ADR mic pre reccommendations

[jmattchan]

hi, we're looking for a relatively inexpensive dual channel mic pre specifically for ADR. i understand we're looking for something "neutral" sounding but there are so many mic pres out there, i don't even know where to begin.

[tsvisser]

if this is to ADR something that was originally recorded on location and designed to augment production sound, I would use what the production team used. if it is its own stand alone track not referenced to anything else, this advice does not apply.

if you don't know what the production team used or this is for general use where you might be working with several different teams, you should probably get a Sennheiser MKH60 (short shotgun version of MKH70, close enough to the MKH416 without having to wield a full gun on a desk), Schoeps CMIT 5U, and Sanken CSS-5, as a starter for guns... Sanken COS-11, Sennheiser MKE2 Gold, Countryman B6, Sony ECM-88B, for some lavs...

**edit** never mind, totally misread your question. You just want the pre. Would a Sound Devices mix pre fit your bill?

[georgia]

I use a Focusrite Red or an Avalon...

cheers
geo

[JoeMilner]

GML 8302

[jmattchan]

ideally we'd like to spend under a grand. we honestly don't do very much adr. for mics we stock a senn416 but yeah, we usually try to rent the matching mic they used on set.

the sounddevices mixpre sounds like it would fit the bill. at least it could potentially match what is being used in the field.

thanks for all of your responses so far.

matt

[Matti]

Here might be something for you BB List

Matti

[danijel]

i'm gonna get sooooo flamed for this, but:
for ADR which will be mixed with grainy, greasy, filthy production sound, use any decent pre. it's not like you are tracking whitney houston. i have a joemeek vc6q, but for ADR i don't even bother switching it on - i use a rme fireface stock pre.

[JoeMilner]

I've been on film sets before where the mixer cart had a Mackie 1604VLZ. So, yeah, for replacing/matching production sound I think the mic is way more important than the pre. Having said that, when you're trying to get very low-level whispers and breathing stuff (which is often done more for dramatic reasons than technical ones), that's where the higher-end, lower-noise pres really earn their keep.
My 2¢ (or $2)
Good luck!

[tsvisser]

... but on the other hand some production sound guys use Schoeps and DPA mics and have Sonosax mixers that cost over $20K.

[danijel]

maybe get a 2nd hand NAGRA III for that recognizable 'film sound'?

[santacore]

I think anything fairly neutral sounding that's also quiet will work well. Here are some units to look at under 1k:

John Hardy M1 single
Grace 101
Sytek MPX-4Aii

I've used the Hardy and the Sytek and they are both very good. A friend has been using the Grace and really likes it for ADR.

[tsvisser]

I agree on the Grace... clean and most location sound equipment is generally pretty clean and free of anything resembling "sonic character"... there are a handful of guys using Grace Lunatec V3s for boom operators / and "tape" A-D conversion.

you might even be able to get a used Lunatec V3 for about a grand, but it is definitely not as ubiquitous as the Sound Devices stuff.

on the Nagra note, if you put any of the Nagra machines into "test" mode, they effectively operate as a preamp, so that is a viable option too - but I would not count on Nagras being employed as much as they used to. there are too many other competitors that people have jumped ship to for one reason or another.

[Branko]

Mic pre isn't that important. It's the room that does the job. And a good ADR/dialogue Editor.

[jacobfarron]

I second the John Hardy and GML. And saying the mic pre isn't that important is similar to saying the lens on the camera isn't that important... as long as some light gets in

[JoeMilner]

Well, let's definitely point out that to get good ADR you need: a good mic, a good pre, a good room/stage, a mixer who knows what they're doing, an editor who can cut, a re-recording mixer who can mix, and oh yeah: an actor who can loop!

Seriously, put an actor on the best ADR stage in the world, and if they can't get the feel/vibe/character that they had on the set back, the director's going to say "Yeah, I think we'll just go with production on that one".

All things important

[danijel]

Originally Posted by JoeMilner

Well, let's definitely point out that to get good ADR you need: a good mic, a good pre, a good room/stage, a mixer who knows what they're doing, an editor who can cut, a re-recording mixer who can mix, and oh yeah: an actor who can loop!

to point out further:
you could never get good ADR without good converters, good daw, healthy (enough) hands, an ADR recording contract, a producer to sign the contract, a pen for the producer to sign the contract, a country with law enforcement system that will protect you in case the producer doesn't pay by the contract he signed, a military defense system in case another country attacks your country or the country of the producer..... etc etc .....
the costs keep piling up.
so, better start saving, don't give a grand for an ADR pre.

[danijel]

which fountain pen do you think would be best for signing ADR contracts?
MONTBLANC - Writing Instruments


i can't decide, because i like the boheme collection, but perhaps greta garbo is a postpro gearslutz's choice?

i know everyone who wants his ADR to stand out should go with:
The Most Expensive Pen in The World
but it's out of my budget for now.




BTW, look at this new topic: Top Mic Pres under $1000

[squidsquad]

I use a Buzz Audio MA2.2.

We recently had to record not only ADR, but 'all-sorts-of-noises-that-people-can-make' for 30 Days of Night to try and get a vampire vocal sound. Recording with an MKH800 (frequency response up to 50kHz!) and through the Buzz, we were able to get sounds that we could do all sorts of stretching and manipulation to before they fell apart.

I also find that the Buzz is so quiet, it makes recording breathing and really quiet stuff so much easier.

They also use an MA2.2 at Goldcrest in London.

[Takeshi]

We use a Millennia TD-1 for Foley and ADR recording and we're quite happy with it.
I think Grace Design's preamps would suit the task very well also.

TK.

[seansolo]

just wanted to chime in that I recently shot 50 days as a PSM (416 into v3 with some various lav's on channel 2) - and I love the v3. As the project is a lower budget film - nothing as cool as '30 Days of Night' - I've found the v3/416 super-clean (cleaner than our other pre's here) and would recommend it to the budget conscious. I've been cutting ADR with the setup (PTHD instead of the tascam hdP2, but same chain) and I can't believe how well it works. The room is key though - I have to work hard at gettng it not to sound to roomy. !

[yazoo]

Hi all!

When there is a thread about Preamps and Adr I remember a question for you GSs.

We have a Sounddevices 744t with a Sennheiser K6 ME66.

When I do ADR I use our "Digidesign PRE". Maybe I get a better result using the 744ts Preamps?

regards
Benny