[QUOTE=Brent Hahn;14352620]Exactly. Actual in studio animation VO session time is too expensive to shoot EPK material while you record.

This is a better example how this kind of animation voice session is recorded. With a pair of U87’s on each actor. Not with a single 416.

So on the movie behind the scenes I saw for SpongeBob, they ADR it afterwords using U87s at a bit of a distance.
[QUOTE=MYN;14353230]This is the clip I was just referencing.

Honestly I'd rather see a legitimate behind the scenes footage then it being played up for the camera.

The KSM32 is a real versatile workhorse mic. I have two and use them regularly along U87s which belong to the studio I often work in.

They are neutral, work on pretty much every voice & other source (guitars, drum overheads, strings...) and give you a great starting point to shape it to the sound you need. For me it is quite a plus-point that they sound straight without pushed lows or highs because this is what makes them so flexible. And they are certainly not that 'boring' like a few of the typical SDC choices (schoeps come to my mind. they are great for many things, but nothing I would use if I was searching a little more attitude like a drum room mic)

I think the KSM is a better choice than a TLM103 with its upfront highs and more sibilance.

They don't have the larger than life sound like a U87 or have the different patterns which makes the Neumann even more versatile&desirable. But I wouldn't hesitate to use the KSM in a Session at the same spot when the U87 is not available.

Btw. the Sennheiseer 416 is a great mic for set recording or if you have to match set tone in ADR. But I think it would be a pretty bad choice as the only available mic in smallish vocal booth. If you use it indoors you really need a bigger room)