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Found 21 results

  1. Hey all My wife is a producer and is coordinating some interview shoots for a client in several locations across the country taking place in late August through early October. She's seeking sound mixers in Seattle, Denver, Black Hills SD, Huntsville AL, and Athens GA. If you're a mixer in any of these areas and are interested, please email her at jbaroody@earlylightmedia.com. Thanks! Steve
  2. I am looking for work in multi-camera narrative in the North East. Tons of gear and experience.
  3. Professional sound mixer and Editor-In-Chief at Wav.Report Jared Elkin took a ride with us to chat about his experience in sound, the state of the industry, gear and anecdotes. I hope you find it interesting, perhaps useful. If you can take a 20 minute break, it's always a good thing to get perspective from other sound mixers. Watch it here: https://www.youtube.com/watch?v=WsdI6n1HwmU
  4. Veteran sound mixer/recordist currently expanding my client base. Available as a local in Houston, but can travel anywhere in Texas. Also can work out of a base in Central NJ, just pay airfare or reimburse. Specialize in corporate and small docs. No reality work, please!
  5. I am a sound mixer located in Naples Italy and available all over the country, feel free to contact me if needed.
  6. I have tried finding this in previous but have had no luck so far. If I've missed it, I apologize and would be greatly appreciative for a link! I was just curious: What are the fundamental parts and signal flow of a location sound mixers production cart? How do you personally prefer for your own cart to be set up if you have one?
  7. I've been working production sound with the R88 for almost 2 years now, and I feel compelled to share some road tested tips and explain how to circumvent some of its peccadilloes. Also, for the potential owner, there's a few misnomers you will run into and a few things that Roland still hasn't touched with this unit. This is with the current (as of 08/14) 1.1 firmware. Batteries: You can use an external 8AA battery pack (or any other acceptable voltage pack) with the R88! I made my own, but you can buy them online too. The external battery monitor will get very cross with you at low voltages, so I just leave the power switch to "AC Power". This way you can leave your sled in all day and swap out the pack without ever having to switch off. Roland will sell you an extra batt sled, I asked, if that's what you're into. It was about $30 before shipping. Be careful if you're trying to repurpose the provided 4-pin XLR to barrel DC adapter, it doesn't like to fit properly with other 21mm barrels. Timecode: TC seems to hold all day long with most other cameras I've jammed (besides a couple Epics), and with my own Denecke slate. If you power down the R88 however, it will not keep. For transcribers, the R88 cannot "print" TC to a separate audio track, like the 664, nor does it seem like the software will ever allow for this. The TC output will also not embed the date/take for slates like other mixers. PolyWAV files: Because of Roland's wonky "2 by 2" PolyWAV files, if you turn on inputs 1,2, and 5... you will end up with a 6 channel wav file! Best to keep your imputs sequential if you can. Boom 1, lav 2, lav 3... PolyWAV mode does not record the mix, kind of annoying if you're trying to sync a mixed camera hop. Some NLE's (and some playback apps) will automatically read them as surround files, and not mono channels. Warn your DIT / Editor, as this is an easy fix but frustrating without a heads up. Input / Output: Output levels are not -60 through +4, it's either / or. This makes hopping or sending scratch to a "mic level only" camera, require a bit of balancing on their end. The Mix out is either -30 or 2Vrms, but you can assign the mix out to your XLR outs and save yourself the hassle if you have XLR hops or sends. This limitation seems fixable, considering it's software controlled, but no word yet. The R88 works just fine as an output for your computer, but you cannot record when it's in said mode. There is no aux out on the R88. You can, however, split the Mix out and center or hard pan your channels to get a similar effect. If you're recording PolyWAV, you don't have to worry about the mix anyway! To get around the lack of return monitor, you can run it into a spare channel(s) and monitor it PFL, but you will have to enable it (which means recording it during a take) to monitor it. Just inform your editor that it's a scratch return. Hopefully Roland will make a fix for this. side note, can somebody demystify what Roland means by 2Vrms? I'm assuming it's