Actual sound recording of the YZF-R1
The machine sounds of the YZF-R1 driven by Spoke and the VMAX ridden by Watari, were recorded in Yamaha Motor's anechoic chamber! How was the recording process carried out?
The members involved in the recording talk about what went on behind the scenes in making the sounds.
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Ginya Nonaka
2nd PT Experiment Department,
PT Experiment Technology Group 3In charge riding for bikes used in the motorcycle sound recordings for the Tokyo Override collaboration project
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Akira Hashimoto
Creative Division,
Planning and Design Department,
Innovation Design Group
Provided advice and input on sound design for the Tokyo Override collaboration project
The Netflix series Tokyo Override depicts a near-future world where the protagonists ride “outdated” gasoline-powered motorbikes. Yamaha Motor supervised the 3D data for the YZF-R1 and VMAX that characters Spoke and Watari ride in the show. The motorcycle engine sounds featured in the series were also overseen by Yamaha Motor and were recorded at the company’s anechoic chamber using nine microphones. The sounds were captured to sync perfectly with the operation and movement of the bikes in the animation. According to the team members involved, "There’s probably no other animation that has gone to such lengths to record motorcycle sounds." This meticulous approach was employed to fully leverage the capabilities of the Dolby Atmos 7.1-channel audio. We spoke with the staff involved in the audio production to learn about the behind-the-scenes process of crafting the sound.
Engine sounds that allow you to feel the character of the motorcycle
Q: How did Yamaha Motor get involved in the production of the Netflix series Tokyo Override? Hashimoto: A few years ago, Netflix approached us, saying, "We're creating an original animation where bikers are the main characters, and we'd like Yamaha Motor to propose some commercial and historical models that would feature in the animation and match the characters and the story." That initial request was how our collaboration began. We were eager to work together and proposed some ideas for bikes tailored to each of the character's profiles.
Netflix seemed to share Yamaha Motor's collaborative attitude, and so we also worked together to create the world we see in the animation, which is set in Tokyo 100 years in the future. So, we took part in the worldbuilding process with the directors of the animation and designed the futuristic bikes used in the races in the story.
When it came to recording the bike engine sounds for the show, we used our anechoic chamber and provided the bikes, riders, and also advisors to ensure the recordings were authentic.
Netflix seemed to share Yamaha Motor's collaborative attitude, and so we also worked together to create the world we see in the animation, which is set in Tokyo 100 years in the future. So, we took part in the worldbuilding process with the directors of the animation and designed the futuristic bikes used in the races in the story.
When it came to recording the bike engine sounds for the show, we used our anechoic chamber and provided the bikes, riders, and also advisors to ensure the recordings were authentic.
Q: Tokyo Override features two iconic Yamaha Motor models, the YZF-R1 and VMAX. What aspects should viewers pay attention to in the scenes where these two bikes appear? Nonaka: The YZF-R1 is a supersport bike with a liquid-cooled, four-stroke, inline-four DOHC 998cc engine, characterized by its exhilarating, speed-driven engine sound.
The VMAX, on the other hand, is a so-called "monster bike" equipped with a liquid-cooled, four-stroke, V-type DOHC 1,679cc engine with a V-Boost system. Its appeal lies in its powerful, deep-throated engine sound.
The changes in sound during acceleration are completely different for each bike, so even those who aren’t familiar with motorcycles can get a sense of their distinct characters just by listening.
They obviously look cool, but it would excite me if viewers thought to themselves, “I like this kind of bike,” based on the sound of it.
The VMAX, on the other hand, is a so-called "monster bike" equipped with a liquid-cooled, four-stroke, V-type DOHC 1,679cc engine with a V-Boost system. Its appeal lies in its powerful, deep-throated engine sound.
The changes in sound during acceleration are completely different for each bike, so even those who aren’t familiar with motorcycles can get a sense of their distinct characters just by listening.
They obviously look cool, but it would excite me if viewers thought to themselves, “I like this kind of bike,” based on the sound of it.
Q: The YZF-R1 and VMAX engine sounds were recorded in Yamaha Motor's anechoic chamber. Could you tell us what this facility is usually used for? Nonaka: This facility is usually used for engine sound development and verifying the effectiveness of mechanical noise improvements. The area where the motorcycle tires make contact is equipped with rollers, allowing the bike to remain stationary while simulating actual riding conditions.
Sound recording only possible with an experienced rider
Q: We heard that the engine sounds were recorded by synchronizing motorcycle operations with the animation in a similar way to voice dubbing. Could you let us know more about the actual process? Hashimoto: We had a monitor in front of the motorcycle, and we recorded the sounds in real time by operating the bike to match the actual animation. This included actions like operating the throttle and clutch at the same time as the characters in the animation.
In addition to the engine sounds during rapid acceleration, sudden braking, and impacts from bumps etc., we also recorded engine start and stop sounds, the sound of sitting on the seat, clutch and brake lever noises, as well as the sound of the switches and horn. We only recorded sounds for one episode, but the recording process took an entire day. Nonaka-san, you were the chief rider for the engine sound effect recording, was this your first time synchronizing your actions with an animation? Nonaka: I was instructed on a second-by-second basis on the timings for throttle control and shifting gears up or down, and I had to operate the bike accordingly. Additionally, I had to pay attention to factors like which gear and engine speed to start in based on the speed of the scenery in the animation.
