Page 14 - 2013 Spring

Fig. 7 Abbey Road Studio 1, London, England (Photo credit Shawn Murphy)
doors. The airspace behind the panels improves bass absorption and the props are close by. Figure 7 gives an example of a Foley stage design based on this concept. There are large libraries of sound recordings available along with those maintained by the studios. These are available for scratch tracks and for the less critical appli- cations. Foley stages must be quieter than recording rooms since effects are mixed hotter than music. Thus the background noise is more apparent to the mixer.
ADR
ADR or automatic (sometimes automated) dialog replacement is a technique using voice over, or the recording of dialog after the film has been shot. Whenever possible, film makers like to use the original sound recorded during filming but background noise or technical problems can make this impossible. In ADR the actors rerecord their parts in sync with the film. ADR stages are small, sometimes no bigger than a bathroom, and relatively dead. Low-fre- quency reverberation is a concern. Most have at least 2” (52 mm) thick panels on the walls. Since dialog replacement includes singing, ADR artists prefer rooms that are not completely dead (Farmer, 2001) and have a bit of volume, ontheorderof8’×12’×9’(2.4m×3.7m×2.7
Fig. 8 Foley Stage
Acoustics of Recording Studios 13