an old standard. File Management: You cannot (currently) label tracks on a file. Take this into account when enabling/disabling tracks throughout a shoot, and also inform your DIT / editor. You can label folders from the "finder" menu, and prefixes from the "rec" menu, but your files will run sequential ( _0001 ) until you change the prefix or folder. You can preset some prefixes for quick switching. You cannot delete a folder that has any files in it, you have to delete each file in the folder first. Do not buy a SSD to use as a backup, the R88 only takes flash drives. There is NO DUAL SYSTEM RECORDING. Everything must go to the SD card and then can be backed up. When backing up, you cannot update a backed up folder, you must either delete the folder from the flash drive (tedious), or make a new folder on the flash drive to copy it all again. side note: I've recently been getting an error (and stop) on file 23 when copying a folder with enough files in it, and has nothing to do with file or storage type or size. Roland is still trying to figure out what's wrong. Final Thoughts: I bought the R88 long before retailers were offering it for under $2K. Its preamps are superb, and it's held up on shoots from under 10ºF to over 100ºF. At the time it was the only functional competitor to SD/Zax for half the price. Having become increasingly professional since then, it's looking more like a poor choice... not for it's quality and durability (which is absolutely on par) but for these hurdles I have to jump through on every shoot. The biggest issue overall, is that it's not popular. I still have to explain to several people what "R88" is and that it will get them good sound. Also, there doesn't seem to be enough pro location users out there to talk with, nor to give sufficient pushback to Roland. Lastly, I can't easily train somebody on it. I know all the ins and outs, but one wrong touch in the settings and a novice can throw off a level/EQ/file and not have much help to fix it.
  8. Hi, I'm stuck on a plane that is having maintenance issues and I will most likely miss my connection flight and therefor not make it to my job today. This job is a celebrity interview, the producer and camera person are on the ground there and they need a sound mixer. If you are in that area or know someone in the area please email the producer Ise right away Isewhite@gmail.com . We would both greatly appreciate it.
  9. Looking for a sound mixer with boom, timecode and 4+ channels of wireless for a full day 6/20 and a half day 6/19 for a TV documentary shoot in Semiahmoo. Please reply as soon as possible via email or TEXT to patrick@hawkingfilms.com or 503-891-0075 Thanks
  10. Hey all, 2014 is upon us and along with another year comes another opportunity to get to know your fellow Sound Mixers in the San Francisco Bay Area. Come on out and grab a drink, munch on some snacks and chat it up with your peers. We will have the entire back area reserved for our party at the venue. Here is the information for the meetup: When: April 25th, 2014 @ 7pm-9pm (ish) Where: Amsterdam Cafe 937 Geary St, San Francisco, CA (415) 409-1111 Who to contact: Please either contact me personally to RSVP or feel free to RSVP below as a post. What to bring: All that is necessary is to show up and have a good time. The event is free, but please show support for the venue by purchasing at least a drink. I will bring a few snack items for everyone to share. Please feel welcome to bring some snacks too if you want. Last year's Sound Mixer had a good turn out and it would be great to see everyone again as well as some new faces! If anyone has any questions, please feel free to contact me. See you all there! Best regards, Paul Dorough Sound Art Film Phone: 415-450-7729 Email:paulsoundart@yahoo.de Website: www.pauldorough.com
  11. To all LA Sound Mixers, My name is Thomas Snodgrass and I'm trying to break into the location sound biz I've been doing small freelance gigs here and there while working full time in a restaurant. I own a 633, MKH-50 and 60 but rent all of my wireless etc for my gigs. If you ever need a good boom op or utility I'd love to be added to your list. I have an audio engineering degree and years of experience with all types of audio equipment. Also, if you ever just need a little "pro bono" help or are willing to let someone tag along and pick your brain, I'd love the opportunity. Thanks! -Thomas-
  12. Currently I have been helping out a friend of mine by recording audio for his films. I use a Sound Device 552 mixer with a zoom H4N. So my question is: Other than a Sennheiser 416 and ME66 or Tram TR50 as a lav. What other mic's should a sound mixer have?
