Production Sound Mixer:
Alonso Cacho
The journey so far…
I have been an active freelance sound mixer working in the Nashville, TN area since 2016, coming from a audio post-production background working in New York city on commercial, radio, TV, and feature. Not only gaining experience in technical practice but also with what different production’s expectations in the editing phases of a project. Now I mostly focus on working in production where no two projects are the same, every day is everyone’s first day on the job.
The most valuable asset from all my experience so far is knowing how to work with producers, directors, talent, and other crew members. Knowing how to effectively communicate, navigate, anticipate problems, and collaborate on film sets. As head of department, being solely responsible for delivering the best results for your department as others do for their own - it’s not a competition, it’s a collaboration and compromises are made to achieve the best end product.
My experience now spans years of different kinds of projects. Corporate, documentary, short narrative, feature films, music videos, comedy specials - all present different challenges and different solutions. Knowing what the right gear is for every job, staying on top of cutting edge technology, applying theory into practice and learning by trial and error.
PORTFOLIO
GEAR
Sound Devices 833: 6 input, SSD internal hard drive, 2 SD card slots, 6 outputs, internal bussing, plug-in capabilities. This is the brains of the operation. This mixer/recorder is more than capable to handle most situations - be it run and gun, sit-down interviews, narrative, studio shoots. It allows me to effortlessly input and output audio signals, while recording isolated tracks, and delivering the best mix track for your editor.
Lectrosonics UCR411A Blk 21 x3: This wireless receiver is a tank. Proven by more than 20 years in the industry ensuring the best reception of its wireless transmitter.
Lectrosonics SRC: a dual channel receiver that packs a lot of power in a single unit, allowing not only 2 channels of reception, but also giving me the flexibility to use 3 different frequency blocks.
Lectrosonics SMV Blk 21 x2: It’s compact size makes it ideal for most situations, especially for challenging wardrobe options. Runs on a single AA battery for up to 7hrs on lithium battery. Also, conveniently works with the LectroRM App that lets me use a “tweedle tone” to control any of it’s settings, that means I don’t have to dig through talent’s wardrobe to turn it off.
Lectrosonics SMDWB B1: These transmitters run on 2 AA batteries are my best friend for long days of work. They can run for up to 11hrs, have internal recording capabilities, but also give me 3 different frequency blocks to work with. Also work with my LectroRM App.
Sanken COS11D: This is the industry standard lavalier mic. It works great with most wardrobe choices, with it’s modest size that makes it easier to conceal. Not to mention it simply works great mixed with a good boom mic.
Lectrosonics HMa: This transmitter allows me to turn a boom mic into a wireless mic. Essential to working with a boom operator, but also quite practical to hide a mic when the framing doesn’t allow for an operator in a shot.
Sennheiser MKH 50 + Sennheiser MKH 60:
This pairing of mic is ideal for any indoor/outdoor shoot. This model line is absolutely sturdy and reliable on any environment, be it humidity or the ever increasing RF interference we deal with every day. Both have phenomenal bass response and hot signal compared to most other condenser mics. The smaller MKH50 has a wider pickup pattern which helps in rooms with lots of acoustic reflections or when booming over multiple talent in frame, while the MKH60 has a much tighter pattern that is needed in high noise environments or when booming from a distance. So having both of these will ensure you can capture great sound on any environment or booming challenges!
Comtek PR216 :
These battle-worn receivers are ideal for clients, producers, script supervisor, directors to monitor what sound I’m recording. Powered by 9V, a single battery can last for 2 or 3 days of production. Also working in a different frequency block than my wireless mics affords me enough space between both signals to not cause any RF issues.
Remote Audio Speakeasy:
A 12w battery powered speaker affords me the capability to give video village a sound monitoring solution for multiple people off-set. Easy to use and allows either mic or line level signal to input.
Timecode solutions:
No professional set it complete without a timecode system. It is what allows editors to seamlessly sync video footage with audio files. With multiple clips of video and multiple audio files it is crucial for audio and video to talk to each other on set. Cameras are able to record timecode onto their files, so before cameras start rolling, timecode sync must be ensured. These boxes and slate have a +25hr battery life and are easily synched to each other from my mixer/recorder setting the “master clock”. Redundancy is key - that’s why the slate is a great solution for that. Displays timecode for set, scene number, take, roll, etc. - all very important especially when working with a script supervisor.
RATES
Guaranteed until December 31st 2023
Non-union labor
Sound mixer 10hr rate…. $750Sound mixer 12hr rate…. $975
Sound mixer OT rate after 12hr… $150/hr
Consecutive 6th day rate: $1125/10hr
Consecutive 7th day rate: $1500/10hr
Playback op 10hr rate…$550
Other fees:
Travel day rate… $375
Mileage… IRS standard rate
Per diem… GSA rates
Basic kit
Multi-track recorder & mixer
2x talent wireless lav systems
1x Boom kit
2x Timecode box
$450/day
A la cartè day rental rates:
Multi-track Recorder & Mixer…$175
Wireless lavalier kit… $75
Boom kit… $50
Wireless Boom system: $125
Timecode slate… $50
Timecode box… $25
Comtek IFB… $20
1st wireless camera hop… $30
Add’l camera hop… $15
Computer… $50
Audio Interface… $50
200w Active PA speaker…$50
20w Client monitor speaker… $30
Expendables (5+ days only)… $100/week
Any additional gear rental available upon request