Eric Carbonara
Audio Engineer


Sound mixing, whether on a film set or in a reality-TV star's home, is bit of a “make the best out of a bad situation” type of job in that you are never in a fully controlled and isolated environment. However, it still requires an incredibly nuanced and detail obsessed ear. My approach to doing production sound is to treat each scene as if it were my own and as if I was the one doing post. This approach keeps me forward thinking about the end result, which yields both high quality results and ultimately saves time and money.

In the post world, a director or producer’s vision can truly come to life through the help of a dedicated sound designer treating each sound as if it were a musical element. True, a vast majority of these subtleties are overlooked by most viewers, but therein lies the true art; to create a sonic world that affects and supports visual elements without obstructing or overpowering them. This is achieved partly from having a keen artistic sensibility and partly from understanding workflow. In the end, my work should be "felt" and not necessarily "heard."

I pride myself in dedication to quality sound recording, meticulous attention to detail, and reliability. I am very respectful towards talent and have earned the respect of professionals on both sides of the lens. Moreover I enjoy the impromptu problem solving that comes with navigating aural elements in a visual medium.

I've worked on a variety of projects spanning the gamut of genre, format, and directorial approach. I enjoy being a part of a crew but I'm also very comfortable working alone. Below is a break down of services offered, gear, and rates. Feel free to get in touch if you have any questions that are not answered below.


- Assistance with the development of project's artistic vision, logistical planning of project's technical aspects, and, if needed, manage project's non-technical (artistic) aspects.
- Location scouting (consultation or on-site visits)

Production Sound:

- Foley (on set while hired as a sound mixer)
- Sound Mixing/Recording (boom operator + recording/mixing)
- A2 or boom operator (as an assistant to another sound mixer)
- A3 (typically I will only work as an A3 on large productions


- Dialog Editing
- Foley
- Media Transfers
- Sound Design
- Voice overs
- Final Mixing
- Mastering

Production Gear:


- Sound Devices 788T-SSD ( 8-input, 12-track Timecode Recorder with 256-GB Solid State Internal Hard Drive, Compact Flash, and 6 routable outputs)


- 1x Sound Devices CL-8 Mixing Control Surface

Wireless Transmitters & Receivers for talent mics, camera feeds, and remote monitoring

- 1x Lectrosonics LR digital hybrid wireless Receiver (A1: 470.100 - 537.575 MHz)
- 1x Lectrosonics LT digital hybrid wireless beltpack Transmitter (A1: 470.100 - 537.575 MHz)
- 2x Sennheiser SK 100 G3 Wireless Transmitter (516-558MHz)
- 2x Sennheiser EK 100 G3 Wireless Diversity Receiver (516-558MHz)
- 2x Sony UTX-B2V Transmitter (638.125-661.875MHz)
- 2x Sony URX-P2 Receiver (638.125-661.875MHz)

Lavalier Microphones

- 1x Lectrosonics M152/5P Omnidirectional Lavalier Microphone
- 2x Sennheiser ME2 Lav Mics
- 2x Countryman Isomax 2 - Cardioid Lav Mics
- 1x Countryman B6 Omnidirectional Lav Mic

Handheld & Utility Microphones

- 1x EV 635 Omni-directional Dynamic ENG Microphone
- 2x Shure SM57 Dynamic Cardioid Microphones

Shotgun Microphones

- Sennheiser MKH 50 Super Cardioid Condenser (for interiors)
- Sennheiser MKH 416 Shotgun (for exteriors)
- Sennheiser ME 80 Shotgun (back up)

Boom Poles, Grips, Stands, and Wind Suppression

- K-Tek 16' Graphite Fiber Boom Pole w/ internal cable
- Rode 10ft Boom Pole
- Auray Boom Holder
- Impact Turtle Base C Stand w/ heavy sand bag
- Rode Blimp Wind Shield, Shock Mount System, and Artificial Fur Wind Shield
- Rycote INV-7 Shock mount
- Rycote Softie

Timecode/Syncing and Camera feeds

- Production "dummy" slate
- 1x 20-ft Breakaway cable with LEMO-to-BNC and camera return
- 1x 18-in (2) XLR3F to 3.5mm Male for DSLR inputs


- Sony MDR-750 Closed-back Headphones
- Beyer Dynamic DT990 Open-back Headphones
- Sennheiser HD280 Closed-back Headphones
- Audio Technica ATH-M50x Closed-back Headphones
- Audio Technica ATH-30x Closed-back Headphones

Battery Power

- 2x Varizoom NP-1 batteries w/ charging station
- 1x NP-1 Cup Adapter to power 788T
- consistently charged reusable AA-batteries to all power wireless units + chargers
- 3x Lithium-Ion Batteries for 788T backup power

Utility/Production Bags

- Petrol Deca Sound Bag
- Versa-Flex Audio Harness
- weather-proof transport bags for all gear


- all necessary adapters for any occasion
- MultiCart 8-in-1 Equipment Transporter

Post-Production Gear:

Recorders and Interfaces

- Apogee Ensemble A/D interface
- Motu Travler A/D interface
- Mac Book Pro w/ Pro Tools, Logic Pro, Adobe Audition, Adobe Premiere, and numerous plugins


- Genelec M030 Reference Monitors
- Genelec 7050B Studio Subwoofer
- Beyer Dynamic DT990 Open-back Headphones
- Sony MDR-750 Closed-back Headphones
- Sennheiser HD280 Closed-back Headphones
- Audio Technica ATH-M50x Closed-back Headphones
- Audio Technica ATH-30x Closed-back Headphones

Studio Microphones

- 2x AKG C414-XLS Large Diaphram Condenser (matched pair)
- 2x Shure KSM-141 Small Diaphram Condenser (matched pair)
- 2x Royer R-101 Ribbon Microphones (matched pair)
- 2x Sennheiser MD421 II Dynamic Microphones
- 1x AKG D112 Dynamic Microphone
- 2x Shure SM57 Dynamic Microphones


- 8x Boom Stand
- 2x Telescopic stands
- 1x Heavy duty boom stand w/ wheel base
- 2x Low profile stands


Labor: My rates are comparable to other engineers with similar experience. Gear rental packages vary depending on a production's needs. Overtime is 1 + half the hourly rate break down per job and begins after the end of the booked working hour.

Travel: I use Gas Buddy's Trip Calculator to calculate travel costs, which provides a more accurate figure for reimbursement.

Travel Arrangements: I am travel ready with a current American passport. Production company/client must supply one round-trip economy airfare from Philadelphia to the airport closest to the destination with ground transportation once I arrive. Any visas required must be arranged by production company.

Per Diem: $25/day for out of town and travel days, payable preferably in advance or if not than at the end of each week.

Cancellation Policy: 50% If less than 48 hours to call and 100% If less than 24 hours to call


Please refer to my CV page.