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Safety limiter in the ADR signal chain
Old 26th December 2010
  #31
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Henchman's Avatar
Quote:
Originally Posted by ggegan View Post
If you will be the rerecording mixer, then that may be a different matter, but if you are delivering the lines for others to mix, I strongly recommend that you concentrate on mic choice and placement, and leave the processing for later.
Absolutely agree 100%
Proper Mic, proper placement, decent level.
Nothing else. Even ADR I recorded on shows I was mixing would get recorded flat.
Old 26th December 2010
  #32
I could add (and be flamed for it :-): record ADR as if you were a good production mixer, who plans ahead and thinks of postproduction as well. This means: record as cleanly as possible, without any EQ or compression, or maybe only a HP filter (not too high) and a safety limiter pre AD conversion. You should work with enough headroom so that even screams aren't a real problem and you actually don't really need that limiter. With 24bit there's no reason at all to seek the highest 4dBFS all the time!
Apart from the good advice to record 3 sources (if needed to match production); closer, more distant and lav (even with wireless to have the same companding effects, if that's what was used during production), you could also use the same mic pres as used during production. So for ADR mic pres you could use a Cooper mixing desk, Sounddevices 7 series mic pres, Aaton Cantar, Deva etc. The same goes for mics: Sennheiser MKH416, 50, Schoeps, Neumann etc. and AD convertors of course...

Greetings and happy holidays,

Thierry
Old 26th January 2011
  #33
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Digidesign PRE

Thanks for all your opinions! I've abandoned my idea of using a safety limiter and am on the lookout for a better pre instead.

I've been recently offered a Digidesign PRE for $800. Has anybody used one of these for ADR/VO or foley recording? I've read somewhere the circuitry is a Grace design. Might be just a rumour, but still would be nice to hear how these compare to Millennia, Hardy or Grace considering the price. There isn't much info or reviews around but music folks like to write them off as 'clean class a high-end pres without a character' - sounds just what we need, no?

I can't buy a Hardy or a Millennia at the moment, it would be much easier if I could.

Thanks.
Old 27th January 2011
  #34
ruy
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ruy's Avatar
+ 1 with what Gary said. Do not trust guide tracks...

I don't use a limiter during ADR but I do use my Manley ELOP Limiter when recording VO with great results. The Hardy M1's and the Millennia preamps are great. We use a GML 8304 for foley and ADR in our studio and it is the quietest most transparent pre I have found anywhere, I really recommend it.
Old 27th January 2011
  #35
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Henchman's Avatar
Quote:
Originally Posted by Vytis View Post
I can't buy a Hardy or a Millennia at the moment, it would be much easier if I could.

Thanks.

A John Hardy M1 runs about $950.
Do yourself a favor, and get one.
Old 3rd February 2011
  #36
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Mundox's Avatar
Quote:
Originally Posted by Vytis View Post
I've been recently offered a Digidesign PRE for $800. Has anybody used one of these for ADR/VO or foley recording? I've read somewhere the circuitry is a
I heard that their Gain pot made clicks..
I could be wrong.
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