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 bassdrum 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).

[inspire]

I'm back on this topic and I'm going again to recording drag race for cars and motorcycles (in Kiltsi).

I already have for now DPA 2017 (which have a maximum SPL peak rating of 148 dB).

Should I use earplugs to protect my hearing? Are you using them??

[Paul F]

Wearing plugs or other ear protection is a must-do when Top Fuel dragsters race.  The NHRA says Top Fuel can reach 150db at 50' (15 meters). 

 

If you have to spend any time in the pit area when the Top Fuel dragsters are fired up and tested, breathing apparatus is highly recommended. The crew wears full face and breathing apparatus to protect their eyes and lungs. Your eyes will start burning soon after the engine starts up. Top Fuel uses nitromethane as the fuel. It produces nitric acid in the exhaust. 

[inspire]

Thanks! And what do you think, do I need to be worry about my mic? (High SPL)

[Paul F]

I don't know. I've never recorded drag races. I attended once. 

 

As a side note, I would put experiencing a Top Fuel race as a bucket list item. It is a startling experience that literally rattles your rib cage.  300 mph in 4 seconds, 11,000 hp, fuel consumption - 1.5 gallons per second. Don't be misled by this person not wearing ear protection. 

 

[edward chick]

I’ve worked drag races before and yes you MUST protect your hearing. If you can’t afford Good IEMs or Remote Audio style over ears, at least get shooters’ cans and Shure SE215 or some cheap IEM style ear bud to wear under them so you can monitor sound. If it’s just engine sounds turn your hp monitor volume to zero. You don’t need to amplify noise. Your DPA should be fine. I used a Sanken CS3e it was fine. The noise is an all out aural assault. 

[inspire]

Experimental Balloon-Mounted DPA 6060 Setup for Recording Drag Racing Sounds

 

I’m currently preparing to record audio at an upcoming drag racing event, and I’ve been exploring some experimental approaches to capture a unique sound perspective from above the track. With the help of ChatGPT, I’ve developed the setup described in the attached diagram.

The idea is to suspend one (or possibly two) DPA 6060 lavalier microphones using large helium balloons, raising them up to about 7.8 meters (roughly 25 feet). The mics are equipped with fur windscreens and mounted on extended mic stands (K&M 20811 + 21231) to add stability and height. Each mic will record to a Tascam Portacapture X8 placed on the ground below the balloon, minimizing the need for long cables. Meanwhile, I’ll use a Sound Devices MixPre-6 II on the ground to capture close-up engine detail and low-frequency impact with a shotgun mic and a kick drum mic.

This is still an experimental plan, and I’d love to hear your thoughts:

• Has anyone tried balloon-mounted mics before in high-SPL or windy outdoor environments?

• Any suggestions for improving the stability, isolation, or safety of the setup?

• Better alternatives for the cable or anchoring methods?

All feedback is welcome. I’m open to adjusting or simplifying the rig if needed. Thank you in advance for your insights!

 

Gear:

DPA 6060-OC-U-B34    Cable length: 1.8m

DPA AIR1 Black S Fur Windscreen Set

Sennheiser MZA 900P ?? Maybe not needed, if I use Portacapture X8

the sssnake SM10BK Length: 10 m ?? Too heavy probably.

Sound Devices MixPre-6 II

Portacapture X8

Microphone Stand 20811    Can be pulled out up to 4 m
K&M 21231    Length: 1100-2000 mm
 

[jason porter]

6 hours ago, inspire said:

Experimental Balloon-Mounted DPA 6060 Setup for Recording Drag Racing Sounds

 

I’m currently preparing to record audio at an upcoming drag racing event, and I’ve been exploring some experimental approaches to capture a unique sound perspective from above the track. With the help of ChatGPT, I’ve developed the setup described in the attached diagram.

The idea is to suspend one (or possibly two) DPA 6060 lavalier microphones using large helium balloons, raising them up to about 7.8 meters (roughly 25 feet). The mics are equipped with fur windscreens and mounted on extended mic stands (K&M 20811 + 21231) to add stability and height. Each mic will record to a Tascam Portacapture X8 placed on the ground below the balloon, minimizing the need for long cables. Meanwhile, I’ll use a Sound Devices MixPre-6 II on the ground to capture close-up engine detail and low-frequency impact with a shotgun mic and a kick drum mic.

This is still an experimental plan, and I’d love to hear your thoughts:

• Has anyone tried balloon-mounted mics before in high-SPL or windy outdoor environments?

• Any suggestions for improving the stability, isolation, or safety of the setup?

• Better alternatives for the cable or anchoring methods?

All feedback is welcome. I’m open to adjusting or simplifying the rig if needed. Thank you in advance for your insights!

 

Gear:

DPA 6060-OC-U-B34    Cable length: 1.8m

DPA AIR1 Black S Fur Windscreen Set

Sennheiser MZA 900P ?? Maybe not needed, if I use Portacapture X8

the sssnake SM10BK Length: 10 m ?? Too heavy probably.

Sound Devices MixPre-6 II

Portacapture X8

Microphone Stand 20811    Can be pulled out up to 4 m
K&M 21231    Length: 1100-2000 mm
 

Interesting idea.

 

Drag races are extremely loud (obviously depending on class)

 

Maintaining the stereo image will be difficult (if that is the intention) unless the balloons are somehow secured from moving and getting tangled and/or twisted.

[inspire]

Update – Evolved Balloon Mic Setup (with Stereo Bar)

Together with ChatGPT, we’ve taken this experimental balloon-mounted microphone setup to the next level. Based on the original concept using a DPA 6060 lav mic suspended under a helium balloon, I’ve now added a K&M 23560 stereo bar (850 mm) to mount two balloons at a fixed distance. Between the balloons, lightweight rods (e.g. carbon fiber or thin aluminum) help maintain spacing and improve stability. The goal is to capture wide, aerial stereo perspectives of extremely high-SPL drag racing sounds — something not commonly recorded from above.

