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Christian Spaeth

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About Christian Spaeth

  • Rank
    Hero Member
  • Birthday 07/31/1979

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  • 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.

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  1. then that's a different story, and very cool news!
  2. Automixer and Overdub could be handy functionalities, but since the thing has no time code capability at all this is clearly a musician's tool, not a PSM's.
  3. Christian Spaeth

    Kortwich Cardioid Pro SDC

    Really short, reminds of the pencil condenser mics for drum overheads. The question is how often can you use the cardioid for booming. Not too much in my experience. So you'll need a hyper too. Are the capsules interchangeable? If not I would go for the 80x MKH series or even a Schoeps CMC6, which are more expensive but if you only count the (cardioid) capsule it would be actually cheaper than the Kortwich.
  4. Christian Spaeth

    The "Best client/producer/agency quotes" thread

    That's probably how 90% of all surround recordings end up, without anyone even noticing or complaining :-)
  5. Here's a recent one. TV commercial, VOs with an actor were done at a hotel room after wrap. Got an email from the agency via producer a few days later: "The speech recordings from the hotel room are mono, not stereo! How can this be?" Do you have some funny agency folk stories to share? EDIT: changed the thread name to more accurately reflect the great contents of this thread!
  6. Christian Spaeth

    Next level on-camera microphone in M/S

    I find it totally overkill and a bit ridiculous to put a Schoeps M/S set or similar on a camera. You will hear all the noises you make pulling focus or pressing buttons etc. The reason why your cheap mic sounded good to you might be because it's less sensitive, has less high frequencies and probably also less low end which will result in less rumble. If you have too much money, instead of putting two Schoeps mics on your Panasonic cam maybe you could try working with a professional sound mixer. You will be surprised of the "next level" sound you will get this way. The sounds you will be able to use from a camera mic is usually some atmo, maybe some sounds from when you're close to a sound source. These sounds in my experience will be totally fine with any inexpensive camera mic like the Sennheiser and Rode cam mount mics. Schoeps pick up way too much for to be mounted on cams.
  7. Christian Spaeth

    Schoeps CMR vs. DPA MMP-G

    I thought Schoeps are really electret, too.
  8. Christian Spaeth

    David Letterman new show

    So then you shouldn't have read this thread until the guy who worked on it says how it was done...
  9. Christian Spaeth

    David Letterman new show

    "Guess how it was mic'ed!" That would be a cool TV game show, or internet at least. In the end - surprise! - the real mixer will show up and tell everyone how they actually did it.
  10. Christian Spaeth

    Defending your Work

    I will always say when there are overlaps during an interview. I have been doing the job for enough time to know when it can be a problem. I won't say it more than once or twice, though. I feel like I need to do this just to save my ass, so later they can't do what they did to the OP. Plus, if the interviewer is unprofessional it doesn't mean I have to go down that hole and be unprofessional, too. As for post not getting it, yes, been there, too, editors work and think differently than we do, so my first reaction would be to try to get them on the phone and explain how it's done. Writing email back and forth as we all know can result in too much things written and misread between the lines. Doing interviews is a really easy gig for a sound person. Put the boom on a stand and roll. Yet they decide to bring us on and pay us. In exchange for that I take on the responsibility to point out possible problems while they're happening, including overlaps (not expect the director or anybody else to do it for me) and be courteous before, during and after the production, because I would like them to hire me again next time. I would save myself the frustration and take a minute to talk to the editor, maybe a bit like you would talk to a child. For they know not what they do...
  11. Christian Spaeth

    Burnout, stress, depression: experiences?

    Great article, Crew. Personally I have had productions with too long hours, too bad vibes on set, resulting in stress. All the advice in that article is excellent. Stress can and needs to be fought.
  12. I guess these units are aimed at people who want to use wireless but don't feel like getting into the whole wireless voodoo madness. Who would, too, besides weird sound people like us? But then again, those people could also hire people like us to take care of it for them...
  13. Christian Spaeth

    Reverb in exteriors

    So Jay do you think the dialogue you're referring to was ADR? Because if the reverb was on the original production sound tracks that would be an explanation, but in a forest with snow I don't think that's likely. If they added reverb in post I could imagine a scenario where the enemy soldiers would not be boomed because of the distance but instead recorded on lavs. That in turn might have sounded too close for the director, which is why he could have requested them to add reverb (probably actually meaning delay/echo).
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