Source-Connect Pro and EdiPrompt are in: directed ADR from a barn near Chichester

By James Jones, founder of Granary Digital · 28 September 2026

The podcast studio at the barn now records ADR and dialogue to picture, with the director in the room or anywhere with a decent connection. For a production with lines to fix and an actor on the South Coast, that can mean no train to Soho and no travel day.

What's in the room

• Picture on the 55-inch panel, played from the DAW timeline and locked to timecode at 23.976, 24, 25 or 29.97 fps, with timecode burnt in.
• EdiPrompt laying streamers, counters and the line itself over the picture, so the actor sees exactly when each line starts without guessing from the lips. Cues are logged in EdiCue.
• Sanken COS-11D lavalier microphones for matching lines that were recorded on a lav, alongside the room's Shure broadcast microphones and Dante-networked desk.
• Reaper as standard, and a separate Pro Tools and Logic rig when a post house wants the session in its own format.

Why the Pro edition matters

We run Source-Connect Pro, the studio edition, rather than Standard. The difference that matters most is Remote Transport Sync, send and receive. Either our engineer runs the loops while you listen and give notes, or, with Pro at your end, your timeline drives ours. Both ends stay locked to the same timecode, with MTC or LTC out. Standard can follow sync but can't send it.

The link carries Fraunhofer AAC-ELD v2 at up to 256 kbps per channel. The takes are recorded here at full resolution regardless. If you also record the stream at your end on Source-Connect Pro, Auto-Restore patches in anything the line dropped once the take ends, and Auto-Replace swaps the whole take for uncompressed PCM, so the file in your session never went through the codec. The line itself is fibre, around 500 Mbps down and 100 Mbps up.

For a director who would rather not install anything, Cleanfeed, Riverside and Zoom run over the same line. Whichever route, the far end hears the session through a mix-minus, so nobody hears their own voice come back late.

Files and security

Takes are delivered as 48 kHz, 24-bit Broadcast WAV, timestamped to picture timecode, named by cue and take, with a take log. A Pro Tools session or AAF is available on request, and our editor can conform the chosen takes if you'd rather hand the whole job over. We sign your NDA before picture is sent. Phones stay out of the room while unreleased picture is up. Picture and takes are kept for 30 days for pick-ups, then deleted unless you ask us to keep them.

Who it suits, and who it doesn't

It suits film and TV lines to replace, animation and game sessions, audio drama, documentary narration and dubbing. Los Angeles is usually eight hours behind the UK, so an American morning lands in our afternoon, and the studio is open until 8pm on weekdays. How remote ADR works here walks through a session from the line check to the files.

The room is 4.5 metres square. That suits one actor, or two playing a scene together. Group loops for a crowd need a bigger stage, and we'll say so.

What it costs

Sessions are quoted per production, because length and edit needs vary so much. The line check with your end is part of the booked time, so allow a few minutes of it for audio, sync and talkback. The full kit list is on the ADR and dialogue recording page, and the same room and link run directed voiceover sessions.

Send the line count, the deadline and where the director will be, and you'll usually have a number the same day.

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The picture at the top of this article is an illustration generated to show the set-up. It is not a photograph of a client or of a real job.