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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. NEW: Audio Ltd - DDX1010

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

    I didn't want to spell that out but I agree.
  3. 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.
  4. 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.
  5. Production Mix Structure

    When I did dialogue editing in post and there was a second boom, I often used that to add room for smoothing out transitions. Also, when you wanna replace not-so-optimal sound on a wide shot and use a closeup's audio for that, a real closeup boom sound can sound "wrong" or distracting (i.e. too close), so in those instances, an ambience mic, like Tom described, can be quite useful to add room in post/edit (though I have also used lav tracks of off talent for that at times too, but that's not as pretty). I have also had a sound-savvy editor specifically request an ambience mic for that purpose. I wouldn't completely discard consistency in mixing. Maybe better call it perspective, as a wide shot doesn't need to, or shouldn't sound exactly like a CU, more like what Crew said, it should sound like it looks. My direct advice to you James: Always have two booms on the scene. Second boom takes off lines or at least ambience. That second boom track may well turn out to be very useful later. Also you probably won't need to use lots of lavs, which will make actors happy, and also yourself as the mixer, as double boom is the cream of the crop of production sound mixing, and you might not get the chance to try that process so often.
  6. Safdie Brothers Talk About Audio on 'Good Time'

    I watched Good Time on a festival a few days ago. Not too bad a movie but maybe slightly overrated, a bit retro 90s style, apparently made with a very low budget. Since 95% of the movie consists of closeups, doing sound must have been a fun job on this one. +1 LMAO
  7. MixPre-6 – worth it for this beginner?

    For the Rodelink you need line of sight. Going through walls or objects is unreliable, as well as exteriors to some extent. A G2/3 is more forgiving in these respects. If you had problems with yours maybe you had interference. I also disliked the self noise of the Rodlink that sounds too apparent to my ears, while I find the G2/G3 self noise less noticeable. Used G2/3 are widely available and cheap, plus you can get the antenna mod to improve range. And later once you get better wireless you can use them for cam hops or IFB. And there's a reason why nobody (yes, I mean nobody) uses the Rodelinks. Don't try to prove me wrong, nobody uses them period. So, no-brainer IMO.
  8. MixPre-6 – worth it for this beginner?

    Re: wireless: maybe get a used G2 or G3 set instead of the Rodelink. It'll do you much better service. The Rodelink isn't much.
  9. NEW: Zoom LiveTrak L-12

    "LiveTrak is also a 14-in/4-out USB audio interface " "Mix and overdub your finished project onLiveTrak" sounds promising... BUT: "Recording format: WAV 44.1/48/96 kHz, 16/24-bit, mono/stereo WAV format" so one will end up with plenty of mono files. Not so promising...
  10. Zaxcom Nomad notch filter

    I doubt post could hear the Nomad notches being active. They are very transparent yet effective but don't colour the overall sound at all. Which is why it's easy to forget they're on. Maybe it's the wireless that were in use on this particular production?
  11. 600mhz equipment resale?

    The deviation of US transmitters can be changed to the EU mode by a competent seller/repair shop. It is not too expensive and works well.
  12. RIP LOON

    Thanks Jim, and RIP Don.
  13. Another TA5 low profile! Not right angle this time

    beautiful!
  14. Low-End Saramonic Wireless

    This may be besides the point, but honestly, if I get asked to work on a student film and they can't afford to rent proper wireless, I would only work with boom and plants instead of working with bad wireless. Good learning effect for them too in many ways.
  15. Tascam DR-70D

    Yes, but only as in 2-channel polyphonic files (aka stereo). 4x Mono and Wave Agent is your friend...
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