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The Anatomy of a Gunshot The process of layering effects, allows us to bridge the gap between what something actually sounds like when recorded and what we, as listeners, think it should sound like. Gunshots are particularly difficult to reproduce effectively. They have all the negative aspects you could ever think of from a recording perspective. They are extremely loud, very fast and filled with lots of little details. Creating each gunshot requires several layers not all of which have anything to do with a gun. HINT: Click the to hear MP3 sounds (requires an MP3 player like Quicktime - see apple.com if you need a free version.) The shot that kills Klatt as he holds Mike hostage is a perfect example of the complex layering and sweetening involved in creating gunshots. Some of the layers have little or nothing to do with the original gunshot and some are modified in order to sound more like what I think the audience expects to hear.   I usually choose a gunshot that is from the same or similar weapon used by the character in the scene. (Sharpes Shot) Using this as a foundation I begin to add layers. A deeper boom.  Some echo The bullet sizzle was slowed down from its original   to a more dramatic The bullet hit is comprised of an actual impact recording A hand slap, and last but not least, the sound of a hammer striking an anvil.  All of these pieces are carefully placed, cropped, eq’d and filtered to create the final effect.