Recording gunshots

G

gpforet

Well-known member
I've got the opportunity in a few weeks to record the sound of gunshots. Everything from shotguns, to rifles, to assorted handguns. I've got a short I'm doing post on and need a few of these but it's also something I want to add to my library.

From what I've read, the shotgun will be the loudest at about 156db. The mics in my locker which can handle the highest level is 150db with the 10db cut turned on which means I'll have to have the closest mic at least 2 meters away. I've got 4 of these mics. I also have a sennheiser me-80, and an Avantone CK-1. I've also got a PSC Alphamix and a Tascam 680 which let's me grab 6 descrete channels. My idea is to capture the sound from different distances on different channels with the furthest mic pointed outward to capture the sound of the space. This will all be recorded in a large open field.

Anybody here have experience recording gunshots?
 
If it's an all-day event, then you have plenty of time for trial and error. Start with your mics at least twice as far away as you feel the 'safe' distance is. Record a shot or two, and then do playback with some good sound-isolation headphones, to judge the quality. Then move the mics incrementally toward the shooter until you find an optimum spot.

At least, that's what I'd do.
 
Would an inline pad protect against overloading the mic? I thought they were meant to manage the level of the signal going to the mixer. Maybe I'm missing it but I don't see how that would help if you pin the mic elements from too much sound pressure.
 
4100xpb said:
Would an inline pad protect against overloading the mic? I thought they were meant to manage the level of the signal going to the mixer. Maybe I'm missing it but I don't see how that would help if you pin the mic elements from too much sound pressure.
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You're correct - you need mics that can handle the DB you'll subject them to.

But "sneaking up" on the recordings as mentioned above should keep you safe; your recorder levels won't tell you if the mic is distorting, so monitor obsessively.

I'd also watch out for any limiting or compressing your recorder provides - keep your levels down and watch for spikes, but you may want those extreme transients in post. You can always compress them later, but I imagine you might find that compressing with a slow attack will give you more "crack" vs. "oomph" if the scene calls for it - once a transient is gone, it's kind of hard to get it back.

And if you have time to call a few pawn shops, you should be able to get a sure 57 or 58 used for $50 or so, and that's a great "beater" mic, needs no phantom, and can often have a "punchiness" that condensers can't replicate. They're the go-to snare drum and guitar amp mic in studios and can take a whippin' DB wise.
 
I will second the start away suggestion. The high SPL coupled with the fast attack can easily blow the mic element if your too close, and that can get expensive. You might want to ask Charles Maynes (he's on the Digidesign User Conference a lot). He does a lot of weaponry recordings. They usually use a variety of mics and recorders starting close and going down range.

Also the be behind the shooter is not to be taken lightly. I know someone who was almost killed recording old cannons. They were behind protection but were down range to get the shot flying over head. One was sort of a dud and instead of flying 20 feet over their head came crashing into the mound they were behind. He then went and got a mic stand and a lot of cable...
 
Thanks all. I have a few dynamics beta 57s and beta 58s in my inventory but can pick up a few more. Absolutely I'll be behind the shooter. I like the idea of starting at twice the distance and then sneaking up. I've got loads of cables and stands. I'll drop Charles a line and see if he's got any tricks. Thanks everyone.
 
A bass drum mic might come in handy as it a) can handle high SPL and b) will do a good job getting the loew end of the shots.
 
...but leave the ribbon mics home...

(On second thought, i'd bring mine but keep it back a ways... they do get a cool "deep" sound, and their figure-8 nature could be great to catch a long echoing tail...)
 
I think it will be great fun recording gunshots. I've recored gunfire in the past but if you are using it for effects (folly) it might be better to use pre-recorded and tuned gunshot sounds from a library. Gunshots are notoriously hard to capture ant the environment is everything... Either way this will be a fun day if you keep safety in mind! ;-)
 
sonidista said:
A bass drum mic might come in handy as it a) can handle high SPL and b) will do a good job getting the loew end of the shots.
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That's what I said.

unclebob6958 said:
Get - borrow or rent - some dynamic mics. Something like the D-12, SM-57, etc.
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Here's some stuff from Charles Maynes:

http://www.gamasutra.com/view/feature/1746/weapons_sound_effects_recording_.php

http://designingsound.org/2010/06/charles-maynes-special-gun-recording-thoughts-for-2010/

http://www.gearslutz.com/board/post-production-forum/95756-how-recording-gunshots.html
 
ESTEBEVERDE said:
I think it will be great fun recording gunshots. I've recored gunfire in the past but if you are using it for effects (folly) it might be better to use pre-recorded and tuned gunshot sounds from a library. Gunshots are notoriously hard to capture ant the environment is everything... Either way this will be a fun day if you keep safety in mind! ;-)
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Most of the gunshots I've ever heard in reality sound like little wimpy firecrackers or loud pops. I imagine most foley (not folly!) gunfire you hear has been pitched down, compressed, and EQ'd like crazy.
 
gpforet said:
Great idea!
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not really , the better sound you will get from condenser mic spaced 3-4 feet around the weapon.
to get a real sound ,you will need to place about 3-4 mics from different positions , i usually use pares which are 3-4 feet , then 10 -15 feet from side/front + additional mics from grater distance to get more reflections if you need more urban sound if you record it in close space .
always use limiters , they need to kick in so you will not end with popcorn instead gun shots .


dynamic mics which placed near the weapon , loose the low end during the high spl when membrane stacks , so if you dont need the mechanical noise , go back with your mics .
by the way , Charles Maynes use Rode ntg -3 from 3-4 feet as his main mics ( before that 416).

my setup , usually par of neumann 140 from 3-4 feet , another par of mbhos hypers from 10 15 feet , an other stereo shotgun from the rear ( usually AT 4079 or sanken sc-5 ) from 20 feet high above the shooter and some dynamic as 420 or 441 over the gun it self , that what make the Sound designer happy , as he has enough options to work with .
of cours everything blended and EQed to get the real sound perspective to the shot .
 
Thanks, but what confuses me is the 140 has a max spl rating of 138 before the pad, and most data I've read rate a 12 gauge shotgun at 156db from 1 meter. The NTG-3 is rated even lower at 130db. Do you have some examples I can hear? My main concern is the max spl of the weapon overloading the mic capsule and trying to use mic specs as a guide.

I do plan on post processing quite a bit, including pitching down and compression on some of the tracks and do plan on stacking quite a few from different distances.

If you can post some samples that would be great.

olgak said:
not really , the better sound you will get from condenser mic spaced 3-4 feet around the weapon.
to get a real sound ,you will need to place about 3-4 mics from different positions , i usually use pares which are 3-4 feet , then 10 -15 feet from side/front + additional mics from grater distance to get more reflections if you need more urban sound if you record it in close space .
always use limiters , they need to kick in so you will not end with popcorn instead gun shots .


dynamic mics which placed near the weapon , loose the low end during the high spl when membrane stacks , so if you dont need the mechanical noise , go back with your mics .
by the way , Charles Maynes use Rode ntg -3 from 3-4 feet as his main mics ( before that 416).

my setup , usually par of neumann 140 from 3-4 feet , another par of mbhos hypers from 10 15 feet , an other stereo shotgun from the rear ( usually AT 4079 or sanken sc-5 ) from 20 feet high above the shooter and some dynamic as 420 or 441 over the gun it self , that what make the Sound designer happy , as he has enough options to work with .
of cours everything blended and EQed to get the real sound perspective to the shot .
Click to expand...
 
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