Eventually we ended up recording 19 channels maximum and took a carefully selected collection of microphones to the blasting stage. We planned to record to as many channels as we could deal with.
MIC DROP GOAL EXPLOSION FULL
Once we decided to go full risk, we made sure that we were fully armed on the recording side as well. The final list features: TNT, PETN, ANFO, RDX, Semtex, Black Powder, Flash Powder, Det Cord, Dynamite, Gas Cartridges, Isopropanol, an Anti-Tank Mine, and more…Īlthough we were prepared that it would cost a small fortune to realize explosion recordings of this scale, we got a bit of a shock when we saw the final cost calculation. We also included stepped explosions as a nice extra. Our goal was to come up with a great sounding variety of explosives and combinations. Together with Werner we finally came up with a long wish list containing the different kind of explosive material we wanted to record.
One important part was to learn about the detonation velocities of the various kinds of explosives and that different velocities will also sound different. Luckily he had great connections, and we were finally able to partner up with the German military!īesides the initial test recordings we gathered all information we could get about existing experiences on recording explosion effects: we listened to existing libraries and read countless articles on websites (Designing Sound!!). Because of the high amounts of explosives we had in mind it soon became clear, that we could not realize such a huge operation in any civil environment. We presented him our list of things we would wish to record and what recording conditions we would need. He is highly experienced in civil and military blasting operations, guns and pyrotechnics. We highly recommend reading all the articles he has published on Designing Sound!Īfter a lot of investigation we finally got introduced to THE blaster expert here in Germany: Werner Meyerl. We are very thankful for all the great advice we got from Charles Maynes, who is the master when it comes to explosion and gun effect recordings. So we investigated into this topic frequently and talked to experts in this field. As the title of the library says, it was also our goal to record real massive explosions that we could not find elsewhere.
Up to now we don´t know any explosion effect library that features multi-channel recorded and mastered explosion sound effects and which offers you each explosion in different perspectives, microphone characteristics and channel formats. The recording conditions at that particular training area were not good enough to record for a library project, but it was a great experience and taught us how complex and challenging it would be to create an explosion library.
In 2011 we did some test recordings at a blaster training school in eastern Germany. Explosion sfx is something we have in our heads probably since we recorded our very first library back in 2010. Guest contribution by the fine folks at TONSTURMĪs the theme of this month is destruction we are really happy to be invited on Designing Sound to share our stories about the production and creation of our latest sound effect library:Īn essential part of creating TONSTURM libraries is an in depth research phase.
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