I recently had an ADR session and turned it over to the production company.

The original production sound was quite echoey and had a bit of a tail on the audio.

I gave the company 2 raw mics and one with a reverb printed on it that I thought matched nicely, though I know it's going to need more EQ to match perfectly.

Is what I did correct? I'm a bit worried about the match and that I'll get word back from the company that I blew the whole thing and ruined their project.

Or am I safe to say that the mixer will deal with it? I have no clue where they will mix it or what will happen beyond this point - all I know is that it will require a bit of clever editing and EQing to match.

I really hope the mixers and editors they use are competent.

What would you do in a situation like this? Turn over ONLY a treated track and not give them the raws in anticipation that it won't match well if they end up using the raws?

I turned over the raws so they had something to go back to if they needed to.

I hope it works out...

P.S. - My oh my does the CMIT 5U do wonders on room tone rejection. It sounded so dead in my room which is a bit more live than a traditional ADR stage.


Nope, you should assume that the mixers will mix the dialogue - inclusive of matching tonality and verbs.

If they don't that's their fault, not yours. ADR cutting is all about getting good, dry, synced performances that are well-documented. Get that right and your job is done.

  • Cool - thanks. It's like sending your kid off to school for the first time.
    – Utopia
    May 19 '10 at 19:01

Whenever I've done ADR I simply hand over the dry synced recordings, including all the usable takes.

1x vocal mic and 1x boom mic on separate channels and in the correct place. I did make sure what the dialogue editor wanted before the record session though and they were watching/listening via Source Connect so everyone was happy (well apart from SC not syncing).

I certainly wouldn't start making decisions without asking the dialogue editor or mixer first. At the very least I would agree with you by sending a copy of the raw recordings, a wise move.

  • Thanks. Alright, then. I guess it was unwise to send over a file that had a reverb printed with it? I guess if worse comes to worse they end up editing that in the Avid and if the dialogue editor had to he could re-sync the raw tracks back in (all the files were exactly the same length so they could even theoretically force re-link to the right mic they wanted).
    – Utopia
    May 19 '10 at 20:55
  • If they're mixing in the Avid then the ADR verbs will be the least of their problems. :)
    – Rene
    May 19 '10 at 21:43
  • See what I mean? I'm worried it's going to sound horrible and they're going to target me for it! Argh.
    – Utopia
    May 19 '10 at 21:58
  • Sure, you sent them the raw files. The ball is their court to make it all match, you're job was to get a clean recording.
    – ianjpalmer
    May 20 '10 at 8:38

Your best bet is to simply ask what they want and don't assume. 99% of the time the ADR engineer is simply tasked with recording accurate, appropriate ADR and then turning over those tracks to the mixer, whose responsibility it is to mix it appropriately with the picture. The mixers job includes adding reverb. It was good that you gave them raw files in addition to the affected files.

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