Singapore
Emmy-nominated, twenty years on location, based here.
Ande Schurr is a production sound mixer based in Singapore. He records location sound for feature film, television drama, documentary, commercials and corporate production, and heads the sound department on set. He was nominated for a 2026 Primetime Emmy for Outstanding Sound Mixing for Lord of the Flies (BBC / Netflix).
What I cover
Full drama package with boom, radio-miked cast, timecode to every camera, IFB to director and script, and comms. Multi-day and multi-week runs, in Singapore and travelling out from it.
Fast, light and self-sufficient. Interviews, verité, presenter pieces to camera. Twenty years of documentary work across six continents, including Netflix, BBC and Animal Planet series.
TVCs, brand films, interviews, panels, conference capture and internal comms. This is regular work in Singapore and I treat a one-day corporate shoot with the same discipline as a drama block.
The package hires out to visiting mixers and productions, with local knowledge of what is legal to transmit on in Singapore and across the region attached at no extra cost.
Why local matters here
Singapore is one of the most straightforward places in Asia to shoot. Infrastructure works, permits are predictable, and crews are professional. The problems that do come up are specific, and they tend to catch visiting productions rather than local ones.
Wireless frequencies. Singapore's permitted bands for wireless microphones are set by IMDA and do not match the United States, the United Kingdom or Australia. A transmitter that is entirely legal in Los Angeles may not be legal to operate here. Productions arrive with kit they cannot use more often than you would expect, and it is discovered on the morning of day one.
The RF environment. Singapore is dense, vertical and saturated. Downtown, in a hotel ballroom, or anywhere near a broadcast facility, the spectrum is genuinely busy. Coordination is not a formality here, and channel counts that work fine in a quiet location will drop out in the CBD.
Air conditioning and construction. Almost every interior location has a plant you will need to have switched off, and almost every exterior in this city has a piling rig somewhere in earshot. Both are solvable, but only if the conversation happens before the day.
Rain. Not a metaphor. Tropical downpours arrive fast and drum on every surface. Cover sets and a shot order that can flip are worth more than any equipment decision.
None of this is dramatic. It is just the difference between a mixer who lives here and one who has flown in.
“Ande was brilliantly diligent on our adaptation of Lord of the Flies. He was meticulous with radio miking and provided a multitude of rainforest wild tracks recorded on location.”Marc Munden, Director
Selected credits
Lord of the Flies (BBC / Netflix) · Monkey Man (Universal Pictures) · Mr Midnight (Netflix) · Somebody Feed Phil (Netflix) · Hunt for the Wilderpeople (Piki Films)
Common questions
A production sound mixer records and balances all audio captured on set during filming: dialogue from boom microphones and radio lavaliers, plus atmosphere and wild tracks. They head the sound department on location, own the timecode relationship with camera, and deliver the tracks and sound reports that post-production works from. Production sound happens on location. It is a different discipline from post-production sound editing and re-recording mixing, which happen afterwards in a studio.
Wireless microphone use here is regulated by IMDA, which designates specific frequency bands for wireless audio and sets power limits. Kit must operate inside those bands. If you are bringing transmitters in from overseas, confirm they are legal on Singapore frequencies before you travel, because bands differ across the region and a legal US or UK unit is not automatically legal here. If in doubt, ask me before the gear ships. It is a two-minute conversation that has saved productions a day.
Roughly one channel per speaking cast member on camera, plus channels for booms and for IFB or comms to the director and script supervisor. A drama scene with six speaking roles and two booms needs at least eight receive channels. Documentary usually needs fewer. Multi-camera corporate and panel work often needs more than drama, which surprises people.
Drama and documentary runs: as soon as dates exist, usually four to twelve weeks out. Commercial and corporate single days in Singapore: one to two weeks is normally fine. Dates around major events and festival periods go earlier.
Constantly. The package is airline-checkable and I am one to three hours from every major production centre in ASEAN, with full working rights in Australia and New Zealand as a New Zealand citizen. Recent work has taken the kit to Malaysia, Indonesia, Vietnam, Thailand and New Zealand.
It depends on the format, the crew size and the number of channels, so I would rather quote against your actual schedule than post a number that is wrong for your job. Send me the dates, the location and roughly how many people speak on camera, and you will have a figure the same day.
Dates, location, and roughly how many people speak on camera. That is enough for me to tell you whether I am free, whether I am the right fit, and what it costs.