bloody hell! ADR es loco!

[chagos]

greetings all.
so I'm getting ready to start work on a bunch of ADR, and i discovered: "I don't really have an ADR mic!"

so, can anyone tell me of a good ADR mic for under . . lets say 450?

Also any tips you can give on recording ADR would be great as well, because I have only did it a few times.

thanks all.

[iank]

Try to find out what kind of mic was used in production audio(lav, shotgun). In the past I have gone with 3 mics on ADR sessions;
Shotgun: usually a Senn 416
Lavalier: used a Tram
LDC: usually a U87 or 414
none of these run in the $450 range, but you can find pretty cheap alternatives to these mics.

The important thing is to give the mixer options and to match the production audio if possible.

[JKD99]

Hi
The most common mics for ADR would be a Sennheiser 416 or MKH-50, or a Neumann KMR-81. None of these are $450, though, so renting may be your best bet. If what you're replacing was shot with a lav, you should use a lav as well.
Georgia at World Wide Audio in NYC shot some ADR for us using an Audio-Technica mic, can't remember the model, that sounded great as well.
This is of course assuming tha when you say ADR, you mean replacing production dialog and not VO or new dialog for animation; most often used mics for that are Neumann U-87 and other "vocal-type" condenser mics.
Hope this helps, good luck!

[JKD99]

wow, 2 identical posts from 2 different people at the same time from 2 different coasts....

[iank]

Spooky......alternate universe.

[spigots]

Is there a "swiss army knife" lav to put in the collection? We are beginning to do more ADR and have typically only gone with a shotgun and LDC.

Thanks,

Frank

[iank]

Is there a "swiss army knife" lav to put in the collection? We are beginning to do more ADR and have typically only gone with a shotgun and LDC.

Thanks,

Frank

I only had one to choose from...a Tram TR50, it seemed to work well. I often would not actually put it on the actors body, but would clip it to the shock mount on my U87 or the music stand.

[David Taylor]

The Tram TR50 is extremely bright, lots of tizzy 7-10k. I know you need to compensate for the strange mic position but I could never bring myself to use Trams on location, very sibilant on women's voices. I'd go for a more usual Sony ECM77 I think. Everyone uses the Sennheiser 416 as that's the most usual location boom mic and do you notice that all sound recordists work the boom mics 'over the top' ie looking down , not really aimed at the mouth from 'in front'. It is easier to work that way on location but harder to get the artist to work to a stand mic mounted that way on the sound stage I find. Having said that, the room modifies the sound so much that it's always hard to specify hard and fast rules for ADR mics.

[Frank Kruse]

Weird that everyone uses the 416. I think the schoeps MK41 capsule is extremely common on feature films. especially in the states

frank.

[georgia]

we used an audio-technica AT815R on Joe's project.

cheers
georgia