Simon Norman

Education

Equipment

My Equipment/Kit: AKG C1000, AKG C3000, Alesis Air FX, Alesis Air Synth, Alesis Fusion 8HD, Ambient Recording QX5100 4.2m carbon fiber Boom pole, Behringer Composser Pro XL MDX2600, Behringer T1952, Boss VF1, Digidesign Mbox, Digitech Studio S100, EMU Proteus 2000, Focusrite Penta, Focusrite Trak Master, Foscusrite Compounder, Gitso GB1540 cardon fiber boom pole, Korg EMX1, Korg Kaoss Pad 3, Korg Prophecy, korg Z1, KRK 10S Subwoofer, Lexicon MPX550, M-audio Delta 1010LT, M-audio Triggerfinger, mackie 1642 VLZ Pro, mackie 32 8-buss mixer, Mackie Control Universal, Mackie HR624, Novation Nova, Novation ReMote SL Zero, Novation X-station, Oktava MK012 hyper-cardiod microphone, Petrol 617 Recordists bag, Pink Noise 483Mhz wirrless Time Code transmitter + Reciever, Quasimidi 309, Rode Blimp, Rode Boom Pole, Rode NT1a, Rode NTG-3, Rode NTG2 Shotgun Mic, Sanken Cos11D Lavalier Microphone, Sanken cs-3e shotgun microphone, Sennheiser EW100 G3 Radio transmitter + Reciever, Sennheiser EW100 Radio Mic, Sennheiser EW500 Radio Mic, Sennheis

I can use: Sound devices 664 6/12 channel Location Mixer Recorder, Zoom H6 stereo/6-track recorder, Sennheiser MKH 50, Sanken cs-3e shotgun microphone, Rode NTG-3, Sanken Cos11D Lavalier Microphone, Sennhesier MKE-2 Gold Lavalier Microphone, Sennheiser EW100 G3 Radio transmitter + Reciever, Sennhesier SKP500 plug-on transmitter, Sennhesier EW500 G2 Receiver, Ambient Recording QX5100 4.2m carbon fiber Boom pole, Gitso GB1540 cardon fiber boom pole, KRK 10S Subwoofer, Oktava MK012 hyper-cardiod microphone, Sennheiser SKM100 wireless handheld dynamic microphone, Sankan cs3e Shotgun Mirophone, KRK 10s, Sanken cs-3e, Sennheiser EW100 Radio Mic, Rode NTG2 Shotgun Mic, Sennheiser ME2 Condenser Lavalier Mic, mackie 32 8-buss mixer, Sennheiser EW500 Radio Mic, Canon Ti2 550D DSLR Camera, Pink Noise 483Mhz wirrless Time Code transmitter + Reciever, Sony V1 Camera, Cannon Ti3 600D DSLR camera, Tascam DR580 6-track recorder, Sennheiser MKH416 Shotgun Microphone, Lectrosonics Radio transmitter + Reciever, Sennhieser MKH8040 hyper cardiod microphone, Sankan cos11 Lavalier Microphone, Petrol 617 Recordists bag, Rode Blimp, Rode Boom Pole, Zoom H4n Stereo/4-track Recorder, Mackie Control Universal, Novation ReMote SL Zero, M-audio Triggerfinger, Novation Nova, Yamaha GC2020, Behringer T1952, Boss VF1, Alesis Air Synth, Alesis Air FX, Korg Kaoss Pad 3, M-audio Delta 1010LT, Digidesign Mbox, Digitech Studio S100, Behringer Composser Pro XL MDX2600, Zoom 1201, Foscusrite Compounder, Focusrite Penta, Focusrite Trak Master, Lexicon MPX550, EMU Proteus 2000, Quasimidi 309, Korg EMX1, Korg Prophecy, korg Z1, Novation X-station, Yamaha AN1x, Yamaha A5000, mackie 1642 VLZ Pro, waldorf blofeld, waldorf microwave XT, Alesis Fusion 8HD, Mackie HR624, AKG C3000, AKG C1000, Rode NT1a

