CV, Rates & Useful Info

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RATE INFORMATION (Updated 01/01/2018):

I try to keep my rates competitive and fair with respect to the current industry standard rates and my fellow production sound mixers.
For my current rates and for terms of service, please refer to my RATES & TERMS CARD.

If you have a projected budget for sound, please include that information when you contact me.

I have worked with productions of all sizes and will always do my best to work within your budget confines (within reason).
Therefore I am open to discussing numbers in an attempt to fit your budget and will do so on a project to project basis.
To expedite the process, I have compiled a list of questions that I will be asking to ensure I have everything covered for my preparation and quote.

Note that the terms listed on my rates and terms card are non-negotiable, regardless of budgets agreed to.

LOCATION SCOUTING:
Please refer to my Pre Production Inquiry List (previous link) to help ensure we have a smooth day. Additionally, use http://howloud.com/ to get a sense of what traffic and air traffic is like. If we are shooting exteriors and we are in or very near a red zone according to this, please reconsider unless it is absolutely necessary. If the Air Traffic is listed as busy, please reconsider if you don’t want me shouting “ Hold for Plane” all day. These are especially important notes when considering tight schedules and magic hour shots.

LOCKING IT DOWN:
To ensure that I (or any sound crew member) am able to get the best possible location recordings, it takes a COLLABORATION WITH THE ENTIRE PRODUCTION (beginning with pre-production). With that said, I encourage you to read this “open letter” and help me help you create the best possible sound-track.

GO GREEN!!
Making Productions Green SAVES YOU MONEY!
In an effort to be Eco-Friendly, I primarily use Rechargeable NiMhBatteries, and only purchase some disposables as backup/emergency. This SAVES YOU MONEY and keeps our planet happier! I I charge a small daily fee so I can keep my stock replenished, as their cycles wear out per use. I include your savings on my invoice.
For More Ways You Can Go Green and Save Money: http://www.greenproductionguide.com/going-green-saving-green-a-cost-benefit-analysis/


GEAR:

The following is a current list of gear I own, rent and operate with:


LOCATION GEAR

Mixers
Cooper Sound 106+1 Analog Mixer
Sound Devices 633 Mixer/Recorder (6 Ch w/ SMPTE)*
Zoom F8 Multitrack Field Recorder (8 channel inputs w/ SMPTE) w/ F-Control Mixing Surface

Microphones
Neumann KMR-81 i Supercardioid Condensor (2)
Neuman KMR-82 i Supercardioid Condensor [Long Reaching Shotgun] Schoeps CMC4-MK41 Blue Dot Supercardioid Capsule  [w/ GVC, -10db Pad & Hi Cut Filter] Sennheiser MKH50 Supercardioid Condensor
Sennheiser MKH416 F Supercardioid Condensor [Rare Build – Flat Response]Sennheiser MKH416 Supercardioid Condensor [Standard Build – Curved Response] Audio Technica AT2021 Cardioid Condensor
Electro-Voice CH15E Hypercardioid Condensor
Shure 545 Unidyne 3 Dynamic
Shure SM57 Dynamic
Shure SM58 Beta Dynamic
Shotgun Red Omni Condensor
Sanken COS11D Lavaliers
Countryman B6 Miniature Lavaliers
Lectrosonics 152 Lavaliers

Wireless

Lectrosonics UM250b [B22]

Lectrosonics UM200b [B22]

Lectrosonics UM195  (2) [B22]

Lectrosonics UM200c [B22]

Lectrosonics UCR411a [B21]

Lectrosonics UCR195d [B22]

Lectrosonics UCR205d (2) [B22]

Sennheiser EW100 G3 Wireless w/ ME2 Lavaliers  (8)*
Sennheiser SKB100 Wireless Microphone Plug (3)*
RF Explorer Spectrum Analyzer

IFB
Comtek M-216 P7 Transmitter (1)
Comtek PR-216 Receiver w/ Sony MDR ZX110 Headphones (3)

SMPTE
Denecke TS-2sb Timecode Slate (Color Bars)
Tentacle Sync (SMPTE Sync Boxes for Camera) (2)

Misc
Orca OR-48 Cart
Rycote Windscreen Blimp/Dead Cat
Rycote Softie (2)
Hotshoe Shotgun Camera Mount (2)
Shotgun Cradle for C-Stand
NeoPax Lavalier body straps (2x Waist, 2 x Ankle)
Ursa Lavalier Body Straps (1x Chest, 1 x Thigh)
Beachtek DXA-4P  (2 XLR to Stereo 3.5mm, for DSLR)*
Additional K-Tek Boom Poles (2)*

(* – via Jargon Entertainment or Trew)

POST-PRODUCTION STUDIO

Workstation
Pro Tools 12
Custom Built PC w/ Intel Xeon Quad-Core Processing, SSD, & 18Gb Ram
RME Fireface 800 Audio Interface
Tannoy Reveal 802 Studio Monitors
Dynaudio Custom Built Studio Monitors
M-Audio Radium 49 MIDI Keyboard
PlugIns from URS, PSP, TC Native, Focusrite, IK Multimedia & Izotope (RX 6 Advanced, Iris, Ozone, Nectar & Alloy)
VST Synths: HALion, Omnisphere, Jupiter, Moog, Arturia, Prophet, Steinberg, Philharmonik & Addictive Drums
50,000+ Sound FX from Sony, Turner, Hollywood Edge/Premiere, LucasFilm & BBC

Instruments

MicroKorg Synthesizer
1990 Ibanez AS-120 Semi-Hollow
2002 Fender GA-45SCE Grand Auditorium Acoustic/Elec.
1986 Aria AW 200T 12-String Acoustic
(1999-2002) Gretsch Junior Jet I Solid BodyAmps
Mesa Boogie Nomad 45 Tube Amplifier (4xEL84 Power Tubes, 5x12AX7 Pres, Spring Reverb & 3 CH Gain)Stompbox FX Pedals
SK Fuzz Pedal (Custom Built by Spence Koehler of The Stone Foxes)
Dunlop Volume Pedal
Pigtronics Echolution Delay Pedal
TC Electronics Flashback x4 Delay Pedal