Camcorder Microphones.

[Flintstone]

I've used a Sony dvd recorder mounted in/on my car on track days and although the visual results are fine all I get for a soundtrack is wind noise or chatter between driver and passenger (screaming, swearing and the like) whereas what I really want is engine and exhaust noise. So, I need a small microphone that I run tape to the rear of the car. Not looking to spend too much as I probably only go to the track once or twice a year.

Suggestions?

[Coconutty]

Suggestion : Take your camcorder to a reputable electronics shop, so they can see the input connector, tell them what you want to do and ask for their advice.

Somewhere like Maplins - according to their Search facility they have 120 items listed under "microphone" :O
microphone : Maplin Electronics (http://www.maplin.co.uk/Search.aspx?criteria=microphone&source=15)

http://i34.photobucket.com/albums/d129/coconut11/Coconutty.jpg

[Sprogget]

Buy a bigger exhaust?

[frostbite]

Get/make one of those 'telephoto' microphones and mount it outside the car.

[bnt]

If the chatter is near but the source you want is far away, you need something more directional. That Maplin link brings up a "Condenser Zoom" that might do the job a bit better (based on spec), though note that it is mono, not stereo.

Have a look at this page (http://www.internetvideomag.com/Articles_2008/092308_ShotgunMike.htm), which describes a few options and how they work. I think most of those are available inthe UK, and some aren't that expensive.

[Bushfiva]

Engine noise: any quality generic mic, plus good wind shield, plus very good mechanical isolation. If you have a choice between voice and instrument mics, go for instrument. To keep things simple, a Sony mic listed as one of the accessories for your existing kit would be a good starting point. Pay attention to the mechanical isolation, though. You can get good results with cheap kit.

[Skyfan]

I do a fair bit of storm filming (mainly UK based but not always) and a lot of other stuff for family members etc. If you use a directional mike externally it will likely be just as sensitive but in a narrower 'beam', so positioning to get exactly what you want could still be a nightmare. Road noise from tyres, other vehicles, ambients, mechanical vibrations, wind noise - all could give you a potential headache. Internally it might work but you'll still have similar issues.

One alternative is in the edit. Assuming a half decent edit package, you should be able to tweak the frequencies to bring up the low end notes such as engine growl, and drop some of the high end stuff such as shrieking passengers. It's an art not a science as such but I've found it useful on more than one occasion.

Option 3 is fake it. Build up a library of 'clean' audio to your spec and edit it over the original footage, adding passenger comments that fit as appropriate. Most half decent packages allow at least two audio streams to be edited and some many more.

Option 4 would be to have a word with passengers, tell them what you are looking for and 'sell it'. to them. Most will play along quite happily. I do this when I'm out chasing. When the camera's running, anything not related to the event is (politely) discouraged. Anything else could be considered a natural reaction and part of the experience. What you seem to be talking about is a planned shoot, rather than an 'as it happens' record so it's not really out of the question.

[Flintstone]

Thanks folks. Maplin, of course. For some reason I always think of them as a place for people who know how to use a soldering iron ie, not me.




Buy a bigger exhaust?


Ahhh, one of those pimped-up, neon lit Saxo drivers are you?;) We're talking about this sort of sound.....

HTSZqneWVEc


First minute is boring, fast forward to the one minute mark and turn your speakers up (they won't do it justice though) :O I could always dub music on later but it'd be a crime to not listen to that going full bore. http://www.pistonheads.com/inc/images/driving.gif