Drag race for cars and motorcycles

[inspire]

I went to watch a drag race for cars and motorcycles, and here are some examples:

https://youtu.be/C-ZEK9VcmXc?si=oCkZvgpBTOnILo6w
https://youtu.be/cJu01ousADA?si=fxrZcn8De7UzyvEX
https://youtu.be/Pbm3cpi35pE?si=fZss5liySkDzy3kh

The sound there is very loud, and I wondered how to properly record such an event.
The SPL is around 98 dBA or maybe even higher.

So, my question is, what kind of microphone would you recommend for recording such an event? I was thinking that perhaps a bass drum microphone would be suitable for this purpose?
Here are some examples Microphones for Bass Drum:
Shure Beta 52A
Sennheiser E 602 II
AKG D 112 MKII
Audix D6
Lewitt DTP 340 REX

I have no personal experience with these, what are your opinions?

[inspire]

Here are three more recordings that I made using the Apple iPhone 14 Pro Voice Memos:
https://freesound.org/people/inspire153/

I just had a thought that when recording something like this, it might be a good idea to use multiple microphones, one of which would be the Microphones for Bass Drum that I suggested to capture the proper low rumble.
And another microphone as well, but I'm not exactly sure which one yet, probably a dynamic one? So as not to damage the ultra-thin membrane of a condenser microphone.

[inspire]

I went to shops today and the choice is Shure SM57 & AUDIX D6. These two I try to put as possible in the same place, then can sum up, I think. SM57, I'm directing to the path where the accelerating car is going after start and Audix D6 will be directed to the starting point. With this we can end this topic. Maybe shotgun would be good, but I am afraid of this gentle membrane.

[fieldsound]

I would reach for a high SPL shotgun mic in this situation. The new DPA 2017 has a maximum SPL peak rating of 143 dB for example, should be able to handle this environment

[inspire]

Thank you, good idea!
I have a Schoeps MiniCMIT, which has a maximum sound pressure level of 130 dB.
I wouldn't dare point it directly at the start, but along the road it should be fine.
I was thinking of something like what I’m adding in the picture.
One shotgun mic directed along the road where the car accelerates and another, with a high SPL shotgun mic directed at the start. These two could be mixed together afterwards, and in post-production, the exact right balance can be chosen.
Maybe I could also point the AUDIX D6 at the start, although I'm not sure if that would be better.
Anyway, I don't have either, but it's a reason to consider whether to buy the AUDIX D6 or the DPA 2017. In any case, it's a good suggestion, thanks!

[inspire]

I bought the AUDIX D6 today. My plan is to record low-frequency sounds with it, not so much drums, but rather male choir vocals, car engine sounds at acceleration races, airplanes, and such. 
I was warned not to place the microphone too close, as it could damage the capsule.

[soundmanjohn]

You could try the DPA 4055: intended for kick-drum use but can cope with a max spl of 164 dB (@10% THD) or 159 dB SPL (1% THD)

 

https://www.dpamicrophones.com/microphones/instrument/4055?variant=28

 

John

[Rick Reineke]

I do not think a  kick drum mic would be a good choice for choirs.   I use my 421s for high SLP environments and an occasional voice over, but the talent is within inches of the mic.

[inspire]

Has anyone tried basstrum microphone to record the male voices of the choir and what were the results? How far did you put the microphone from the choir? 
My plan would be to place the microphone low height to try to get lower frequencies just to add the color to the recording later after processing. I have the best choral microphone in use anyway, which is, by the way, the best choral ORTF microphone.

(This is a small development of this topic, because I want to use the basstrum microphone for other purposes too, besides recording the cars acceleration).