Asbjoern Andersen

Few people on this planet have more experience with weapon sound effects recording than Watson Wu, so it’s fantastic to be able to share his exclusive guide on how to do it right. Covering everything from gear, weapons, locations – to the recording sessions themselves – Wu shares a wealth of experience here:
People in general ask why I often do field recordings of firearms. Here are my responses. When you watch movies or play video games with guns being discharged, someone had to have recorded and edited those sounds. There are no accurate ways to replicate the multiple frequencies of such powerful sounds with synthesizers and/or audio software. Well, maybe not today.

To capture great sounds of weapons, you’ll need to use tons of high quality gear. There are several different methods but I have divided my own key points into five separate sections.

1: Microphones

I own many microphones of all types. Why do I own so many? Because I’m a Microphone Junkie! Microphones are like ice cream flavors; the more different ones you use, the greater chances you’ll have in capturing great sounds. Charles likes chocolate while Watson loves vanilla. Just like art, particular sounds from particular microphones come down to one’s personal preference. Having more recording channels from different sounding microphones will also give me more options for editing and mixing.

Typically I record 12 or more channels for medium to large size budget jobs. The most often used microphones are Røde, Sennheiser, Neumann, Shure, and other similar high quality brands. I find it necessary to have dynamics and condensers such as handheld vocal mics, pencil mics, shotgun mics, XY and MS stereo mics all thrown into the session.

2: Field Mixers & Field Recorders

The right Sound Devices field mixers and field recorders are actually the key to successful recordings of weapons. A long time ago when I tried other brands, all of the channels sounded about the same. In fact, they all sounded like popcorn. This is true even when comparing a cheap $100 handheld vocal dynamic mic to a $2,000 super shotgun condenser mic. The fast responding analog limiters from Sound Devices is what makes each of the mics sound different from one to the other. My favorite field mixers are the 442, MixPre-D, and the USBPre2. The 702, 722, and 744 are the best stand-alone field recorders.

I often find myself pushing the gain beyond clipping to achieve great aggressive sounds. It isn’t about what the wave file looks like during editing, but rather, it’s about how it sounds. The Sound Devices analog limiters will often times produce great sounds despite the awkward looking wave files.

3: Running Long Cables

To attach many XLR cables from the array of mics to my mixers and recorders, I use InstaSnake boxes. makes these fantastic boxes that utilize CAT5e data cable to send long runs of audio signals. For the Ghost in The Shell online game, we had to do over 600 feet of cabling to capture the sounds of super long distance gunshots. InstaSnake boxes are rated to send up to 1,900 feet even with Phantom power turned on.

4: Monitoring

During a gun recording session, there are two ways to monitor gunshots. If you use regular studio headphones, you’ll need to be far enough (60 feet or more) so that the loud gunshots won’t hurt nor impair your ears. This method unfortunately will make communication difficult between the recordist and the armorer.

Precious amounts of ammunitions will be wasted when the armorer can’t hear you telling him to stop shooting

The workflow will slow down when you have to yell at each other and/or rely on walkie talkies. The amorer must also wear electronic earmuffs that will allow him to hear normal speech and still protect his ears from loud gunshots.
Precious amounts of ammunitions will be wasted when the armorer can’t hear you telling him to stop shooting. I always use my Remote Audio headphones to record loud sounds. They are made for helicopters, racecars, and gunshots. Most of the time I can be 25 feet or closer to the shooter and still be able to monitor the recordings. Isolated playback with these headphones is also great even during moments when loud planes fly by.

5: Location

Location, Location, Location! Depending on the client’s needs, there are a few shooting ranges and private properties I can choose to rent. One place here in Florida will allow machine gun firing but won’t allow for explosions. This particular quiet range has areas where I get minimum amounts of echo, which is great for CQB (Close Quarter Battle) types of sounds.

At this prime location we’ve shot off tons of handguns, high power rifles, machine guns like the Mini-Gun to Explosions that send off Giant mushroom clouds of debris

If I need to do everything including explosions, I will use a huge private property in the desert just outside Las Vegas. At this prime location we’ve shot off tons of handguns, high power rifles, machine guns like the Mini-Gun to Explosions that send off Giant mushroom clouds of debris.