About me

Since Graduating Reading collage in 2004, I've accrued many different experiences in recording & producing sound, from live performance, music production, sound editing & mixing, these experiences along with strong aptitude from fast problem solving in stressful environments, lead me to being a perfect fit for a career in location sound for media. in 2010 I committed full-time to production works in film & media, gaining many experiences in both production & post-production sound, building a deep & refined knowledge base of all the areas of production sound, from tech utility, through the levels of sound assistant, & finally production mixer, a role I dedicated myself fully since 2017.

SKILL SETS

• A broad understanding of how sound department integrates into the various stages of a production, from location recce's, identifying, issues & building solution recommendations to achieve a high level of efficiency while capturing the strongest possible product for post & delivery.
• The smooth running of sound department, from the hiring of crew, organising the technical resources, leasing with other departments, & working to mitigate problems, while collaborating with directors & production to deliver captured materials for the post production sound supervisor to be armed with the assets needed to achieve the final vision for a production.
• Operation of specialised & industry standard sync-sound production audio equipment, from creating recordings, on-set mixes for performance review, the deployment of radio microphones, various microphone setups, timecode & genlock synchronization with camera, sound content playback, & performer foldback monitoring.
• Recording in many various locations & environments, from forests, busy city streets, event spaces, moving & stationary vehicles, locations of high wind, large reverberence, stages, stadiums, residential homes, museums, and many more.
• Experience in shaping the sound of a location to make it fit for purpose, through acoustic manipulation of materials & working with other departments like camera & art, laying carpets & refining the sound objects within a scene.
• Extensive experience of sound editing & design (Pro Tools, Cubase, Audition, iZotope RX, surround sound), to which I have accrued thousands of hours of editing, mixing, restoring & repair work within post-production, giving me great incite in how production sound recordings are used, & what the real-world limits are with regard to solutions available in post, along with identifying possible pit-falls of recording performances on set, & how they work in the post-production phase of a project.
• Experience recording & mixing sound for many different applications;- sync sound for film, TV, commercials, short-film, scripted, documentary, corporate media, podcasts, music performances from simple singer-guitar setups to full orchestra, along with theatre, live PA, steaming, 360-degree content, holograms, performances, & combinations of all the above.
• Music and video software including: Steinberg Nuendo/Cubase, Digidesign Pro Tools, Ableton Live, Izotope RX Advanced, Audition, Sony Vegas, Melodyne, Synth Edit, Final Cut, Photoshop, Arkaos, After Effects, many different VST/VSTi/AS/RTAS/DX/REWIRE instrument and effects plugins.
• Extensive knowledge and experience with synthesis and sampling programming, both hardware, software and a combination of the two.
• Midi, SysEx and Midi controllers, including thorough use of hardware midi sequencers, control surfaces, keyboards, and in depth programming to integrate all of the above with everything from global midi sync, to optimised custom control of software and hardware for specific performance and task needs.
• Effective mixing and post production mastering including effective & creative use of dynamics, EQ, automation and effects processing at the recording, mix down, mastering and PA stages.
• Production Mixer & Sound Recordist credits on over 20 feature films & 70 Short films.
• Dialogue Editor & Sound Design credits on 5 feature films & over 40 short films.
• Music composer for 2 feature films & 7+ short films https://www.stoltz.co.uk/sound-track-music
Referees:
Ash Parker - removed
Diane Jessie Miller - removed
Edward Howard - removed
Additional information:
My interests include performing electronic music live, attending music festivals, training, teaching & watching Mixed Martial Arts, silly pictures from the internet, & of course I'm a big film fan!

Skills

Secondary Job Title	Composer
Job Titles	Boom Operator, Composer, Dubbing Editor / Mixer, Sound Mixer / Recordist, Sound Assistant, Sound Designer, Sound Editor, Sound Operator / Engineer
Years in industry	1 to 3 years