MatthewFreedAudio

Absolutely nothing disgusting about it. It's smart business and so long as they are doing everything legally there isn't anything wrong with how they handle their money. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

For a director to have a "directing style" they need to actually have enough experience on set. Otherwise they're just making it up as they go. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Just once, I'd like to email a prospective producer and say, "before we have a meeting, can I see your demo reel of the movies you've produced, and your resume? I just want to get a general idea of your background and expertise." I've done that. They don't know how to respond, usually. When asked why I tell them that unless they're paying me full rate I am very selective about what projects I take on. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Hi William, I'll do it for $250/day. Oh wait...no I won't. Matthew Freed A sound mixer who know that $250/day is a stupid rate for someone's time and gear.

I have never regretted passing up low budget projects. I have always ended up regretting taking them. I think you were spot on for declining the gig. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I like the idea of scalability. Lugging around a 16 channel recorder seems silly when the gig only calls for four channels. However, having a base unit that can do 8 channels but can be expanded via external faders and inputs would be great. Perhaps the expansion could be ordered in a few options: 8 XLR inputs, 8 channels of AES, 8 channels of some other industry standard input, etc. The add-on unit would have physical knobs, perhaps a screen for info related to those channels, and be connected via a data cable or sensor (kind of like how an STA connects to a 900AA). Personally, I prefer CF cards or other small, removable media. I do like a few computer interfaces like FireWire, USB, or can and string. Hot swappable external batteries/power would be great! I do like how I can have an NP1 powering a 788t but when I need to swap it out the unit automatically switches to the attached battery. That way I don't have to power down just to change batteries. Physical input gain knob(s) rather than software. Perhaps akin to the Nomad where a multi-use knob controls gain when that channel is selected. However, I do also like individual physical gain knobs but they take up space and of course add weight. I would like to finally have that airplane filter I keep hearing so much about from the camera department. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I'm all for realistic ideas and I didn't intend to take a tone that was snide. I just find it funny when people want absolutely everything crammed in to a box on their cart or strapped to their chest. There are trade offs when it comes to designing and building gear. Nothing wrong with a wish list but people's ideas of realistic are sometimes not real.

Or, you know, you're using heaps of analogue out wireless...think Les Mis. Zaxcom cannot afford to cater to Zaxcom wireless users only. Zaxcom, nor any other company, can afford to cater to every single end-user in the market with an endless wish list. I want 24 analog mic pres, 24 AES inputs, Zaxnet, built in camera hops transmitter, hard drive, CF cards, every type of computer connection, physical knobs for every input, add on expansions, multiple headphone outputs, a switchable touch screen or knob selector, and 6 sets of independent outputs. I want all of this in a box that is billet proof, light weight, able to be used in a bag or on a cart, and completely fault-free and indestructible. I also want it priced cheaper than everything else on the market that way when I answer those bullshit Craigslist ads for $100/day all-in I can afford to do it. I also want all of the usual suspects to carry them in stock at all times and never have a back order so when I want it for that gig the next day I can stop in 5 minutes before closing and buy one...or rent it...whatever tickles my fancy. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I don't think additional physical XLR's are needed. I use AES out on all my wireless and only use one or two XLR for a wired boom or two. There are times when a lot of physical analog inputs are needed but that's what Protools is for. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I own a Fusion 12, a bunch of 900LT transmitters, QRX receivers, 900S receivers, ERXTCD version 1, 900AA, and IFB100. I have had no issues in the years I've owned Zaxcom gear with either reliability or durability. The show I'm mixing right now has two 788's and a ton of Lectro. Both 788's have freaked out and reset about half the parameters and we've had Lectro transmitters and receivers fail. None of this gear is perfect or indestructible. If you are having build quality issues you are beating the crap out of your gear needlessly. All of these companies do an outstanding job with customer support when there is an issue. They all continuously improve, build new products, and innovate. Sometimes those innovations have hiccups, sometimes they don't. If you have an issue or problem slamming them doesn't solve it. None of them can test all possible scenarios of abuse, misuse, or general use prior to releasing a product. So, for better or worse, some units may encounter problems. All of these companies have to rely on third party vendors for parts and their quality control. Zaxcom, Lectro, Sound Devices, PSC, Etc are frequently at the mercy of outside forces upon the design of their gear. If you can build a better, perfect recorder, wireless unit, or anything absolutely perfectly and without any issues ever go for it. I'll place my order now. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I have a TV...to stream Netflix, Hulu, etc. I occasionally watch cable or broadcast but very rarely. When I do it's History, Discovery, and Nat Geo. <br /><br /><br />Production Sound Mixing for Television, Film, and Commercials. <br />www.matthewfreed.com

