Microphone for recording engine sound
- Thread starter macgregor
- Start date
GaryNattrass
Veteran
So when you hear the sound of a ferrari engine do you put your ear in the engine bay?
It will sound dreadful and more than likely distorted and you will get all sorts of clanks and noise from fan belts etc, bear in mind that most of the sound of a car is actually more the exhaust not the engine itself!
A dynamic mic should be suitable for this but I would look at careful placement to get the sound you want rather than a load a distorted clunking.
It will sound dreadful and more than likely distorted and you will get all sorts of clanks and noise from fan belts etc, bear in mind that most of the sound of a car is actually more the exhaust not the engine itself!
A dynamic mic should be suitable for this but I would look at careful placement to get the sound you want rather than a load a distorted clunking.
S.Blanchardon
Well-known member
Hi,
First I'll recommend you to have a look at these 2 pages :
http://socialsounddesign.com/questions/963/tips-on-car-recording
http://designingsound.org/2010/02/charles-deenen-special-car-recording-guide/
As you can see, you won't go much anywhere with only one microphone, you haven't told us neither what you will record this engine sound for.
And as for the microphone itself, I would suggest a small, high SPL DPA lavalier such as the 4061 and 4062 which handles respectively 144 and 154dB SPL.
Cheers.
First I'll recommend you to have a look at these 2 pages :
http://socialsounddesign.com/questions/963/tips-on-car-recording
http://designingsound.org/2010/02/charles-deenen-special-car-recording-guide/
As you can see, you won't go much anywhere with only one microphone, you haven't told us neither what you will record this engine sound for.
And as for the microphone itself, I would suggest a small, high SPL DPA lavalier such as the 4061 and 4062 which handles respectively 144 and 154dB SPL.
Cheers.
Last edited:
David W. Jones
Veteran
I have recorded many Ferraris over the years, and the advice given above is correct. Properly placed dynamic mics.
LyleGorch
Well-known member
Have you tried this with the built-in mics on the dr100? Thats one of the reasons I bought mine was to have something I could hide in strange places for occasional sfx clips without hassling with wireless or risking a more expensive capsule. Its not DPA or Sennheiser fidelity but you probably could get something that given the levels would work. You probably have already thought of this.
Rick R
Veteran
S/FX car engine/sounds are usually captured with a number of mics.
I used an SM11 dynamic lav in tight engine compartments. ( IMO, that was one of the few things it was good for) That SM11 eventually got tangled with engine belts and was permanently 'retired'.
I doubt the DR100 internal mic (or other low budget recorder's internal mics) can handle very high SPLs, but may work in the cabin/interior
I used an SM11 dynamic lav in tight engine compartments. ( IMO, that was one of the few things it was good for) That SM11 eventually got tangled with engine belts and was permanently 'retired'.
I doubt the DR100 internal mic (or other low budget recorder's internal mics) can handle very high SPLs, but may work in the cabin/interior
Last edited:
Noiz2
Sound Ninja
No but it is a standard part of covering a car for film and is used all the time. You also don't stick your ear next to the tail pipes but that is also a standard bit of coverage. Out side of FX most people don't follow interesting people with their ear a couple of feet from the strangers mouth either.
The point being that what and how you record should never let much "reality" creep in because its not the way you hear. Unlike a microphone your brain can focus on what is important. If you want your sound track to sound "real" you need to create that subjective focus in post.
OP,
Dynamics are pretty good for the SLP in the engine, but they might be too big. Lavs are used often also.
Three important things to keep in mind. It's HOT in there and there are extremely high voltages, and there is a LOT of vibration and moving parts. Loose wires will be a problem, getting anywhere close to the high tension ignition system (spark plug wires etc) will either induce clicking or enough voltage to kill whatever is connected to the wires, mic, recorder, recordist... Lav condensers are more susceptible to the RF (clicking) than dynamics but are eaisier to locate away from problem areas.
Also there will be some (or a lot) of wind in there so foam is also usually required.
As others noted a car is usually covered from multiple perspectives, the engine compartment alone is not going to get you a great sound. It tends to be rather bright and not have the low end you will probably want. The tail pipes (record to the side or you will melt the mic) will give you the "beef". For a chase wheel wells are also a good place to get the close up "rubber hits the road" sound. You should also get some inside coverage since that is what you will typically be adding the others to.
And lastly going fast does not sound fast. What sounds fast is higher RPM with the engine doing some work. So going up a gentle hill and over reving is a better safer way. Most "high speed" chase sounds are recorded going 40 MPH or less, sometimes a lot less.
macgregor
Veteran
Thank! This is exactly what I was looking for. :thumbsup::thumbsup: