I need to Buy A Mic Pre for ADR Anybody No of some really good ones???

[Repro]

Im in Need of a High end pre to do some ADR for a Feature Film but i need to know what pre i can use??? i need a pre with hardly any color to it, anybody know what Post Production houses use??????

[tINY]

Look at Earthworks, Grace, and GML.



-tINY

[Roland]

You will be fine with any half decent mic amp, I've seen post houses using everything from a soundcraft desk and upwards, more important is the mic choice as you will want that to match the sound from the scenes where the live track is used.

Regards


Roland

[Jamz]

No single answer here. I agree with Roland and would add Millennia to tINY's response.
I always liked Millennia in this application. Very solid, rich and clear on spoken word.
The all-in-one Origin STT-1 was available to me when doing ADR/audio books/VO.
Their pres are offered in a few configurations as well.

[analogjeff]

Of the ultra clean pres, i'd vote for the millenia -- i've tried gml and grace and find them toooo clean. i'd also recommend the pendulum tube pre -- it's very clear and big with a bit of warmth and humanity that the ultra clean's lack for me (the pendulum doesn't have the kind of warmth and girth that some might think when they think tube pre) -- we do music for film and have experience with adr sesssions -- and, yes, the mic will matter greatly...

[starcrash13]

Lafont and Millenia are great for ADR/foley. The Lafont pres are harder to find, but they are designed specifically for this purpose (75db gain!) and many believe that they are the best out there.

[seriousfun]

(pardon the spam) FOX, Sony, and many other facilities use our Martech MSS-10 almost exclusively for ADR and Foley.

[Berolzheimer]

One thing you might consider for a really good match is, find out what kind of pre or mixer the production mixer used and get the same thing. The things they use are generally very high end though most music guys have never heard of them, Sound Devices, Sonosax, Cooper, Wendt. Good stuff to have around in any case, I've used a Cooper mixer for some music recording & it sounded great. They're generally rentable, too.

[Berolzheimer]

Oh, now I see you're in LA- check out:
www.locationsound.com
www.coffeysound.com

[EarCandy]

Using Millennia here for ADR and Foley, always have superb results.

[*CISKO*]

I personally would go for the sttI millenia, cause im trying ot get a hold of one myself, a firiend has one and uses it all thetime on vo work sounds great!

[RobMacki]

Find out what the location mixer used and use that.
(And also, if they were split Boom/Lav)

[santacore]

Anything that's quiet and with plenty of gain will work well. I'm digging my Aphex 1100 and Buzz audio ARC right now. I've also had great luck with the John Hardy pre's. Millenia and Martech seem to be very popular although I haven't tried them. It depends on your budget and what's available to you. That aside, using the proper mic's and good mic technique that matches production is really more important than the pre.

[charles maynes]

Originally Posted by santacore

Anything that's quiet and with plenty of gain will work well. I'm digging my Aphex 1100 and Buzz audio ARC right now. I've also had great luck with the John Hardy pre's. Millenia and Martech seem to be very popular although I haven't tried them. It depends on your budget and what's available to you. That aside, using the proper mic's and good mic technique that matches production is really more important than the pre.

On Todd AO's Dub stage one they have a Digitech VTP1- The DFC doesn't have built in mic pres (at least that one doesnt)

I guess that is good enough...

On a more serious note, the Sound Devices Pres are used by a lot of field guys- the MixPre can be had for about $800.00

charles maynes

[jayfrigo]

Originally Posted by seriousfun

(pardon the spam) FOX, Sony, and many other facilities use our Martech MSS-10 almost exclusively for ADR and Foley.

The Martech is excellent. Millennia also excellent. I've never used the LaFont pre, though their cinema filter sets are great, and since their pre is designed specifically for this purpose, I'd be curious to try it out.

Remember to pick a good mic too. Sennheiser 416 is a popular choice, as is Schoeps. Using big, fancy tube mics is great for music vocals, but not for ADR.

[soundguydave]

I'll get shot for saying this here, but I love the DBX 386. Clean, decent head room and has accurate meters on them. Plus they have both sp/dif and AES out. Best of all a dual channel can be had for about $300

[smsjr]

BANG!!! BANG!!! BANG!!!

Okay, someone had to do it, it is a sound forum. Anyway, the Lafont looks interesting. As far as I can tell, it goes for about $1400, which if you are doing a lot of work, isn't too bad I suppose. But I can't seem to find anyone who is selling it. I'd love to hear a demo of one.

Steve

[taxi driver]

I would find out what the location recorder used and vary the distance when recording the ADR by the distance of which the mic would have been away on set. Say a third of the distance.

[MATTI]

http://www.lafontaudio.com/home.htm

Regards
Matti

[Steven1145]

If you're buying a pre just for ADR then I would recommend you use one similar to what sound guys use on set. That would be either a Sonosax, Sound Devices or Cooper Sound.

Bear in mind though that a Sonosax or Cooper mixer costs upwards of 10 000$. A single pre on the other hand might not have all the EQ you need for a recording setup, but then you can feed it to your main desk.


Steven