge fan of the 3 button design, seems more like a toy, and you can always count on camera to turn your stuff off if they can see the power switch. That autosync functionality and small size is fantastic though! I'm wondering if these guys are gonna start phasing out Tentacle syncs? Tentacles are still smaller, but they don't have the Ambient name backing them up.
  5. Graduating film school in the middle of May. I'm based out of Santa Fe, but travel isn't too big of an issue for me. Looking to work as a boom op or utility, try to build up some connections. I'm a little green, but a quick learner and a good listener, so I think you'll find I can adapt very quickly. PM me if you have anything or anybody I should get in contact with! Thank you!
  6. Wow! Cheap, too! These look like great little machines, I'm honestly surprised to find SD stepping into this micro-budget territory though. This seems like an amazing backup recorder to have around, better than the f4 or f8 if the pre-amps are up to SDs quality.
  7. Listening to the comparisons, it really can't live up to the 416. It's just so muddy side-by-side. However, if it proves to be as tough as they are claiming (which it seems it might actually be), then it would serve well for particularly unsavory situations (heavy rain, snow, etc). Compared to the other mics in it's price point, it sounds pretty great. Might make a good backup for cheaper kits.
  8. I've been curious about buying some new radio mics, how quickly will the 600 block become illegal? Would I be able to get at least a year or two out of the equipment or would I be lucky to get a few months?
  9. Would these still be a good buy with the FCC getting rid of the 600+ frequency range? I might only get a year out of the system before they become obsolete.
  10. Lately I've been using my Roland R-88 on set for some small narrative and documentary work, and I've been looking to increase my battery life. However, I've been looking into external battery sources (Np-1's and the like) and have had some trouble figuring out how to get a battery setup working in a bag. A lot of the battery info and connectors online have VERY minimal information available, and I haven't been able to discover how I would go about setting up a system that would work, so I guess I'm just asking for some pointers of where to start? The Roland has a special battery sled for
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