I've put a UM400a in the breast pocket of quite a few law enforcement folks. If they don't have an outer breast pocket and they have room on their belt you could try a larger cell phone holster. <br /><br /><br />Production Sound Mixing for Television, Film, and Commercials. <br />www.matthewfreed.com

If that is what you require then the new Camera Link isn't the right tool for you. I have been using a 900AA/STA combo with 900S receivers for quite a while and I've never needed to repurpose them in to talent mics. But, it can be done if need be. The new Camera Link is a pretty darn cool unit and has the potential to be a very cost effective and helpful tool for many people. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

I saw that also and shook my head. I'm glad you were more proactive than I. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

If I'm doing the Zaxcom hops it's $150/day for one channel/camera and an additional $75/day for a second camera. <br /><br /><br />Production Sound Mixing for Television, Film, and Commercials. <br />www.matthewfreed.com

My personal kit is all Zaxcom so I have a 900AA/STA100 for the Tx and a couple 900S units for the receivers. Those go on real cameras (not DSLR) or when that audio is primary. DSLR cameras get either a Zaxcom ERXTCD or nothing at all. The show I'm working on this year all gear was provided by the production company. We have a couple Lectro UM400a transmitters for L/R and SRb5p receivers on all the cameras (XD Cams). Both the Zaxcom and Lectro setups work extremely well. Receivers are always powered off the cameras. But, if they can't be, I have dual saddle bags where one side is an NP1 and the other is the receiver. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

usafety? Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

PM sent. I have one that is going unused for quite a while. <br /><br /><br />Production Sound Mixing for Television, Film, and Commercials. <br />www.matthewfreed.com

I have two NP1's powering this bag. The one you see in the picture powers all the wireless while one hidden in the back pouch powers the 788. They are both very quick to change! <br /><br />I don't always need to change batteries, but when I do I prefer Dos Equis. <br /><br /><br />Production Sound Mixing for Television, Film, and Commercials. <br />www.matthewfreed.com

...is a sound mixer. <br /><br /><br />Production Sound Mixing for Television, Film, and Commercials. <br />www.matthewfreed.com

I also feel that discretion is always best and that is what we strive for. And like you said, at the end of a shoot frequently cast is pulling their own mic off and going a million different directions which makes our job all the more challenging! <br /><br /><br />Production Sound Mixing for Television, Film, and Commercials. <br />www.matthewfreed.com

I would like to clear up a the confusion regarding this video and put it to rest in a hurry. I'm the sound supervisor for Fast'N'Loud, the show with Gas Monkey Garage, and have been on it since day one. While I'm not the one in the video the sound mixer who is in the video is absolutely professional and did a fantastic job that day and all the days he was here. Many of you are making a lot of assumptions about this clip, as happens when you see something out of context, so some clarification is needed. At that location there is literally no where private. I know some of you will say "there is always somewhere private." However, not there and certainly not that day. There was one sound mixer on that day and production threw him a massive curve ball and told him to wire up 12 people with only a few minutes notice, a few of whom were those girls. He had to quickly piece together two bags with 788's and 7 wireless in each bag. The girls did have some dialogue and it was left on the cutting room floor so wiring them was prudent. We aren't able to work off a traditional cart as the show is VERY fast paced and mobile. It's a 3 camera shoot nearly all the time so lavs are the only way to get consistent sound. The boom is completely useless on this show. It's a reality show with people coming in and out on a regular basis in all sorts of situations. I'm sorry to see that a camera op rolled on that moment and that the editors chose to use it in the credit bed because it clearly opens the door to misinterpretation. It also wasn't helped by the original poster on Facebook putting it up and making the comment he did. We all struggle with the comments made by other crew members regarding wiring up female talent/cast and we all do our best to keep it at bay. It isn't helped by other sound mixers making light of it, even though this one was broadcast to a few million people.

I've been very busy working 60 hours a week on a show for the past 14 months. You admitted to being lazy and not reading the manuals and you evidently had not played around with the gear too much. It's good you have read the manual now. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

The various manufacturers of the gear we use provide excellent customer service. However, you are still expected to do your own homework and not be lazy. Don't expect someone else to do the most basic of things for you. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com

Kellogg's spends $1.5 billion per year on advertising. I may be going out on a limb here but I have a hunch they can afford to rent a few 702's and a timecode slate. I watched the videos. There are better ways to capture and mix the sound so the end result is smoother. Production Sound Mixing for Television, Film, and Commercials. www.matthewfreed.com