Lavs safe for gunfire?
- Thread starter mikemiho
- Start date
Stephen Hall
Member
They'll almost certainly produce clipped audio that doesn't sound natural -- close-up gunfire produces a LOT of sound pressure. Consider a dynamic mic, though even those may be overwhelmed if they're very close.
Can you hide a dynamic mic close to the subject ? What about an SM-58 or EV-20, say with a plug-on transmitter, hidden in the scene close to the action?
Otherwise, I think the B6 will survive.
Stephen H
Can you hide a dynamic mic close to the subject ? What about an SM-58 or EV-20, say with a plug-on transmitter, hidden in the scene close to the action?
Otherwise, I think the B6 will survive.
Stephen H
Rick R
Veteran
My 'Grayband' (normal sensitivity) B6 distorts fairly easy. According the CA, the Blueband lowest sensitivity model can handle 140dBSP, however that may distort in close proximity to firearms. I don't think it would physically damage the mic, but I would with use a dynamic, hardwired, with a good limiter on the mixer or an analog stage limiter on the recorder to help prevent input stage distortion. If a 57, 58, RE-50 or other large body dynamic is not an option, the Shure SM11 dynamic lav may be a viable option.
Dustin Moore
Active member
If you are really interested in the attack and echo of the gunfire, a Heil PR40 coupled to an
analog limiter with a fast release will sound better than most condenser anythings. I find that
most mics condensor or cheap dynamics (SM57 etc.) will "click" in the middle of the impulse
making an unmusical explosion sound. You might be able to fit it in post by hand but that's
not my thing.
I use a PR40 pair with an FR-2 for really severe fireworks explosions and it does better
than anything I've been able to get my hands on. I wish it had the high end of a condenser
mic but it is serviceable with a bit of eq.
Remember that you probably can't get the saving private ryan level of sound on
set with one mic in one take.
analog limiter with a fast release will sound better than most condenser anythings. I find that
most mics condensor or cheap dynamics (SM57 etc.) will "click" in the middle of the impulse
making an unmusical explosion sound. You might be able to fit it in post by hand but that's
not my thing.
I use a PR40 pair with an FR-2 for really severe fireworks explosions and it does better
than anything I've been able to get my hands on. I wish it had the high end of a condenser
mic but it is serviceable with a bit of eq.
Remember that you probably can't get the saving private ryan level of sound on
set with one mic in one take.
If you need a lav that can handle high SPL's then look at the Sennheiser platinum series lavs and some Audio Technica lavs. When I used to record race cars for video games, that's what we used inside engine compartments and really loud tailpipes when the car was on the track.
David W. Jones
Veteran
Maybe this will be helpful... http://socialsounddesign.com/questions/936/tips-on-recording-gunshots
Doc Bernard
Indie Arms Member
Any real gunfire, I can tell you, will NOT sound like what you hear on screen normally. Even the Heil may clip out.
Replace the audio with post-audio. Get enough tone, so you can layer it in to mask the cut out parts. Key each sound to be about a frame or so (depending on distance) after the flash.
Coming from both an audio and a weapons perspective.
Replace the audio with post-audio. Get enough tone, so you can layer it in to mask the cut out parts. Key each sound to be about a frame or so (depending on distance) after the flash.
Coming from both an audio and a weapons perspective.