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Michael Gassert

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About Michael Gassert

  • Birthday 08/25/1980

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    docs, sounds, musc
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    Michael Gassert is an immersive filmmaker, sound artist, and musician who revels in the diversity of our global treasures while working at the intersections of film and music. His documentary and archival work is supported by IFP, Sundance Institute, UNESCO, and The Kennedy Center.

    Michael has produced recordings with Ornette Coleman, Jason Moran, The Master Musicians of Jajouka, Patti Smith, Flea, Perry Farrell, and Mango Ghost. Notable sound mixing credits include "Beasts of the Southern Wild," "Another Earth," "Circumstance," "Casualties of the Gridiron," and "Dangerous Acts Starring the Unstable Elements of Belarus."

    Michael associate produced and mixed the Oscar Nominated short, "St. Louis Superman." He most recently co-directed, produced, and filmed his first feature, "The Last Out," earning the Special Jury Prize at Tribeca 2020 for best new documentary director.
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  1. Schoeps CCM41_CCM8 MS > Sonosax M2D2 mounted to C300MKIII. I'd like the most discrete, focusable mounting and wind protection for the CCM MS rig on camera. 1) The Cinela http://www.cinela.fr/catalog.php?language=en&pid=23 seems like the smallest housing for the CCMs but appears more vertically oriented than I prefer on the camera. 2) Th Leonard http://www.cinela.fr/catalog.php?language=en&pid=87 seems more horizontally oriented but needs a weird extension for the CC41 (kinda defeating the purpose of the small size of the CCMs IMO) and seems questionable to me to have the mic housing in front of the capsule. But It does seem less vertical. Any thoughts on best, most discrete mounting for CCMs MS on camera? For background, I've been sound mixing for almost 20 years but most recently came out with my first feature doc, THE LAST OUT, which I primarily shot and recorded sound for as a one person operation, on the go crossing borders. My next doc has a musical element and I'm still deciding between Lectro SPDR vs a Zax IFB200 as a dedicated digital recorder for the M2D2.
  2. As an NYC based mixer, I'm a longtime Nomad 12 user. But when I'm off shooting my own docs, I want quality preamps/conversion/dsp in a SMALL 2track recorder. I prefer not plugging my MK41s into an h4n in certain situations. What are my better options? (priorities being size, pre quality and power consumption on a 2 track recorder that I often operate while I'm shooting). Thanks for your thoughts.
  3. get a life troll. you have zero concept of my life, the breathe of my work, the depth of my knowledge skills and talents or how they define me. furthermore, this priggish question you pose is neither relevant to the discussion nor do you have any business questioning who I am or what I call myself. you contribute nothing to this forum but elementary school conceit. i'm too busy working, creating, and interacting with people in the physical world to stop by this otherwise useful board as often as you. but regretfully whenever i do, i see you oozing your disgusting santorum all over every last discussion. and it's really pathetic and gross. so please stop - and please stay off the one thread that i might post every eight months. if there was a block user function on this board, i'm confident most users would be thrilled to tune you out. nice rep to have - now i get why you call yourself senator
  4. thanks again to the positive contributiors. i'm not suggesting that i haven't gotten good usage out of these batteries or there is something fishy going on, i'm just trying to increse my understanging and knowlege evey day as good professionals do. good question posed by Fred - the answer is, both times the batteries showed the first signs of error was after a few weeks of NOT using the battery. I don't believe either were fully drained before it happned. i did check the fuse on the charger (which looked fine) and replaced it with the spare, but as i said - the charger has been charging other battiers without issue.
  5. Hey All - thanks for all the thoughtful responses. As yet, I haven't had problems charging newer batteries on my charger. I just came back to Pro Sound. They put my batteries in question on their charger and they charged for a few hours but then eventually started blinking amber. Also, they charged house batteries on my charger and had no issue. Indications point to the batteries obviously but strange how they charged for some time on the Pro Sound charger before exhibiting te error signal where as they blink as soon as I put them on my charger. Serial numbers: BB38028, BB38025
  6. Hello - I've been a long time IDX user but strangely I've had two good batteries go down in a month. When i put them on my IDX charger, the auburn light blinks to indicate battery error. I had never seen this before until it happened to my twice in the last month. Both batteries have an original charge date of 5 years ago. Are the batteries simply at the end of their life or is something else going on? Taking batteries and charger in to Pro Sound first thing this morning. Any insight would be much appreciated. Thanks, Mike
