This microphone picks up near ambient sound off the C63's left exhaust outlet.

Note Chevy LUV pickup in parking lot. A Volvo 262 Bertone is behind it. Sexy.

The weighted piece of particle board in the left foreground directs air from the dyno's (off-camera) blower into the C63's radiator ducts. This — or something like it — is standard dynamometer practice.

Microphones, microphones, microphones.

In the C63's case, far ambient sound was captured by this digital recorder. It was connected to a large, sock-wearing microphone, and it sat on a Gorillapod fifteen feet from the car's rear bumper.

The dyno operator. The remote in his left hand is used to start and stop the dyno (a Mustang) while in the car.


This man's thoughts on the C63: "It sounds like a Camaro from inside the car. I had a big-block '69 that sounded just like that."

The complete front mic array. The C63's air filter housings have been removed for recording purposes; the front mics are aimed directly into the car's aftermarket carbon-fiber airboxes.

Welcome to Pro Tools! This is where post-production mixing occurs. Each waveform — the highlighted scribbles on the screen — represents a sound channel. (In the early stages of mixing, each wave would represent a mic feed.)

Photo Credit: Turn 10 Studios

The Ferrari F40 does not understand your puny video games, but it has consented to be recorded for one. The Ferrari F40 speaks in the third person and is tired of being surrounded by the proletariat. The Ferrari F40 would like you to stop bothering it. Move along.

Photo Credit: Turn 10 Studios

The testing facility in Southern California where impact noise was recorded. Yes, Turn 10 bought a Buick just to destroy it. They bought several.

Photo Credit: Turn 10 Studios

A Lamborghini Diablo being sampled in Los Angeles.

Photo Credit: Turn 10 Studios

Few things in life are more satisfying than crashing the shit out of a Buick for science.

Photo Credit: Turn 10 Studios