Foley microphones
 

Can anyone recommend a good mic for foley recording? I've heard various comments about KM81's KMR82's and Sennhieser MKH-40's..
Which is best?
I need something with a tight pattern as my room isn't as dead as it should be..
Any advice / tips very welcome!

Re: Foley microphones
 

All those mics are good as well as the MKH 50 and MKH 60. I’ve also had a lot of luck with the Neumann 184 (one of my favorite musical mics). If you need a mic to start with I’d go for the MKH 60 or the KM81.

However, don’t neglect the importance of the recording space. Remember that your foley should match the perspective on screen. Lowering the level alone does not create distance.

Re: Foley microphones
 

I've had good results with the MKH 416.

Re: Foley microphones
 

I agree. The 416 is a good alternative to the 60 if you can’t afford the extra couple hundred bucks for the 60.

Re: Foley microphones
 

i personally like nuemann better than the senn's for this...they are bit more open to my ears. except the 184. it is a little pointed and slightly harsh on the high end. if you can find an 84 or 82 or 81 without the 1 in front, they are much smoother on the top.

why only SD mic's? why not use a LD with switchable patterns so you can get tight or more omni?

blue kiwi
sanken
microtech gefell umt800
microtech gefell 930

i just like large diaphragms better for a more open and bigger sound when you want it.

my 2¢

Re: Foley microphones
 

My approach centers around what I feel is the most important thing about Foley: that it sound absolutely real — like it's just a natural part of the production dialog recording. To that end, I use the same mics for Foley as I use to capture dialog: a Schoeps preamp with a hypercardiod capsule...a 416...even a Tram lav. And now that I can record to picture out in the field with a PowerBook and Mbox, getting the right acoustical space isn't as much of a big deal as it once was — I just actually go to the best place to record something and do it there. I have actually even done an ADR session out-of-doors: the original dialog sounded great on the commercial, but the copy changed; I got the talent to go back to the original location and we "reshot" the lines to Pro Tools while looking at (and listening to) the rough cut. The sound match turned out to be perfect and very easy to acheive...and the lip flap on the changed lines was, in the end, covered with another shot. It could have actually flown okay without the cutaway, but it sort of made some agency people nervous to consider such a thing might be possible without the cutaway...

I guess Foley for things that aren't supposed to be real requires a different approach, but I don't work on any of that kind of stuff — no Kung Foo thrillers for me so far...

Re: Foley microphones
 

One thing about the Senn MKH 40 and 50's that make them good for the tool kit is ultra low noise in comparison to some other perfectly good mics.

Good for stereo knat fly-bys.

Re: Foley microphones
 

What's an ADR session?

I'm starting Lingo-Quest 2006 a tad early for good measure.

Re: Foley microphones
 

Quote: <What's an ADR session? >


ADR = automated dialogue replacement: the process of re-recording lines by an actor in a controlled environment using production sound as a guide in synch with the visuals, also known as “looping” or dubbing (although this term is more commonly used to describe the process of re-recording the dialog to another language by “voice actors” of selected countries).

Adrián

Re: Foley microphones
 

Lingo-Quest Fest:
Larry Blake Film Sound Dictionary