For example, I’d think, "Based on the acceleration in the animation, this must be 4th or 5th gear, and at this point, I’d want to shift up," and I would control the bike in these ways by imagining things that weren’t explicitly shown in the animation.
In addition to the engine sounds during rapid acceleration, sudden braking, and impacts from bumps etc., we also recorded engine start and stop sounds, the sound of sitting on the seat, clutch and brake lever noises, as well as the sound of the switches and horn. We only recorded sounds for one episode, but the recording process took an entire day. Nonaka-san, you were the chief rider for the engine sound effect recording, was this your first time synchronizing your actions with an animation? Nonaka: I was instructed on a second-by-second basis on the timings for throttle control and shifting gears up or down, and I had to operate the bike accordingly. Additionally, I had to pay attention to factors like which gear and engine speed to start in based on the speed of the scenery in the animation.
For example, I’d think, "Based on the acceleration in the animation, this must be 4th or 5th gear, and at this point, I’d want to shift up," and I would control the bike in these ways by imagining things that weren’t explicitly shown in the animation.
Q: Did you encounter any difficulties in the recording process, or did you have to re-record any parts of the audio for the animation many times? Nonaka: The recording was done in collaboration with the animation studio’s sound team. Although the production company gave their approval during the recording, there were some parts that our team at Yamaha Motor wanted to make particular changes to. So we asked if we could raise the engine RPM a bit more in some parts or make some of the responses quicker, for example. We revisited these kinds of things a few times.
The recording team thanked us at the end for our attention to detail, as they felt they could get a recording of a higher quality than they were even expecting. We were, of course, very happy to hear that.
Hashimoto: This kind of recording wouldn’t have been possible without a rider who could handle the bike exactly as was needed. People who add sound effects to visual works are often called "foley artists," and in this case, we referred to Nonaka-san as our "foley rider."
The recording team thanked us at the end for our attention to detail, as they felt they could get a recording of a higher quality than they were even expecting. We were, of course, very happy to hear that.
Hashimoto: This kind of recording wouldn’t have been possible without a rider who could handle the bike exactly as was needed. People who add sound effects to visual works are often called "foley artists," and in this case, we referred to Nonaka-san as our "foley rider."
A soundproof chamber designed for motorcycles.
Q: There have been many animations that feature motorcycles as a theme in the past, but is there any other animation that has been produced with such a close focus on engine sounds as this one? Hashimoto: As far as I know, past animations featuring motorcycles or cars typically used a combination of existing sample sounds to create the audio. It's quite rare for sounds to be recorded with such precision to match the actual animation, like we did this time.
When it comes to capturing engine sounds, for example, unless you're using a specialized soundproof room for motorcycles like we did, it’s difficult to capture a clean recording. That’s quite a high hurdle. For instance, it is possible to attach a microphone to a motorcycle and record it on an actual road, but road noise, wind, and sounds from the city inevitably get mixed in the recording, so it’s impossible to capture just the clean audio of the bike.
For this recording, we set up eight mono microphones and one stereo mic around the bike in the anechoic chamber. And because we used so many microphones, we could fine-tune the audio balance to match the animation exactly.
When it comes to capturing engine sounds, for example, unless you're using a specialized soundproof room for motorcycles like we did, it’s difficult to capture a clean recording. That’s quite a high hurdle. For instance, it is possible to attach a microphone to a motorcycle and record it on an actual road, but road noise, wind, and sounds from the city inevitably get mixed in the recording, so it’s impossible to capture just the clean audio of the bike.
For this recording, we set up eight mono microphones and one stereo mic around the bike in the anechoic chamber. And because we used so many microphones, we could fine-tune the audio balance to match the animation exactly.
Q: One of Yamaha Motor's philosophies in manufacturing is Jin-Ki Kanno, an approach to deliver users the seductive exhilaration felt when they truly become at one with their machine. Under this philosophy, the exhaust sound is also designed to be more appealing, right? How is the sound design process carried out? Nonaka: We adjust the exhaust sound by quantitatively analyzing the volume and sound quality through data while also relying on the staff's ears to ensure that the sound matches the character of the bike and is appealing to customers.
Q: I believe "Tokyo Override" will attract attention from both animation fans and motorcycle enthusiasts. In terms of the bike recordings, how would you like them to enjoy the animation? Hashimoto: Recently, many visual works with immersive soundscapes, such as those using Dolby Atmos, have been released, and I believe we were able to create sounds for Tokyo Override that fully explore the potential of such audio systems.
There have been works with 5.1-channel or 7.1-channel sound, but I don't think there are many works where engine sounds have been recorded with such a large number of microphones to match that level of sound quality. In this case, we used actual motorcycles, recorded in a specialized anechoic chamber by professional riders, so I believe we were able to create sound that truly maximizes the potential of Dolby Atmos.
I would be happy if viewers watched the animation with a high-quality sound system and consequently became more interested in Yamaha motorcycles as a result.
There have been works with 5.1-channel or 7.1-channel sound, but I don't think there are many works where engine sounds have been recorded with such a large number of microphones to match that level of sound quality. In this case, we used actual motorcycles, recorded in a specialized anechoic chamber by professional riders, so I believe we were able to create sound that truly maximizes the potential of Dolby Atmos.
I would be happy if viewers watched the animation with a high-quality sound system and consequently became more interested in Yamaha motorcycles as a result.
