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MatthewFreedAudio

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Everything posted by MatthewFreedAudio

  1. That is a very silly statement. The only reason a production sound mixer or a sound supervisor isn't in on all the same levels as the DP is out of shear ignorance from production. The DP is only responsible for the half of the movie that involves the picture. Even a silent film has music.
  2. Test, re-test, and test again. Hopefully the issue will reveal itself and you can track down the problem. The issues that aren't repeatable are the hardest to cure.
  3. Welcome! Again. There is also the post of Who Am I today (or something along those lines, I forget at the moment.) However you bring up a good point regarding transparency. I'm all for it. What part of the world are you in?
  4. I'm going to burn my mattress now. As for gear, I bought quite a bit. Zaxcom Fusion 12, Zaxcom IFB kit, Neumann KMR-82i, SD MixPre-D, another BDS system for my lightweight bag (MixPre, Zaxcom hops, QRX100 receiver, etc), a couple more channels of Zaxcom wireless, Zaxcom camera hops. Side note regarding purchasing of gear through here. I bought many of these new (to me) items from other members here on JW Sound and every transaction went very well! It's a great group of people and the one or two bad apples that have sprouted up can't seem to spoil the lot. Non gear purchases: Saddle bags for my BMW R1200C motorcycle, moved to LA from Minneapolis, And what did I sell this year? Avalon AD2022 mic pre, G&L L2500 bass guitar, MOTU 24I/O, quite a few effects pedals that were gathering dust, and a partridge in a pear tree.
  5. I'm working a gig in Vegas on Saturday and Monday but I have Sunday with nothing to do. I'll have a ton of gear with me as well. If anyone needs a mixer, boom op, or you just want to grab a beer let me know! Matthew
  6. I would have a few very choice words for a line producer who wanted me to work for less than a 2nd AC. And whomever took that job should be flogged. It's easy to get a higher rate...we all just use that one, very powerful word that always works in our favor: NO. When the line producer can't find a good mixer to work for the pathetic rate they adjust their budget, add more to the sound department, and BAM! we have a reasonable rate. Yes, it does take everyone (or as many as possible) saying no to them. Doctors, lawyers, consultants, etc all charge handsomely for their services (charity work aside) because it is simply understood that you don't give away your skill for free or cheap. They also have a lot of education backing them up, but so do we. Years of on-set experience doesn't come cheap. It also takes a producer getting burned just once by an inexperienced mixer to come right back to the more expensive, but capable, professional.
  7. As Phil said, cost of living varies quite a lot in different markets. Producers want the skill, experience, and equipment that come with a top-tier mixer but they want to pay lower local rates. That's not to say there aren't top-tier mixers in smaller markets but access to equipment is certainly limited in smaller markets. Boston is certainly not a cheap area to live. I would think Boston rates are right up there with LA and NY rates. If a producer says "work for this low rate or we'll bring in someone else." Spell out exactly what that will cost them for travel, per diem, and hotel. Producers are watching their budget; speak their language and talk dollars and cents with them. Give them the best bang for their buck and show them why YOU are the person for the job.
  8. I recently mixed a show where my rate was $500/12 and I found out part way into the job that the camera ops were getting $600/12. There was a separate DP. I don't feel the sound mixer should ever get a lower rate than a camera op and a boom op should never be paid less than a 1st AC. The sound mixer should always be paid MORE than a camera op. If a company is hiring you out of LA then they need to pay LA (or NYC) rates, not local rates to whatever other area they are shooting in. If they want a local to that area they should hire a local to that area.
  9. If you have never mixed for this type of scenario and are this unsure about the whole process why did you agree to do it? The producer seems to be unaware of how to properly put together a live shoot as well so forgive me if I'm a little harsh but it sounds like you're both in over your head.
  10. I like the idea of creating a new category here on JWSound as it simplifies reading various topics as they relate to our field. Many of the topics involved with gear questions are how they are similar or different than other pieces of gear on the market. 788t vs a Nomad 8, Lectro wireless as compared with Zaxcom wireless, etc. I have a strong feeling there would be a redundancy of questions on a Zaxcom users forum and on this forum. I think the wider readership this forum offers is an asset to the Zaxcom users just as it benefits Lectro and Sound Devices users to know what the options are, pros and cons, etc.
  11. I'm excited for iI. It will be a replacement for myself.
  12. +1 I'm a fan of letting the isos be a little lower than the mix track. One "post" guy complained to the director that the location recording was way too quiet because the average level was at -20 and the hottest signal was at -6 (a hand clap). The director evidently looked right at the post guy, thanked him for his time but that his services wouldn't be needed any more and let him know that those levels were exactly where they should be.
