Gun sounds are very complex, because in addition to the muzzle blast, there are also air and flight sounds and, if necessary, reflections. There is no such thing as THE weapon sound and every weapon sounds different depending on the caliber and direction.
Shotgun, single shot
The sound is broadband and voluminous, but requires the entire frequency spectrum for good reproduction, as we see very characteristic peaks of individual frequencies despite the overall range.
Explosive bang
A bar of C4 sounds completely different, it is more like a kind of fading pink noise after a very high initial level.
Tank gun, single shot
The relatively muffled cannon of a tank approaching from the front comes closer to the image of the explosion and spatial localization is also difficult, as the stereo spectrum clearly shows. While the brighter sounding C4 explosion was still at up to 20 kHz, the tank cannon is duller and more voluminous with a spectrum of up to 12 kHz.
Long-barreled precision rifle (sniper rifle), single shot
The sound is based on two acoustic pillars: the broadband muzzle blast with a peak at around 500 Hz and the flight and air noise with a peak at around 2.5 kHz. If the usual 400-600 Hz hole and the 3 kHz peaks are encountered here, the muzzle blast is lost and the sound becomes more like that of a brighter-sounding short-barrelled gun.
Short-barreled pistol (9mm), single shot
The brighter sounding pistol is very broadband and is almost reminiscent of white noise. Any sounding would have a noticeable effect on the character of this weapon. Minor tinkering with the equalizer disqualifies this pistol from being a small calibre (too much treble boost) or even turns it into a fat Colt (too much upper bass and lower mids).
Automatic weapons, long MPi salvo in a closed room
As our next graphic shows, a longer MPi salvo of approx. 20° to the left is quite problematic in terms of spatial localization, as the staccato-like muzzle blasts completely overlay the reflections that would help us with orientation and mix into a loud mishmash. It’s just loud. Games in which such a volley can be easily located in smaller, closed rooms at such low angles are far removed from reality; a lot of help has been provided here.
Automatic weapons, three short machine gun bursts outdoors
What happens outdoors when there are no reflections? A machine-gun salvo uses the entire spectrum very evenly during the blast, but the subsequent noise is still fairly linear up to around six kHz, even outdoors. Below approx. 350 Hz, there is only a little noise directly at the muzzle blast. If the bass boost is too high, right up to the upper bass, such volleys mutate into real cannon blasts.
Intermediate conclusion
Whether it’s firearms of all kinds or a pure explosion of an explosive device – nothing is more broadband than a bang! Sounding contributes to nothing more than the distortion of perception and the loss of the sound character of a weapon. It definitely doesn’t help with orientation. Too much bass also destroys any reality and leaves behind a muddy, muffled legacy. Too much treble has the exact opposite effect and fills the battlefield with silly small-caliber weapons.
With many headset sound interpretations, which are primarily advertised with FPS qualities, one wonders everywhere whether those involved in the sound design have ever even heard a weapon in reality. Eating mud instead of pizza and chips would certainly have helped from time to time.
Result: Neutral wins over sounding
- 1 - Fragestellung: Marketing oder echter Vorteil?
- 2 - Räumliches Hören und jede Menge Voodoo
- 3 - Von Tönen, Klängen und Geräuschen
- 4 - Analysiert: Die menschliche Sprache
- 5 - Analysiert: Schritte und Bewegungen
- 6 - Analysiert: Schusswaffengeräusche und Explosionen
- 7 - Analysiert: Transportmittel und örtliche Situationen
- 8 - Zusammenfassung und Fazit
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