Shotgun Mic for car racing!

[Trademark]

Got about 1000 bucks to spend on a new shotgun mic for car racing footage, very very loud cars, peaking all my levels with the current mic, AT6067 is the one I think I have now, it was about 600 bucks....

Having problems with that mic because the mic itself peaks, even though the levels in my HPX170 are below peaking.

Its my understanding that I need a level attenuator? to drop it by like 10-15DB and then I'd like to get a new shotgun.

So anyone with some good experience shooting cars and by cars I mean really loud race cars have a mic recommendation around 1000 beans.

So I can make more pretty stuff like this http://www.youtube.com/watch?v=dEBLDOeM7f4

Thanks guys always helpful

[Jema]

Is the microphone going to be operated by someone or be on a stand? If operated, I might look into a highly directional mic like the MKH70 or 8070, which is rf-based and resistant to moisture and other kinds of abuse. It's above your price range new, but maybe you can get a good deal used? There's the older MKH816, but they are not in produktion and can be hard to get repaired.

Otherwise, there's always the MKH416 which is an industry workhorse (the MKH60 and 8060 are newer versions), which can be gotten new for around 1000. There's also the rode NTG3 which is a popular mid-range alternative.

I don't know if these can handle the sound levels you work with, as I couldn't find any info on a mic called AT6067.

[David W. Jones]

I have done a bit of auto racing recording using a combination of DPA 4062 & Sennheiser MD421 microphones. Neither of which are shotgun mics.

[Steve House]

What are you trying to record, the cars themselves or people talking with the cars going by?

[Rick R]

Same here Dave.
When dealing with extreme SPLs, I bring along a 421. A 57, 58 or other dynamic would likely work too for TV, however LD dynamics seem to work best for motor racing or other high SPL sources with a lot of LF content. That said, I have used an SM11 in an engine compartment a few times which worked great for engine S/FX.

[Richard Crowley]

I question the opening premise. If you are so close that SPL is a problem, why do you need a shotgun at all? I don't see how you can justify acquiring any kind of shotgun for recording motor racing SFX. As others have suggested an inexpensive dynamic would seem much better suited for recording loud environmental sounds. Or a modular condenser where you can add a pad between the mic capsule and the mic body.

[Greg Smith]

As others have suggested an inexpensive dynamic would seem much better suited for recording loud environmental sounds. Or a modular condenser where you can add a pad between the mic capsule and the mic body.

Even the pad wouldn't work if the capsule itself is bottoming out due to the extreme SPL. I third the recommendation of a cardioid dynamic. One of the mics commonly used for bass drums and such might be the best choice -- E-V RE-20 (or -27), Sennheiser MD421, Shure PG52. The only issue is that all of those are rather large physically -- you wouldn't want to suspend them on a boom for any length of time.

Serious suggestion -- if you're working with sound so intense that common high quality microphones are overloaded, you should be wearing hearing protection while working around the cars.

- Greg

[Trademark]

Sorry guys I should have been more specific....

I'm going to be using this on my camera hot shoe and mostly be recording cars that are atleast 10-50 feet away

no I dont want to record someone talking with the cars in the BG and no it wont be run on a boom pole

looks like the MKH 8060 is a good option for my prince range

pure race footage and yep always wear my earplugs and headphones

[Jema]

i'm so used tinking condenser that I didn't consider dynamic mics. With these kind of SPL:s they can be a good option.

[Steve House]

You're basically shooting drive-bys, right? How about a pair of cardioid dynamics (Sennheiser MD46 comes to mind) in an X/Y or ORTF stereo array mounted on a stand trackside in front of your camera position? Or a pair of dynamic omnis on stands spaced about 10 feet apart trackside to make up an A/B stereo pair?