Even the best tools don’t create great work on their own. Without talented and skilled people behind them, they are just expensive objects in a case.

Our production sound mixers are experienced professionals with film school backgrounds, years of on-set practice, and a strong understanding of the complete sound workflow.

Their hands-on experience in post-production gives them a clear sense of what truly matters on set: what must be captured during the shoot, and what is better left to be shaped later in the studio.

But a good sound team is more than just the mixer.

Our network includes boom operators, sound effects recordists, playback operators, sound utility technicians, and specialists in live sound reinforcement.

From small documentary-style run-and-gun shoots to large, complex productions, we can build the right crew for the job.

Our aim is to stay invisible, so the rest of the crew can focus on their work, and to step in when a sound problem can still be solved before it becomes a post-production problem.

It’s never just about pressing the red “record” button.
The foundation is understanding how the recorded material will later be used.

Our equipment is built around one thing: dependability.

Every recorder, microphone, wireless system, cable, cart, timecode unit, and accessory in our inventory has to earn its place on set.

The package can scale from low-budget independent films to large-scale international productions.

We work with multitrack recorders from Aaton and Sound Devices, and handheld recorders from Sony and Zoom.

Our microphones come from Schoeps, Sennheiser, Sanken, DPA, and Holophone.

Our boom poles come from Panamic, K-Tek, and Ambient, with Rycote windscreens.

Wireless systems include Lectrosonics, Wisycom, Sennheiser, Phonak, and Comtek.

Timecode systems come from Betso, Denecke, and Ambient.

PA systems include Mackie, FBT, and LD Systems.

And then there are countless small tools, adapters, boxes, carts, cables, frequency scanners, batteries, chargers, and strange looking things that make everyday life on set easier and more efficient.

Most of them do not look exciting. Until the moment they save the day.

We’re based in the same building as Soundsquare’s post-production team, and that’s no coincidence. Soundsquare Rentals is not a separate entity. It is part of the same company, the same workflow, and the same sound-minded ecosystem.

That continuity saves time, reduces miscommunication, and leads to better results.

For 25 years, Soundsquare has provided complete sound post-production for film, television, advertising, and music, with a wide portfolio of Czech and international projects. Its services include dialogue editing, ADR, voiceover, foley, sound design, mixing, mastering, deliveries, sound restoration, and remastering of archive works.

Across 15 dedicated studios, including mixing stages, ADR rooms, dubbing theatres, editing suites, and a fully equipped foley stage, Soundsquare is built to handle full post-production packages as well as individual services. The studios support stereo, 5.1, 7.1, Dolby Atmos, Atmos HE, and Dolby Atmos Music.

Remote recording and mix review are available when needed, allowing directors, producers, voice coaches, and international partners to join the process without having to be in the room.

From set to final mix, the whole sound process can stay under one roof, within one team, and in one shared creative conversation.

That is why we keep our technical support close.

Our experienced in-house technicians and fully equipped workshop allow us to solve most technical issues within hours, not days or weeks spent waiting for external service.

But our workshop is not just about repairs.

Many of the tools in our kits are custom-built for real production needs, including pieces you are unlikely to find anywhere else. From rugged sound carts in all shapes and sizes to sophisticated control circuits and small, clever boxes that make life on set easier.

Perfect conditions don’t exist.
But thanks to our technical background, we make sure the system holds up without passing the problem on to post.

Every project comes with different needs, different ambitions, and a different reality on set. The sound package that works perfectly for one production may be too small, too large, or simply wrong for another.

That is why our sound kits are never fixed by default. They are built around the specific demands of each project, its scale, its shooting style, and its budget.

We regularly support multiple productions in parallel, including up to five feature films or TV series at the same time, plus additional smaller projects.

And we keep enough backup capacity behind them. So when schedules shift, overlap, or suddenly stop making sense, we have the people, equipment, and resources to keep things running smoothly.