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    New York
  • About
    Matthew holds an MFA in Theater Production Design and Technology with a secondary concentration in Production Sound for Picture.
  • Interested in Sound for Picture

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  1. These are all great, I really appreciate everyone's thoughts. Hopefully it comes as no surprise that many of these are ideas I focus on in my classes already. Particularly Critical Vs Analytical listening, or Art vs Technical. I always tell my students I don't give a flip if the content is good, that's not my job and that's not what I'm paid for. I'm paid to make sure that whatever the content is the capture analytically sounds good. Even in post it is my job to analytically execute the designer's / director's ear, their notes first and IF there's time / room to add in my own "style" within the critical scope of their ear great. One of my greatest assignments for listening has actually become a recording scavenger hunt. It's my favorite day every semester. They show up, they're handed a basic kit and a sheet of paper with 5 sounds. They get 90 minutes to record and edit and then we listen. I touch on business in my intro class, but in my advanced class I take a feather from one of my mentors in an Entertainment Business class from my school days where they budget a job. How much it would cost to rent / buy the equipment to accomplish a 2 person interview and then I have them make a pitch with a rate card based off of that information provided with some hints about the current market. All great things, here's hoping I can actually teach some of these things and keep the tradition's going so we can all have something to listen to in retirement 😂
  2. Hi Folks, It's the time again where I stop through to ask... what do you want students to learn? A loaded question I know. While I specifically focus my teaching on location audio we're expanding the program to Audio Production for the Field, Post and Studio Recording. The academics have all sorts of ideas of what audio curricula "should be", but I want to know as a collective of professionals what do you want those coming after you to know? What can they learn to help you, support you and to help round out the field so that you can do your job knowing there's a legacy behind you to carry the tone? Share your thoughts, ask any questions and I'll pass it along to our summer faculty meeting.
  3. whichever manufacturer/mic you decide to add to your collection, hang on to the 416 for those iffy weather days and shady insurance productions. Most of all remember it's not the mic that makes the sound. Listen, record, listen to the playback. Put it to work and when you get tired of that one, do it again. and for it's worth I'm still hanging onto the 4017 as my top hitter. Though I do always like a good sanken. I still need a few years of listening to really get I want from a CMIT, but some day.
  4. Thank you all for the great replies, sounds like we're all together on the same page. Feel free to come back and chime in with anything new and if you're in the greater NYC area and need a place to field test some equipment let me know. Our equipment cage can test the shelf life of almost any piece of equipment out there. When I say test I mean the students can find the minimum amount of time it takes to break it...guaranteed. Thankfully they also break cameras so it helps lessen the blow some 😄
  5. Hi All, I've had the privilege of knowing, meeting and working with many of you over the years and while I may have been rolling MOS for a couple of years now I'm happy to say I'm back as an Engineer for a University Television and Film program. One of the largest discussions along with proper rates, working the job appropriate for the experience and "learning the ropes" I hear is wanting the green ears to know what they're doing. It seems the days of apprentices have passed and in the modern era of YouTube vlog stars where even you can get great production in the comfort of your own home we've lost learning the basics. I'm here to ask you as someone on the front lines with what I hope to be an influence on those rolling behind you, what do you want students to learn and how can they best help support you so that everyone gets work, you continue to be fairly compensated for your experience and time, and heck maybe even someday you can hang up the cans and retire on a beach knowing you'll still have good media to listen to. What should we be teaching students? What equipment should they be working with? or not working with? How can they help support your success and keep the good sound rolling?
  6. Hello All, Matthew Wilson here. Many of you knew me as the former beard of Pro-Sound in NYC, to those I keep in touch with I hope you're mixing well and to those I've fallen out of touch with let me hear from you! To catch you up, I run a production venue in Manhattan mostly these days and when I'm not day playing as a utility or doing field repairs on carts, I settle in for the winter at Montclair State University trying to impart any knowledge I can into the future ears of our legacy. I've decided in addition to my ramblings I'd like to share with my students the things you want them to know and how they can enter the field after school putting their best ear forward and not making a mess of it for the rest of us. Pictures, clips and stories tend to work the best. Most of my students are at the point of discovering if what we do can really be a career so don't be shy to share the low points along with the high. Things we cover already, but are welcome to go into more are proper job bidding, including fair pay for labor and gear, knowing what gear they're ready to work with and how to build their network to move up. I'm not sending my students out with 2nd mortgage carts looking for features, but they do get excited at the shiny things like all of us do. What do you want them to know coming into the field behind you and what can I do to best prepare them to carry on and hold the line? Hope to see you all at AES this fall!
  7. Hi PinkywinkieOZ, You won't be able to use the Touch and the FP8 at the same time. There is the future possibility of a Serial "hub" similar to what will be found in the Oasis.
  8. The best way to accomplish that is to wire it for a wireless tx I.E. Lectro or Sennheiser and use an XLR power supply by Ambient or PSC. The alternative is to purchase a hardwired Lav and have a usual suspect wire an adapter in line with the power supply. Feel free to PM me for details.
  9. Hi Karri, The audio from a 4060 will most likely not be useable. I've done SFX recordings on gun ranges before, it is definitely a lesson in gain structure. Use a mic that you're not afraid of hurting and have a backup ready. This is a case where pads will be your friend and if you don't have it, now would be a great time to invest in or rent some Neverclip enabled equipment. There are some threads here and on Facebook with lots of sage advice. You might also want to contact Member Watson Wu who very recently completed a library of gunshots with all sorts of equipment. You'll find similar answers to Nate's ^ about Cos11's working, but it'll be tricky to gain and mix it to go between gun shots and dialogue. Might not be a bad idea to go with two mics and two trims. Above all else remember to wear heavy duty earplugs under your cans and get used to mixing with them before you roll. Protecting your ears will be worth mediocre audio over losing your hearing and not being able to work.
  10. Hey Cory, There are several factors in play here, but I would not consider that "normal" operation for a Nomad. While similar issues can/have happened, mirroring should continue work as your friend is expecting it to. Here's a short list of things to check below starting with what Chris suggested and checking the software. Software Version against known bugs Corrupted media? (be sure they are formatting the mirror card in the machine regularly) Processor Speed Does mirror card work under "normal" conditions It may take longer but they could change the mirror mode to ON vs Continuous. (with long takes it can tax the processor to do both cards at once, though many people, including myself, do this all the time with no issue.) As Glenn said definitely give them a call and your friend will likely be back up and running happy again in no time.
  11. Thanks to Silver Sound and the mixers for letting Pro-Sound join in the fun!
  12. Caio, If you or a friend will be at NAB let me know and I'll make sure a new pair of gloves is set aside for you.
  13. Cinela Products will be available to view and demo at Pro-Sound booth # C8649
  14. The April Fools Joke is on all of us this year, this is (will be) a real product!
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