Shotgun mics and motorsport

Audio

Shotgun mics and motorsport

Posted by Cal Thorley on April 23, 2013 at 2:09 am

Hi,
Just after some advice please.
Once or twice a year I shoot a bit of drag racing and when shooting near the start line (ie. the noisy place!)
I’m getting distortion. Levels are ok so would I be right in presuming the distortion is in the mic? Ie. too high SPL or something?
I’ve used the mic on 2 shoots with 2 different cameras. It’s a Que 210 from memory.

I’m thinking of grabbing a used Sennheiser ME66 and K6 or a new Rode NT2 (both suggested by retailers) but suspect there’s a bit of guess work in that recommendation plus a potential sale, so just thought I’d ask for recommendations first.

It’s not a high end kit (canon xf300) so dropping huge money on a mic isn’t going to fly but hoping a bit of a step up might get me something I can work with.

Thanks.
Cal

Richard Lague replied 13 years ago 5 Members · 9 Replies
9 Replies

Ty Ford
April 23, 2013 at 3:05 am

Hello Cal and welcome to the Cow Audio Forum.

It think it’s a numbers game. In this case SPL numbers. The mic you’r talking about has an SPL limit of 112dB 1 Khz @ MAX SPL. Any sound above that level will distort in the mic. I’m guessing the starting line exceeds that.

Probably..https://en.wikipedia.org/wiki/DB_drag_racing

ME66: the Sennheiser ME66 Short Shotgun Microphone Heads online from Video … SPL (1 kHz): 126 dB

NTG2: 131dB SPL (@ 1kHz, 1% THD into 1KΩ load)

Both the ME66 and NTG2 (I’m guessing you really meant NTG2 not NT2), probably not.

Maybe something like the Audio Technica AE3000 that, with its pad engaged can withstand 158dB SPL.

https://www.bhphotovideo.com/c/product/298844-REG/Audio_Technica_AE3000_AE_3000_Large_Diaphragm_Cardioid.html/BI/8631/KBID/9745

Worth a shot.

Regards,

Ty Ford
Cow Audio Forum Leader

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Brian Reynolds
April 23, 2013 at 8:08 am

Use a Dynamic mic perhaps like a Shure SM58 or 57.
Use the S/G in one channel for general FX and the Dynamic mic into the second channel.
Bill Davis
April 23, 2013 at 3:55 pm

In situations where I’ve had to record in high sound pressure levels, I typically reach for mics that are designed to do kick drum recording. I grab one of my venerable Sennheiser MD-421Us usually, but there are a lot of good low cost alternatives recording there designed to handle strong transients like what you get from a close mic’d bass drum.

Then invest in a switchable in-line pad that goes up around 25db and attenuate the signal enough to get it down to a decent recording level.

My recipe, anyway.

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Richard Lague
April 23, 2013 at 11:23 pm

I think the OP said you are using an DSLR…..use a Zoom H1 and turn done the gain. put it in your back pocket to reduce the SPL
Cal Thorley
April 23, 2013 at 11:43 pm

Thanks Ty.
That’s great info and backs up my suspicion that it was the SPL issue.
Didn’t realise the Que was so low in its limit.
The link you posted was Db drag racing which is a bit different (where people jam as much stereo as they can into a car) but we’re talking still 100db to 150db range so that certainly explains the issue.
I’ll see what I can find or hire.
Thanks again.
Cal
Cal Thorley
April 23, 2013 at 11:45 pm

Thanks Brian, I had considered also mounting another mic low behind the concrete barrier also so I’ve got some experimenting to do.
Cheers,
Cal
Cal Thorley
April 23, 2013 at 11:46 pm

Thanks Bill! Good advice, will look into it.
Cal
Cal Thorley
April 23, 2013 at 11:48 pm

Hi Richard.
No, it’s a entry level pro cam. I guess similar to an EX1 in its market.
Cheers,
Cal
Richard Lague
April 24, 2013 at 12:46 am

Cal……any relation to John Thorley?

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