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Christian Spaeth

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About Christian Spaeth

  • Rank
    Hero Member
  • Birthday 07/31/1979

Contact Methods

  • Website URL
    http://www.tonperson.de

Profile Information

  • Location
    Mallorca/Stuttgart
  • Interests
    Besides work, I write, play and record music: www.belv.es
    Gear geek. Nature. Music. Food.
  • Interested in Sound for Picture
    Yes
  • About
    Production sound for fiction, docs and commercials. I used to do tv episodical work for a few years but now I mainly do commercial/corporate stuff as it's more family friendly. Here and there I do some audio post, too.
  1. PDR Lectrosonics

    Nice idea for the Alexa Mini Axel!
  2. Rates in UK / Europe

    I'd say 250-300 ish (€) for the basic kit, given you offer 4 wireless kits. Extra lav at least 50 €. Maybe others will chime in so you can get a good average. By the way, speaking of producers, I sometimes get the feeling some of them will always try to negotiate on labour rate but will often accept equipment rate, both regardless of actual price. And if we talk about proper commercials, prices are generally higher.
  3. Aston Origin Large Diaphragm Mic Review

    I had this at home... sounds good but (to me) inacceptably high self noise.
  4. Boom op-less

    Dude you certainly don't get to play the South Park card. South Park is a deeply political, thoughtful analysis of modern American society, that has absolutely nothing in common with the unf***able-white-male-trolling you spend your time with.
  5. Rates in UK / Europe

    I think the rate in Brazil doesn't have to be the same as in Britain, as general costs of living can differ significantly, so for foreign productions I think it's sensible to charge on the upper end of what you would charge for a local production. Now for the equipment, prices should be similar in all the world, as prices for buying the equipment are similar too. That said, I think 350 pounds including kit is too low.
  6. Which Schoeps mics for documentaries?

    Definitely keep your 416, it's a weapon for doc exteriors. Additionally, a CMC6/MK41 combo for sit down interviews and interiors. You'd be surprised how much reach this hyper has, while sounding great off axis (unlike the 416). Also maybe get another or two wireless. And if you haven't already, put a mic on the cam, hyper or shotgun, even a Rode NTG1 is fine for this, very useful sometimes in uncertain situations where you cant get as close as you'd like.
  7. Cuban Sonic Spying?

    ...And the earth is actually flat!
  8. Is a new Sound Devices MixPre-10T coming soon?

    Hi Paul, thanks for clarifying. One question: What happens when I change metadata/track names etc. after a file has been copied? Will it update the info automatically?
  9. Is a new Sound Devices MixPre-10T coming soon?

    The copy mechanism sounds to me a lot like what e.g. the Zaxcom Nomad does. If the primary card failed, you'd be f*ed too. You'd be a bit better off because of MARF but the idea is very similar.
  10. Update on the upcoming Tentacle Sync-E

    Timecode boxes have become like printers or something like that in such little time. Not too long ago it was almost a luxury, now you have plenty of very affordable options and they're all really good IMO, so you can't really go wrong on either of the aforementioned.
  11. NEW: Audio Ltd - DDX1010

    huge plus!
  12. DPA 4017B Vs CMIT 5U

    I didn't want to spell that out but I agree.
  13. DPA 4017B Vs CMIT 5U

    Schoeps refused to produce an interference tube design mic for decades as they are microphone purists and believed the principle to be somewhat flawed. As more and more people were using MK41 capsules in production sound, more and more people asked for an interference tube by Schoeps, so they eventually gave in and made one (and a very good one at that). But I'm sure they could have made one much earlier on, they just didn't want to.
  14. Schoeps CMR vs. Colette cable

    CMR is great. I think someone once posted a picture of a wireless boom with it. Tiniest boom mic ever. Adapting to 48V might somewhat degrade the signal (should you want to use it that way), but probably only in studio sound quality terms, so I don't think that would be noticable in location sound situations.
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