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Chris Harris hits the track in the Porsche 911 GT3 RS

One of the wonderful things about Chris Harris on Cars is the enthusiasm that the host brings to the screen. Granted, it would be hard not to enjoy a day driving around in a supercar that you don't own. Still, Harris brings a sense that he knows how rare these opportunities are and relishes them. In his latest look at the two sides of the latest Porsche 911 GT3 RS, you can tell this guy is having a lot of fun. The GT3 RS is a 500-horsepower, track-focused weapon, but it's expected to drive to and away from the circuit after a day of laps. Therefore, Harris decides to evaluate the attributes of this Porsche in both environments. On the road, he sweeps an orange example over some beautifully, undulating German backroads but keeps things rather tidy. However, in the latter half of the video, he arrives at the Weissach test track for a go in a purple RS. There, he really lets the rear hang out.

Is the skill of rev matching being lost to computers?

If the ability to drive a vehicle equipped with a manual gearbox is becoming a lost art, then the skill of being able to match revs on downshifts is the stuff they would teach at the automotive equivalent of the Shaolin Temple. The usefulness of rev matching in street driving is limited most of the time – aside from sounding cool and impressing your friends. But out on a race track or the occasional fast, windy road, its benefits are abundantly clear. While in motion, the engine speed and wheel speed of a vehicle with a manual transmission are kept in sync when the clutch is engaged (i.e. when the clutch pedal is not being pressed down). However, when changing gear, that mechanical link is severed briefly, and the synchronization between the motor and wheels is broken. When upshifting during acceleration, this isn't much of an issue, as there's typically not a huge disparity between engine speed and wheel speed as a car accelerates. Rev-matching downshifts is the stuff they would teach at the automotive equivalent of the Shaolin Temple. But when slowing down and downshifting – as you might do when approaching a corner at a high rate of speed – that gap of time caused by the disengagement of the clutch from the engine causes the revs to drop. Without bringing up the revs somehow to help the engine speed match the wheel speed in the gear you're about to use, you'll typically get a sudden jolt when re-engaging the clutch as physics brings everything back into sync. That jolt can be a big problem when you're moving along swiftly, causing instability or even a loss of traction, particularly in rear-wheel-drive cars. So the point of rev matching is to blip the throttle simultaneously as you downshift gears in order to bring the engine speed to a closer match with the wheel speed before you re-engage the clutch in that lower gear, in turn providing a much smoother downshift. When braking is thrown in, you get heel-toe downshifting, which involves some dexterity to use all three pedals at the same time with just two feet – clutch in, slow the car while revving, clutch out. However, even if you're aware of heel-toe technique and the basic elements of how to perform a rev match, perfecting it to the point of making it useful can be difficult.

What's the deal with comedians and their cars?

'Round about the time in his life when it should happen for all of us, Jerry Seinfeld's ship came in with a force that almost split the dock. He'd been doing pretty well with his observational style ("There's a cereal now that's just cookies. Have you seen this? Cookies for breakfast. It's called Cookie Crisp. Cookies for breakfast! They oughta just call it 'To Hell With Everything!'"). But he showed no signs of setting the world on fire until he got cast in a show that was either about – depending on the level of comedy geek you ask – the average New Yorker, the very worst people in the world, or nothing. Suddenly Jerry Seinfeld was pretty much the center of the comedy universe. And while his comedy was at once both brilliantly innovative and rooted in the mundane, his next move was a predictable grab at something exotic – he went out and bought his dream car. A rather nice 911, actually. As almost everyone knows, it didn't stop there, and the man put together one of the most enviable collections of iconic Porsches we're likely to see. So what's the connection, if there is one, between cars and comedy? As far as Jerry Seinfeld (the man) is concerned, he's probably not the same guy as the Jerry on Seinfeld (the show) although it's hard to say for sure; his public persona is almost unnervingly well managed. But cars and comedy were the constants in his life then, and, well, just look at what the guy does now; Comedians in Cars Getting Coffee is a cultural constant, and we're certainly seeing Seinfeld the man in that one, and cars are obviously still central to his life. And it's been that way with a lot of very, very good comedy guys. Cars seem to round out their lives, to become the yin to their comedy yang. Ernie Kovacs might not have invented visual gags or surreal humor, but he got them both to kill on television in the 1950s, so he's a comedy hero. He died behind the wheel of his beloved Corvair wagon, so he's absolutely some kind of car-guy hero as well. Bill Cosby, the hottest name in comedy for a good long while, had Ferraris, one of two fire-breathing supercharged big-block Cobras (pictured below), and a BMW 2002tii – none of which either contributed to or in any way make up for the profoundly sociopathic creature he turned out to be, but it's still a data point. The Smothers Brothers, who defied the networks and the norms by getting blatantly political before that sort of thing was cool, went sports car racing.