I first began my journey in production sound in 2020 after purchasing a basic kit for personal use in my films. I started mixing regularly for local production companies in the Bay before returning to LA and working on student projects while I finished school.

Four years later, I’m mixing full time, freelancing as a Boom Operator and Utility Sound Technician on the side. I’ve captured audio for individuals and organizations such as 88rising, the NFL, Grindr, Helpful Honda, Travis Scott, Hailee Steinfeld, Kali Uchis, Vince Staples, Zach King, Airrack, and Wong Fu Productions.

Equipment

***KIT PACKAGE AND FEE MUST BE NEGOTIATED BEFORE START OF PROJECT***

Every project has different needs, this is just a list of everything I have to offer, not what you get when you hire me.

Recorders

• Sound Devices Mixpre 10 II

• Zoom F4

Microphones

• Sennheiser MKH 416 Shotgun Microphone

• Neumann KM 185 Hypercardioid Microphone

• Shure SM58 Dynamic Cardioid Microphone

• Sennheiser MKE 600 Shotgun Microphone

• Sennheiser MKE1 Lavalier (x2)

• Countryman B6 Lavalier

• DPA 4060 Lavalier

• Deity W.Lav Pro Lavalier (x2)

Wireless

• Lectrosonics UCR411a RX (x3)

• Lectrosonics UM400 TX (x3)

• Lectrosonics SRc Wideband RX

• Lectrosonics LT Wideband TX

• Lectrosonics LMB Wideband TX

• Lectrosonics HMa Plug-On TX

• Sennheiser G4 RX and TX (x2)

• Comtek TX, RX, and headphones (x3)

Misc

• Deity Smart Slate

• Tentacle Sync E Timecode Generator (x2)

• Sound Devices MM-1

• K-Tek boom poles, 6’, 9’, 20’

• Bag and Harness (pls just hire a boom op)

• Souped out sound cart

Archive Policy

***It is the production’s responsibility to ensure they have copied any and all sound files from me before wrap.***

I keep physical backups of most files for two weeks. After that point, they are offloaded into the Cloud for long-term storage. Unless an arrangement has been made in advance, all requests for access to these backups (physical or digital) may be subject to a $50 retrieval fee if I am able to retrieve them.

Access to the archive is not guaranteed. It is not a typical sound mixer responsibility nor something clients should rely on, but rather a backbone that might come in handy in case of an emergency.