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Christian Spaeth

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About Christian Spaeth

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    Hero Member
  • Birthday 07/31/1979

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    Besides work, I write, play and record music: www.belv.es
    Gear geek. Nature. Music. Food.
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    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.
  • Interested in Sound for Picture

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  1. I strongly advise against trying to make an exposed lav „almost invisible“ by colour choice. I‘d rather see a lav in shot that can easily be identified as a microphone than seeing something weird that somebody unsuccessfully tried to mask. Either proper hide it or proper expose it. Nobody ever minded people talking into handheld microphones on TV either. A bit OT, but I also hate to see the „skin coloured“ (both pink or black) headworn mics on TV talk shows, even worse when the foamies are on. Not invisible at all! Much prefer a thin silver headworn like the MKE1, much less obtrusive.
  2. The 416 would be an upgrade, yes, but you'd still have the off axis issue. You can get an expensive mic like a Schoeps CMIT, but pairing that with a Zoom H5 is pure blasphemy, so your own suggestion (Mixpre 3) would make sense. A nice M/S mic could be good idea too, like the MKH 418.
  3. I'm shooting a corporate video and sync the cam by TC. I will also do the post so I want to make sure editing does it right. Problem is, they're shooting on 4.6 K RAW and since the files need to be converted before they go to edit, I'd like to give them some advice as to at what stage audio should ideally be synced with the video files - before/after conversion? Or even sync to proxy video files? If anybody here is familiar with picture editing workflows, any advice would be welcome!
  4. Maybe so in the prosumer markets, but I'm pretty sure that all of the pro brands we use do not produce in China, from wireless to boom poles to microphones to accessories. Which is why the products are expensive, and also, great.
  5. I can totally vouch for OST, having ordered about ten of their lavs to Germany, repair and replacement was very easy, their service was fantastic. That was a few years ago but I suppose it's still like that. They're not DPAs of course and they also break, but the value is still terrific. The TL 40 is small but the cable is pretty thick and, depending on their stock and color, can be a bit stiff, soundwise a bit on the thin side, great on very bassy male voices or if buried deeply. My go to mic for necktie mounting, where a 4060 would usually sound too bassy/low-middy. Not an all round lav but always good to have a few of these in your kit.
  6. the more I think about it, the more I want one... darn!
  7. Exactly, a logical step for Zaxcom. I feel like we were expecting them to reinvent the wheel, which is hard to do in the production audio world. But for those looking for a lightweight bag solution with that amount of channels this is surely very attractive. I personally still feel absolutely ready to take on any job challenge with an over 7 year old Nomad at the heart of my kit.
  8. Pretty impressive package. I wouldn't discard it just for the 19 ms on paper but would really like to get my hands on them to see how they fare in the field. Anyhow these should probably take a big chunk of the Rodelink, G4 etc. 's market share. I might get a couple for additional channels if the delay doesn't present big problems.
  9. Thanks for sharing. He seems to be a great dude, always willing to share his knowledge despite the somewhat asshole image he used to create for himself back in the 80s. With headphones you can hear the different rooms nicely. The video was probably done without a sound person (the pedals part demonstrates how not to place a lav for example), which is unfortunate given the subject. Is that a Lectrosonics screwdriver in his pocket by the way???
  10. Try to put the transmitter on their ankle if you can. Thus less water between you and the talent. Also if you can anticipate which way talent will mostly face try to achieve as close to line of sight as possible. Make sure the mic cable doesn't touch the antenna, as that's a sure range killer in my experience.
  11. Jim, you should clarify that this question could never be adequately answered unless we know what color of Schweppes we are talking about.
  12. "no two skate videos sound the same." So the ideal is that they all sound the same? The opposite of creativity. No thanks...
  13. Sound blankets are great to put anywhere you can. However in my personal experience putting or hanging stuff up is often hard to go through with, as usually lamps or monitors or what have you will come up right where you put your acoustical treatment. Next, even though it only takes care of high frequencies, carpets on the floors are often a possibility. A great wideband absorber is the human body, so have as many people in the room as you can while not upsetting anyone. Also, if you're in a quiet area, open windows, though this is a bit utopian.
  14. since Nomad inputs 7-10 are line level only would it be so bad to have an external mixer with preamps? It seems to me your needs are exactly what the Kortwich box was thought for. Since your SRs have variable output level you could definitely use the VCP without amplifying much of your signal.
  15. If you have some sort of distro for your bag or don't use too many receivers, mounting two dipoles (I made my own from SMA cables) on your harness or bag works well, for extreme range situations replace these (or one of them) with sharkfin (I use the Zaxcom Bluefins).
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