  7. i agree with all the great advice on this thread. having participated in a range of international projects, some in some very sketchy locations, there are some other things to keep in mind: *security of your gear may seem obvious. but as a one man band, the more gear you're soly responible for, the more vulnerable you are to theft, loss and damage. Hopefully you will be working with some locals you can trust and can help you share the responsibility of keeping your gear safe and well maintained - but that's never a sure bet. in the end, you are the only guy and it's easy to lose track of one little thing, or get ripped off bad if you're not careful - both which could screw you up big time. In a doc situation when you're also producing, directing, shooting and lighting - it's easy to forget who's walking around with your 4 G3's + Sanken lavs or who's got the keys to the locked office you stashed all your gear in. *in traveling with gear, as a one man show, the types of cases and bags you chose can be critical in your ability to transport and use your equipment effectively. this may also be very obvious, but the fine balance between weight/volume and protection/durability in a road case or bag is important to consider before hitting the road on a year long international solo proj. *you may be underestimating the fact that there is a physicality to the jobs that you are attempting to do together that generally don't vibe well. The most skelital crews, when recording dialogue, consist of camera and sound people. I know very very few professionals who can effectively shoot and operate an external recording device with wirless and wired mics and actually produce good content. ultimately you'll be sacrificing something. there are too many things that can go wrong. so be aware and measure the risk that even though you may be superman, shit can and will happen when you're spread too thin. *backup/duel battery systems for both yor recorder and camera can be life savers on this type of doc. Most recorders offer internal and external battery options. use IDX Lithium ions as your primary battery and lithium AAs as your backup if you're going with Zax good luck
  8. i wish the description more clearly indicated that: http://www.sweetwater.com/store/detail/MixWizard316/
  9. Air Display - you can set is a second monitor. i dig Allen and Heath - used a GS3000 in the studio for many years. i might be wrong but arent most of the direct outs on the smaller boards post fader only?
  10. yeah - it's been a great discussion. I actually have been considering the Soundcraft FX16ii for my on stage applications and i'll likely stick with my Nomad pres (which I'm totally saitsfied with) for production sound. If i end up doing more cart based production at some point and need more pre's, i'll consider my options. on the music side, however, i've also been considering finding a Eucon to work with my ULN-8. I love the routing, pre's and DSP it provides but want to avoid the laptop on stage thing with this project - cuz at that point, might as well ditch the analog samplers and use ableton. a well integrated Eucon or similer (with the ULN-, i could allow me to reduce the computer bulk (rack mount a MAcMini + bluetooth keyboard/mouse, ipad as the screen rather than Macbook). anyone use a ULN-8 with a controller?
  11. it's important to remember alot of times you can have no actual microphone to clothing scratching but it sounds sratchy as shit cuz of noisy clothing and/or friction between subject and their clothing (ie formal men's wear + fat harry neck moving all around). agreed that there is no silver bullet. but i find that maximum space between mic and clothing, minimal stress and tension on the mic/cable, and minimal bulk with whatever tapage/clips are generally good things to aim for.
  12. thanks david - Sonosax looks dope. i'll check out the PSC Solice next time i'm at pro sound.
  13. lol - aren't we all "gear heads" to some degree? audio snob, well in some ways yes but certainly not for the sake of vanity. i do a large variety of projects and require different gear depending on the job. i've defintly made some great recordings with very simple stuff. but there are times, (when recording live jazz) when the difference between using Mackie pre amps and APIs (or even the pre's on the ULN- ) is noticable and makes a difference. when recording some verite interview on the street for a web ad, pre quality isn't as critical. i find it difficult to find small mixers, with good pre quality, and direct outs for film or music.
  14. Thanks Wyatt - defintely some good points to consider.
  15. Hi Mike - Thanks for the insight. what about the little Neve's would be bad for music. I wouldn't really be using for FOH but rather to feed FOH. How might those Cooper boards handle a stage mix? Thanks
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