  13. I ran in to this exact problem a few months back and it was simply the card I was using. So, as other people mentioned, just pickup one of those recommended cards and you should be fine.
  14. I played with one of these antennas a few months back. From what I remember it worked quite well and it offered both an omni pickup and a focused pickup giving you very good coverage. However, it's mounting system leaves a little something to be desired.
  15. Average levels should be at -20dBFS, peaks at -12. Whoever told you to to get levels closer to 0db doesn't know what they are talking about, plain and simple. Music recording pushes the 0db limit but that just isn't the way dialogue is mixed. As you noticed the student films sounded too loud, that's because they are pushing close to 0db and probably compressing it to high heaven.
  16. Those looks like great carts! I plan on putting together a new cart in the near future; perhaps I'll simply hire you to build me one.
  17. I have two channels of the 2000 wireless. There pros and cons to them. They do sound better than the G2/G3 series and have far better range. A couple sound friends and I did a direct test between a G2, Lectro UM400a with a 401 receiver, an SMQV with a 411 receiver, and a Zaxcom 900LT with a 900S receiver, and the 2000. All transmitters had Sanken COS-11D lav mics. The G2 unit was noticeably less audio quality and far less range. The audio quality of the rest all seemed identical. The range of the SMQV was the best. All units were going in to a 788t. Playback was through Mytek converters and Genelec 1031a stereo monitors. So, we had excellent playback for accurate listening and not just a pair of headphones. The 2000 series looks identical to the G2/G3 series so if a director, producer, etc on set sees the 2000's they immediately assume they are the cheaper wireless and may question your rates. Not exactly the feeling you want to instill in the people who have hired you. Also, the 2000 wireless are bigger and clunkier than the Lectro or Zaxcom transmitters. So, talent feels the transmitters weight and size a bit more than a 900LT or SMQV, etc. The 2000 series does not have removeable antennas. That can be a bummer if one of them breaks (but mine never have in the entire time I've had them and I bought them the first week they came out). These days all my talent mics are Zaxcom. However, I still use my Sennheiser 2000 units for a backup lav, a random camera feed, or to feed a multi channel headphones amp somewhere. They are useful and do sound decent. If you are getting them for talent mics I would say save up a few more pennies and just jump in to Lectros or Zaxcoms.
  18. If it is speaker placement and construction and the like then studying electrical engineering, acoustics, and physics is the route you should go. Music mixing, production sound mixing, and the various aspects to post production audio all have some overlap but there are some large differences as well. Now, that's not to say you can't start off studying and working in one of those specialties and then switch to another but you will learn their differences and similarities by working on projects. It's hard to know what you don't know when you don't know it. Spoken by someone who doesn't know about a whole lot of things, and that I do know.
  19. What do you hope to gain or learn with the masters degree? Do you want to go in to teaching or work in the field?
  20. I have always been a big fan of the Midas consoles. Their Venice 16 has a small footprint and sounds far better than a Mackie or Allen & Heath. However, it does require AC power. The new version of the Venice is called the VeniceF and has a firewire output to get all your channels direct to a computer. It also has 1/4 direct outs on the first 8 channels.
  21. I've been using a Petrol PEGZ-3 bag for my Fusion 12 and it works pretty well. The only thing I don't like about the setup is when I have it hooked in to the harness it pushes the Fusion and the rest of the gear forward in the bag. I'll post a photo as that may help to clarify. Overall the PEGZ-3 is plenty large enough.
  22. Thanks Jay! I am not in the IA yet but I did stop by the office last week and I spoke with Elizabeth. Joining is something I am definitely considering.
  23. It is a big pond, but I'm ok with that. Robert: I'll give you a jingle on Monday and see what the week looks like. I have a short gig on Tuesday and Wednesday but otherwise I'm pretty open. Crew: If my gig on Tuesday doesn't conflict it would be great to meet up with you at Coffey. I'll PM you if I am able to make it.
  24. After being based in Minneapolis for many years and working all over the country I have decided to relocate to Los Angeles. Three factors went in to this: 1. Winter. 2. Potential for bigger/better projects 3. Change of pace and scenery because I was born and raised in MN. I'm looking to continue mixing for indie features, probably get in to the union (I already qualify for needed days, etc), and even boom for more established mixers in the area on larger features and scripted TV shows. I would love to meet many of you in person. I'll gladly buy lunch, coffee, beer, etc and make your acquaintance. I also ride a motorcycle so if anyone is up for doing another ride up the PCH I'm all for it! Sincerely, Matthew Freed matthew@matthewfreed.com
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