There are clients who know what they want, and then there are clients who have little or no clue. When I worked on my first few projects that involved weapons, I was given room to choose what I wanted to record. Based on the agreed upon budget, I decided to choose weapons of different caliber ranging from 9mm, .40S&W, .45ACP, .357 Magnum handgun rounds to .22LR (Long Rifle), .223, .270, and .308 rifle rounds. I have convinced clients who have limited budget to change weapon selections when there are two or more handguns that shoot the same caliber.

When I have to record various 9mm handguns, I will acquire handguns that are all metal made material (like a Sig P226) as well as polymer types (like a Glock 17). Different types of body material, barrel lengths, as well as different brands of ammunition will produce different types of sounds. Once I was recording some hunting rifles, the owner had with him a small thumb size revolver that shot the same caliber as his rifle. However, the tiny handgun actually produced a better and more interesting sound. It was comical! For best results, most of the time, I strive to record large caliber rifles and as well as full automatic machineguns. The loud, powerful transients they produce are very exciting!

When dealing with a mid or large size project, I sometimes will buy various loads and brands of ammunitions for the possibility of capturing a variety of sounds. For example, an inexpensive non-major brand of the .45ACP caliber ammo won’t sound as beefy as the more expensive Winchester brand.

For best results, most of the time, I strive to record large caliber rifles and as well as full automatic machineguns

If I sat within 25 feet or closer to the shooter, the explosive sound from the Winchester PDX1 round will bleed into my Remote Audio NH7506 super headphones.

Not only is it good to record acceptable gunshot sounds, but my role is to also capture as much variety as possible.

When possible I will try to budget in a backup day in case we run into bad weather. I like to record in the desert away from chatty Florida birds and insects during the hot seasons. An exception was made when I gained access to shoot over a lake at a private orange groves property. This was for my “Rifles & Pistols of The World Wars” sound effects library. Shots from the rifles produced unusual gun tails that sounded fantastic over water! Moreover, whenever the wind blew, each of the tails sounded different from each other, which is great for video games. Video games are non-linear so more variation sounds are often needed.



To prepare the needed gear for a medium or large size gun session, it may take an entire day or more to gather everything. Everything means mic stands, folding tables, chairs, cooler to store food/drinks, audio cables, long CAT5e data cables, batteries, custom batteries, bullhorn, walkie-talkies, tools, mixers, recorders, plastic bins, laptops, sun block, weapons, ammunitions, tools, etc. Sometimes I have to rent a large SUV like a Chevy Suburban or a 15-passenger work van to haul the equipment plus personnel.

Most of I do is “Work for Hire”, meaning a company will pay me to field record sound effects then send the files to them. They would own the copyrights to those files. Typically these companies will supply me with a specific list of the actual weapons.
Once the shot list has been acquired, I would call my multiple gun owner associates and offer to pay them for their services. If they don’t have what I need, they too know other gun owners who may be able to provide the same service. Once a day rate has been negotiated, I would pay for the ammunitions in advance. I tend to over budget ammunition in case something interrupts the recording session. Also, here in America, purchased ammunitions cannot be returned.

Popular on A Sound Effect right now - article continues below:

  • Environments High Desert Ambiences Play Track 50+ sounds included, 94 mins total $29

    In High Desert Ambiences, get the desolately beautiful sounds of the American Southwest as the sun brings to life the songs of desert wildlife. This collection features sounds that will make you fall in love with the desert with the trickling of distant rivers, smooth cricket chirps, echoey caws from ravens so close you can hear the details in their wings flaps, snorts from a cautious yet curious mule deer, choruses of birds at dawn, and much more. Most recordings are well over 4 minutes, with one half-hour night-time track that will make you want to take out your tent immediately. For lush, peaceful nature sounds from the heart of the American Southwest, here’s High Desert Ambiences.

    Key Features:
    • Featured on Designing Sound: “Our Favorite Sounds of 2016
    • Desert dawn and evening choruses
    • Distant flowing river, songbirds, and insects
    • Ravens soaring and squawking in a stark and resonant valley
    • Lengthy night-time cricket chorus
    • Partially audible and ultrasonic bat clicks up to 70kHz
    • Ghostly distant animal calls
    • Mule deer warning snorts and jumping movement
    • Files ranging from 31 seconds to 30 minutes
    • Rio Grande dawn chorus along the Texas/Mexico river border
    • Locations: Near Marfa, Texas (in a mountain valley at an altitude of 6,000 ft) and Big Bend National Park along the Rio Grande River, Texas/Mexico border.
    • These desert ambiences are extremely quiet, so I have included descriptive markers to signal interesting events in an otherwise featureless waveform. These markers can be read in programs such as RX, Reaper, and Soundminer. The markers are also included as .txt files in the sound files folder.


