Services:
Sound Design &
complete Audio Postproduction
KLABAUTERMANN offers complete sound post-production for feature films and documentaries – from the initial sonic concept to the final film mix.
My main focus is on creative sound design. At the same time, I oversee and coordinate every stage of the film sound post-production process.
Studio KLABAUTERMANN infrastructure
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High End 5.1 Sound System: LCR Genelec 8051,
Surround Array Neumann KH 120 -
Trinnov Roomcorrection
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Foley Recording Stage
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4x Neve Preamps
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Microphones: DPA 4017, Neumann TLM 103, Neumann KM 184 (Stereo),
Sennheiser G3 with Lavalier -
Possibilities to record Voice Over
1 / Sound Design
Sound design for film means shaping a film’s dramaturgy through sound. Where the emphasis lies depends entirely on the film itself. What I always bring, however, is my full dedication – whether editing sound, creating sound effects, recording Foley, or designing and editing background ambiences.
I believe that everything holds the potential for expression. Sometimes it lies in a carefully crafted sound, sometimes in a complex sonic world. And sometimes, the most powerful expression at the right moment is an untouched piece of production sound. Choosing not to intervene can therefore be a creative decision in itself.
Knowing where and how to apply these creative choices requires intuition. It calls for a thorough engagement with the film material and its creators.
2 / Dialogue Editing, ADR
When editing production sound (also known as dialogue editing), my focus is not only on intelligibility and technical quality, but also on preserving the naturalness, dynamics, and vitality of the original recordings.
After all, if something is already alive, I don't need to silence it first only to recreate that sense of life afterwards. I find it much more rewarding to draw from this authenticity and continue shaping the sound from there.
I handle dialogue editing, restoration and sonic processing of production sound, as well as the planning, recording, and integration of ADR. The goal is lively, authentic dialogue that blends naturally into the film's sonic world.
3 / Foley Artist and Editing
Foley is the secret weapon of intimate independent films. It creates a sense of closeness, gives objects a tangible materiality, and makes even the smallest movements perceptible. Sound is the shadow of the image, giving it physical presence. It can direct our attention to where it matters most for the story.
I am passionate about recording my own Foley. For more elaborate productions, however, I also enjoy collaborating with external Foley studios. This makes it possible to create comprehensive Foley tracks, for example when a complete international track is required for the international distribution of a feature film.
4 / Re-Recording Mixing (Final Mix)
The final mix is the crowning stage of sound design. I particularly enjoy mixing films for which I have also created the sound design.
When the budget allows, the mix takes place in a theatrical mixing studio. The large screen and the scale of the sound system offer a fresh perspective on the film. The sound elements developed throughout the process can be rebalanced, finely adjusted, and evaluated for their impact.
For smaller productions, the film can also be fully mixed in my own studio and subsequently reviewed in a cinema under real screening conditions.
During sound design, the focus is often on the smallest details. The director and editor, too, have spent a long time working intensively on individual scenes. In the final days of sound post-production, there is a special opportunity to take a step back and experience the film as a whole.
5 / Supervision of the
Entire Sound Post-Production
Alongside the creative work, I also handle the technical preparation, planning, and coordination of sound post-production: from communicating with the picture editing team and receiving the editing data to planning ADR and Foley sessions, organising the final mix, and delivering the final audio masters.
This gives directors and producers a single point of contact for the entire film sound post-production process.