I agree — we might hear perspectives of acceleration and engine roar in ways we haven’t experienced before. Wind conditions will remain the biggest challenge, but careful testing in calm weather should tell us more.

[Aprikot]

Perhaps you're restricted to using mics you have on hand, but a 4061/6061 or a 4062 with the higher SPL specs might be good choices if you are going to be close to the track.

 

What are the balloons achieving in that last image? Surely they're redundant. 

 

If balloons are actually going to take the weight of the mics, any breeze is going to push or sway them. I reckon you'll get a far better recording if you're locked off and telescoped on a stand.

[Jason Nicholas]

I went to a screening last year here in Sydney on the recording and post of Furiosa; Ben Osmo was there to talk about his work on the series. I remember him saying that, for the giant engine practical vehicles on set, he used (If I'm remembering correctly) the high SPL DPA mics; I believe the 4007 and I think he said he had some of their industrial mics that are intended to be sacrificed in the testing of jet engines and the like. However, that was for recording in the engine compartments themselves so might not be directly applicable here (and I'm assuming you don't have the budget to purchase DPA mics which you intend to destroy). Noting the post by @Aprikot above, I would replace the balloons with something that's more stable and can move the mics around when needed. See diagram attached.

   

[inspire]

Furiosa engine voices - they were just fantastic!

The use of balloons, this idea is certainly a challenge and the effect that could be special, but to do it correctly, it would require greater effort. I am afraid I am not really ready for this yet.

[inspire]

Experimental Wide Stereo Setup for Drag Racing

In this concept, we explore the idea of capturing a wide stereo image of a drag racing vehicle by placing two DPA 6060 omnidirectional microphones on separate stands—one on each side of the track. The microphones are panned hard left and right, creating a traditional and wide stereo panorama.

Although I may not currently have the resources to implement this setup in full, the concept itself might be interesting to others. Given the high sound pressure levels (SPL) at such events, raising the microphones higher (possibly using balloons or extended stands) could offer a unique and unobstructed sound perspective. This could result in some truly distinctive recordings, especially as the car races past the center point between the two microphones.

Thanks again to ChatGPT for helping me visualize this idea.

[Aprikot]

Given the high SPL's we are discussing, I would be shocked if there was any noticeable difference in a recording where the mics are spaced and lifted above the action, vs spaced on either side of the track. I just don't think such high SPLs would allow for that kind of nuance.

 

I don't KNOW, obviously. But that would be my prediction. Better ears than mine might disagree.

[Jason Nicholas]

5 hours ago, Aprikot said:

Given the high SPL's we are discussing, I would be shocked if there was any noticeable difference in a recording where the mics are spaced and lifted above the action, vs spaced on either side of the track. I just don't think such high SPLs would allow for that kind of nuance.

 

I don't KNOW, obviously. But that would be my prediction. Better ears than mine might disagree.

I think much would depend on the interaction of the vehicle sound with the environment it’s taking place in (is the track in a valley, etc). My parents used to drag me along to NASCAR races as a child, from a distance in the stands, there is really no nuance at all. It’s just an assaulting wash of noise. However, that’s a race with a bunch of cars, there might be more opportunity for isolating things with a drag race. (I’m now putting my Acoustic Ecology hat on and thinking it would be an interesting study to put some mics in a natural environment some kilometres away recording the soundscape there and hearing the sound of the race track from some distance. Here is the sound on the track, 1k away, 3k, etc.)

 

I wonder also, in addition to the open air mics, one might also use contact microphones on, for instance, the guardrails? If you could rig it up, having one contact mic at the start of the run and another towards the end as a stereo pair could give you an interesting sound perspective as the power of the engine transitions down the track (perhaps, or equally that’s the kind of thing that you think will sound spectacular and ends up sounding like your washing machine spinning up).

[Aprikot]

Contact mics seem way more practical to me than balloons.

 

Having said that, for science I would be happy to A, B, (and C) compare DPA 4061s hoisted above a drag racing track by:

 

a) American Bald Eagle

b) Australian Wedge-tailed Eagle

c) Estonian White-tailed Eagle

[inspire]

Long-distance reference recording for drag race sound analysis
This sketch illustrates an experimental setup where two omni microphones are placed at different distances from the drag race track (e.g. 500 m and 1000 m away). The goal is to study how the sound of a high-SPL event like a drag race interacts with the surrounding environment at varying distances. Even when recorded far from the source, the soundscape may reveal valuable information about reflections, low-frequency energy propagation, and environmental coloration.

This concept emerged from a conversation in this thread. While I may not have the resources to carry it out myself, it seems like a fascinating idea to explore further — perhaps even from an acoustic ecology standpoint.

 

AND

 

Alternative Experimental Setup – Contact Microphones

This sketch illustrates an idea inspired by a recent forum discussion: placing contact microphones directly on the guardrails at two points along the track – one near the start and one near the end of the 1.33 km drag strip. This setup could potentially capture a unique mechanical perspective of the event, emphasizing the vibration and resonance of the passing vehicle's power.

While the result might be unpredictable (possibly just a low-frequency rumble), it's an intriguing concept to explore. The microphones would be mounted securely to metal surfaces with strong coupling – for example using putty or magnetic bases.

 

While I’m not entirely convinced this setup will yield a usable or interesting result, it’s still an idea worth visualizing. As with many sound experiments, you never really know until you test it. Sometimes unexpected configurations reveal surprisingly compelling sonic textures.