Matt Price - Location Sound Recordist / Sound Strategist

Mobile: (0044) 7999 818928
London Based With Own Gear

No Ordinary Mixer Philosophy

Often I hear peoples perceptions of Location Sound Mixers as one dimensional, like the IT guy that comes into your office to fix stuff and then leaves never to been seen unless a problem occurs.

I have purposely set out to be different to my other colleagues by focusing on having the greatest impact possible in the value I provide to all my clients. This is best achieved by bridging the gap between production and post production.

I have achieved this on a number of my most recent feature film productions like Utopia. Where I record on location and then supervise the project right through to the final mix. I have built a very strong relationship with SYNC POINT post production. Allowing us to turn around projects fast due to the unified vision from production to post production.

My Approach Benefits You...

  • Dual Backup On Location And Security From Corruption In Post
  • A Plan In Pre Production For All The Sound - Saving Time And Money
  • Completely Custom Package Build From Our First Meeting - Tailoring Services To Budgets So You Can Get The Most Value
  • Client Service: I Pride On Helping My Clients Even With Projects I Wasn't Involved In. Or Adding On Services Like Dialogue Editing To Help Speed Workflow And Boost Quality
  • Support For Foley, Sound FX, Sound Design and 5.1 Mixing
  • Focused On The Future: Everything Is Easier When You Are Building And Growing Together

My 9,000 Hours On Location

Recording A-List Actors like Benedict Cumberbatch, Keira Knightley, Cameron Diaz to Musicians Like Kylie Minogue, Take That, One Direction To The Bosses of ITV, Channel 5 and SKY.

Feature films in 3 Continents to road movies recording from London to Turkey or flying out to other countries for interviews and projects with Microsoft and adverts and commercials with Dyson, Pepsi, Ikea, Tagstr, Hub Footwear.

Finally to documentaries and run'n'gun scenarios where you can be following people around the London underground to people in Taxis talking about the latest technology!

There isn't much I haven't seen or done yet.

But every project is different and sound for film and corporate, commercial and documentary projects is my specialty. Even if you don't need all of my services I have you covered if you ever do. The one stop shop for location and post production.

Lets Talk Gear and Benefits, Not Just Jargon.

 

The Sound Devices 688 has the following benefits for your production:

- You can plug up to 12 boom or wireless mics into it and record them.
- You can send audio to 3 cameras at the same time and 6 other devices if needed.
- It has a special feature for unscripted dialogue and mixes the microphones into one track.
- It records every microphone separately so in editing you have more control.
- It records to an SD and CF card for a double backup.
- It can record 1 media (SD card as an example) as MP3 for instant transcription uses.
- It has 6 seconds of pre roll and turns on ready to record in 2 seconds, great for documentary.
- Records 192kHz which means you can record slow motion at 100fps and preserve all frequencies.

A Sound Recordist must: The Schoeps SuperCMIT 2 u Shotgun Microphone benefits your production by:

- The sound in converted into binary (01011010) which means no loss of quality through cables.
- It has a standard tight shotgun pattern for quiet conditions.
- It simultaneously sends a Super version of the normal shotgun that has an algorithm to suppress even more background noise in louder conditions like traffic.
- It has the option for a 3rd setting to pick up dialogue in the loudest places where intelligibility is more important than 100% pure tonal quality. Great for Documentaries.
- Along with all the settings mentioned so far it also has a setting for increasing dialogue intelligibility and further reducing low rumble of traffic or wind.

Example of the SuperCMIT: This is audio examples of facing a busy road and facing down at the floor where normal shotguns have the most rejection from unwanted noise. The SuperCMIT has both channels for post. The Unprocessed channel is just the normal shotgun and then the processed one is the SuperCMIT one.

Unprocessed SuperCMIT (same as the CMIT5u normal shotgun)

Processed SuperCMIT channel (both tracks recorded at the same time)

For Indoors I use the Schoeps CMC5u + MK41 Hypercardioid Boom Mic because:

- Equal frequency response means you don't get that harsh drop off when actors go "off mic"
- Gives beautiful deep and rich tonal quality (see any showreel pieces for the effects)
- Wider pattern than the SuperCMIT for easier booming of multiple people, even unscripted.
- Both the SuperCMIT and the MK41 are made by Schoeps for tonal quality and better matching in the edit and sound mix stages.

The Sound Recordists AK47: The Sennheiser MKH416ph shotgun benefits your production by:

- This mic is super reliable in everything from downpours and sand storms, extreme heat and cold.
- Allows me to have a second boom on bigger productions or a very useful plant microphone to better capture talent.

2x Lectrosonics SMB Digital Hybrid Wireless Packs benefit your production by:

- Smaller size is sometimes better for tight costumes or hardly any costume at all.
- It's Digital hybrid meaning the binary advantages again of no cable noise.
- Hybrid because that means talent can be further away from me without loss of signal.
- Brilliant limiters for those unscripted shouting matches. (Think Jerry Springer)
- Splashproof for shooting out in mild rain.
- Still great battery life of 3-4 hours.

2x Lectrosonics SMDB Digital Hybrid Wireless Packs benefit you by:

- The D stands for double the batteries of the SMB, the battery life is 7-8 hours.
- All the same advantages of the SMB pack above.

(all you need to know about the Lectrosonics Digital Hybrid Receivers is they give better range and less interference through magic witchcraft)

3x Sennheiser G3 Wireless Packs and Receivers benefit you by:

- Very versatile and mean I can record 7 actors.
- Cheap and cheerful on productions that aren't so demanding.

4x DPA 4071 Wireless Microphones are built for undercover work:

- Specially designed to have a natural sound under clothing.
- Built for the film industry.
- Excellent response and tiny footprint for hiding.

3x Sanken COS-11D Wireless Microphones benefit your production by:

- Great for under clothes or clipped to a tie/shirt.
- Rugged design for lots of movement.
- Very clear and direct sound.

2x Lectrosonics Wireless Audio Monitors For Script and Directors help by:

- Directors watch the monitor to see the visual result before the grade and editing. You should be doing the same with sound, without wires.
- Allows better performance direction.
- Understand problems that may come up in post.
- Hear missed lines and intelligibility

And I have even more gear available, so lets talk about your needs...

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Don't Forget My Special Offer To You...

I invite you to a no obligation chat about your project and I will show you how to get the very best sound from your script or pitch through my years of experience and areas of expertise, sound for film, documentaries and corporate, commercial projects. This starts with the production challenges right through to how we do and picture the final mix.

If you feel this conversation was a waste of time or not useful I will send you a cheque for £300 as compensation for your time, or we can continue and implement our plan so you know your project is in safe hands and I can deliver your vision as intended.

I truly believe I can offer you the best service and that's why I'm putting my money where my mouth is. Get started and I'll send you a CV and showreel relevant to your type of project and we can begin talking about yours.

Get Started Now