Christian Späth
production sound mixer / sound designer
commercials / fiction / documentaries

Sound speed!

On any given film set, the focus of attention is usually the quality of the image. Rightly so. Great if you know there's someone there who takes care that your production won't suffer from bad sound. With my twelve years of experience as a production sound mixer I am here to give you that peace of mind, always aiming to deliver crisp and clean audio tracks for your production.


Have gear, will travel. My equipment is up to the very highest standards in production sound. While it doesn't record great tracks on its own, it certainly does play a huge part in getting the best tracks possible, both recording from the bag run-n-gun style or mixing from my cart with the whole package.

Recording and Mixing

Zaxcom Nomad 12: The heart of my kit – a true powerhouse of a recorder&mixer: records 12 tracks of high quality audio up to 96 kHz. Crystal clear preamps with 137 dB of dynamic range, SMPTE timecode for synchronizing sound and multiple cameras.
Zaxcom Mix-8: linear fader interface for mixing up to eight inputs down to a production mix track which is used for dailies and editing. This saves time and money in post production, as the editor can simply mute all isolated tracks (ISOs) and work with a mono track. In audio post, the ISOs can be used if a re-mix of certain parts is desired.


A great recorder isn't worth much without good microphones. I have been able to capture the most natural and clean sound to my ears using microphones by South German manufacturer Schoeps.

Schoeps CMIT 5U: „The Blue One“ delivers crisp yet natural sounding dialogue and therefore is my go-to mic for practically any production.
Schoeps CMC6/MK41: I mostly use this excellent hyper cardioid for interior setups, also for acoustically challenging situations. It almost doesn't get much more natural than this.
Sennheiser MKH 416: The unbreakable classic microphone for dialogue – whenever things get extremely hot, cold or humid, the 416 is a workhorse that never fails.


My acoustic ideal is one of the above mics on a boom pole held as closely as possible to the sound source. However, when camera framing prevents the boom from getting close enough to the source (this is often the case when multiple cameras are shooting different frame sizes at the same time, the so-called "wide and tight" style), using wireless radios with miniature or lavalier microphones can save a scene. For these mics that are usually hidden invisibly on the talent, reliability and ruggedness are key.

Lectrosonics SMB/E01: These miniature transmitters are so small that they can be easily concealed on almost any kind of costume.
DPA 4060/4061: Naturally sounding microphones from Denmark. The Schoeps of lavalier mics.
Sennheiser MKE 1: When things gets tight: Extremely small capsule and thin cable.
10x IFB client monitoring: Enough radio receivers with headphones for director, clients, agency, camera crew or anyone else who wants to listen in to what goes on in the sound world.


Zaxcom ERX1TCD: Timecode and audio receiver the size of a smart phone. Once you’ve wrapped your brain around this little box and stick it to a camera, sync is really a no-brainer.
2x Tentacle Sync: Still the smallest and lightest timecode generator available. These little boxes make both the camera department and post production happy. With a few clicks in post, multiple cameras and sound can be synced – no matter if it's an Arri Alexa or a DSLR.

And there is more…

Ambient QX 5130, VdB M CL, Sound Devices 302, Sound Devices MM-1, Tascam DR-70d, Olympus LS-10, Soundman OKM, 2x Oktava MK012, 2x Oktava Mini Preamps, 4x OST TL40, Sennheiser MD421, Lectrosonics SRa, Lectrosonics SRb, Lectrosonics UCR211, 3x Lectrosonics LMa, Lectrosonics CR187, Lectrosonics M187, 2x Sennheiser ew100, cables, stands, adapters, fully aluminum custom sound cart, expendables.

CREDITS (selection)

IMDB profile
Crewunited profile
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I've been recording and mixing sound for motion pictures since 2006. The thorough preparation and intense shooting time of drama productions, the huge circus of a TV commercial, or just putting on the bag and boom and see what comes your way – the variety is what I love the most about my job.

Mercedes AMG - Welcome to the Home of Driving Performance (Staud Studios GmbH)
Storebrand - Det er gode penger i bærekraft (Tickle Films S.A.)
Mercedes Benz – Star & Laurel (Anorak Film&Reset)
Mercedes AMG Motorsport – Quick Mick. Fahrschule Furious (Emenes GmbH)
Toom Baumarkt – Respekt wer's selber macht. Die Kita Stockrain (Bigfish GmbH)
Mercedes-Benz – CLA. Record (Ridley Scott Association Films Ltd.)
Mercedes-Benz – The Kind (Ridley Scott Association Films Ltd.)
Smart – Big City Cars. Big Nonsense? (Bigfish Filmproduktion GmbH)
Bosch Automotive – Bosch Batterien. Volle Power (Traumwelt GmbH)
Mercedes Benz - 125! Jahre Innovation (Bigfish Filmproduktion GmbH)
Mercedes-Benz - Der Vierte Stern für Deutschland (Filmstyler Pictures GmbH)
ZDF – Die Fantastischen Vier (Silbersee Film Produktion GmbH)
Sparkasse – Zuwachssparen (Bigfish Filmproduktion GmbH)

Undercover küsst man nicht (TV movie) Ninety Minute Film GmbH/SAT.1
SoKo Stuttgart (TV series) 34 episodes of 45 minutes each. Bavaria Filmproduktion GmbH/ZDF
Tiere bis unters Dach (TV series) 9 episodes of 30 minutes each. Polyphon Südwest GmbH/ARD
Plötzlich 70! (TV movie) Wiedemann & Berg Filmproduktion GmbH/SAT.1
Puya – Das Rad der Zeit (feature film), Pando Diferente Filmproduktion
Die Farbe (feature film) Sphärentor Filmproduktionen

ARD, ZDF, arte, SAT.1, National Geographic Channel (US), Discovery Channel (UK), DIY Channel (US)

Breitling, Audi, Mercedes-Benz, Mercedes AMG, Porsche, HP, Smart, Bosch, Dekra, BASF, Emag, Sparkasse, Vogue etc.


Responsible for contents of this website:
Christian Spaeth, Werastr. 99, 70190 Stuttgart, Germany
DE phone +49 176 3419 2935
ES phone +34 681 383 195