Wade

There's a microphone in this monitor.

I'm just going to record it temp so I have it and I know to replace it.

It'll sound so bad that it'll be so easy to replace.

Gets over to Brad.

He messages me or when I show up there for this final stage, he's like,

Man, whatever mic you used for these last ADR was really good.

Like, it just melted right in.

It was perfect.

It just sat so good in there.

And I was like, you motherfucker.

That was on a monitor.

It was a monitor's microphone built in.

It was one of Apple's studio displays.

And that's not to say that that's the greatest microphone ever, but I have to remember, and this is important about ADRs, if you're recording stuff on set, you have to remember that that is not a perfect sound environment.

Especially the Iron Lung.

The sub is literally a barrel, right?

It's got...

Reverb, there's no sound dampening.

It's kind of a knockley environment There's also in a warehouse, you know kind of like bleeds out bleeds in the thing about that microphone is like it's just shitty enough that it replicates the the kind of bad environment and it's Important because the size of the room I was recording was just a regular bedroom, but it kind is roughly the size of that room It's not a barrel shaped but you know

so it's important to remember it's not about the best highest quality equipment that you could possibly get especially when you're doing ADR because you didn't you might have had good equipment but you didn't have a controlled environment when you're recording it on set and almost all of the stuff in the movie still sounds good because it just has that room and if you have a clean room with no reverb it's not going to sound as good because well it won't sound right because it won't match everything else