  13. Just curious, how many Mixers wish for their booms to go for the mouth and how many want to go for the chest? Let me know your thoughts!'
  14. Shooting a reality based web-series at Mr. Olympia next week and need 2-3 sound mixers. Please DM me or email me at Louis@malkamediagroup.com.
  15. Full profile, equipment list, credits, clips and rates at stonetowermedia.com. Or, just call 201-677-0940 to discuss your project and get a quote. Thanks!
  16. Full profile, equipment list, credits, clips and rates at stonetowermedia.com. Or, just call 201-677-0940 to discuss your project needs and to get a quote. Thanks!
  17. Hello all, I have been in contact with some local Bay area sound mixers under the "available for work" board and it seems like a Sound Mixer's gathering is in order. I will do my best to promote and organize this event, but please feel free to direct other sound mixers local to the Bay area here to RSVP. Here are the details! Location: Amsterdam Cafe 937 Geary St (between Larkin St & Polk St) San Francisco, CA 94109 When: Friday, January 11 /2013 @ 5pm. Cost: Free to enter, drinks billed individually, Cash Only. Additional Details: I will have name tags available so that we can identify each other. Also, some shirts and caps should be available for free from Pro-Sound! Thanks and I hope to meet all of you soon! Paul Dorough Email: paulsoundart@yahoo.de Phone: 4154507729
  18. Figured I would at least entertain a post on here. I'm based in Los Angeles but currently working in Dallas, TX for a Discovery show called Fast N Loud mixing sound. I'm originally from the Pittsburgh, PA area and I'm looking to make my way back there...if I could find work. I own a lot of gear, I also have experience with camera and lighting as a lot of the shows I've worked on have been small crews and I've been eager to learn all I can about Film and Television. My resume is available at http://www.mikehaldin.webs.com PM me if anyone is looking for a sound mixer in the Pittsburgh area. Thanks all!
  19. Hi everybody who has opened this link! I am a Sound Recordist and by that I mean I have a 442, 744t combo, cs3e, ntg3, 2x G3s and a bunch of other little bits. I have done 30+ short films as a recordist, a couple indi features as a recordist and a few as a boomie! I work in Australia and dream to be either a boom operator (full time) or a major sound mixer in my later years in that order :-) I get a lot of great sound on sets with my kit but I have been reading a lot of posts on this site and I hear a lot about these amazing carts that a lot of you guy and gals rock out and on top of a lot of jealousy :-) I have a big interest in what is needed to be done to get to that kind of level. I know that the Aussie industry isn't really catered for that kind of work but before I assume to much I was wondering what you all thought. So the big question is for an Aussie up and coming soundie what would you people recommend I ? Is there a real market here for it? Should I spend some time at the schools here? Or anything of that caliber? Or should I keep on this road keep working short films and some occasional features in hope that skill and luck find me and give me the opportunity to really shine? Would love to hear what you all think! Cheers, Piotr PS. Tried looking this up on the site and I didn't come up with anything might not have looked hard enough
  20. I've been looking for a Sound Rental House In the Dalla-Forth Worth area to either work as an intern or with an apprenticeship. I truly would like to learn all about the sound equipment for film/tv. I ultimately want to become a knowledgeable Sound Gal. Any feedback would be beneficial. Thanks
  21. Hi mates, I am Daniele, an Italian sound recordist and , if it is not a problem, I would ask you some advices: I would like to work abroad just to do some difference experience and to improve my knowledge seeing how other people work. Do you have any advices to give me? For me, 2 or 3 mouths of working experience will be enough. Obviously if I should stay more than 2/3 mouths abroad for job, for me is not a problem. I am ready to do cable man, boom operator in a set to learn how is this work abroad and also to improve my english. I am looking for jobs on mandy.com but nobody answered to me. In attachment you will find my C.V.. If you listen that some Sound Mixer is looking for a cable man or a boom operator, I am ready to come and start to work. I hope in a your answer. Thanks a lot bye Daniele cv_turi_daniele_eng.pdf
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