    Gear Used:
    Sennheiser MKH 50/30 MS pair
    Mid/Side recordings decoded to LR stereo
    Sound Devices 702
    Rycote AG MS Blimp

  • City Life Berlin Balcony Play Track 6+ sounds included, 131 mins total $29 $8

    Traffic and city atmospheres recorded from a balcony in Berlin at different times and weather conditions.

    More than 130 minutes of ambiences included!

    72% off
  • Cinematic Hits & Transitions features 120 cinematic, epic, heavy, impacts and hits + 100 scary, haunting, transitions and movements

    Ideal for your movie and game trailers!

    50% off

Introducing SOUNDLISTER - the place to find audio professionals:
Are you an audio professional? Or are you looking for audio pros for you project?
Be sure to check out Soundlister - you'll find 100s of audio professionals there already.
Need specific sound effects? Try a search below:

To keep the cost down for a lower budget project, the weather will have to be perfect and without much interruption from traffic, critters, and noisy people. Having the right assistants who know when not to speak nor make noises also helps.
Microphone placements depend on the project. I often compare two films: Heat and The Matrix. Heat has lots of explosion-based sounds whereas The Matrix has more mechanical types of sounds – and as a fan, I always try to capture both. To record mechanical sounds, I typically will place mics very close to the ejection ports (where empty shell casings eject out) of Semi-Auto and Full Auto weapons like the M4 as well as the AK47.

I often compare two films: Heat and The Matrix. Heat has lots of explosion-based sounds whereas The Matrix has more mechanical types of sounds – and as a fan, I always try to capture both.

High power sniper rifles such as the Remington 700 and the Barrett 50 cal usually produce more explosion-like sounds. It’s through the many experiments of shooting and recording I conduct to figure out what is useful.

During the production of the British film ’71, video clips containing gun battles were shared with me. Based on that I was able to determine the needed angles and distances. On the other hand, for video games, I typically need to record multiple perspectives such as close, medium, far, and incoming. During the planning of Ghost In The Shell online game, the audio director wanted all different perspectives including mics being as far as over 600 feet away from the shooter’s perspective. Needless to say, the InstaSnakes really came in handy!

Safety Rules

When field recording sounds of live firing, safety is Always number one. Here in America, we use the terms “Hot” and “Cold”. The term Hot means that firing is going on, meaning you don’t step beyond the safety line. Cold means that there are no ammunitions inside the weapons, meaning it is safe to check your targets etc. Whenever I bring along assistants with little or no experiences in firearms, we brief them extensively on gun safety. If during a moment where someone had to go and adjust a microphone problem like a rattling cable or a fallen mic stand, that person is suppose to ask if we are Cold or can we go “Cold” so that accidental firing may never occur. I cannot stress enough at how important it is to listen to armorers and/or safety officers. Just like driving on the road, accidents can be avoided if you watch, listen, and follow the rules.

I have hired professionals to shoot for me because I’ve seen how safe and serious they are when operating firearms. They will also need to be able to follow my directions such as when and where to fire. The finger is never near the trigger until the gun is leveled and pointed at a specific target.

When the range is Hot, attendees should always wear are anti-fog safety glasses (or large sunglasses) and proper ear protection such as electronic earmuffs (or ear plugs).

File Names

Naming files can be a little tricky. Let’s say a company hired me to record two specific firearms that shoot the same 9mm round. The following two types of firearms are good examples to show.

The Glock 17 is a semi-auto handgun. Semi-Auto means that each time you squeeze the trigger, a round fires off. When you squeeze and hold back the trigger, again only one round fires off. The Glock 17 model is a 17 round pistol. To shoot off all 17 rounds, you’ll need to squeeze the trigger 17 times.

Type of gun _ Name of gun _ Caliber _ Perspective _ Version number


The MP5 submachine gun can shoot in various modes. The selector switch can be set to semi-auto single shots (like the Glock 17) or to full automatic. Full Automatic means when you hold back the trigger, many rounds will shoot out from the gun until the finger release. A short burst of shots can quickly fire out three to five or more rounds. The term MagDump means Dumping out all of the rounds from the MP5 magazine (holding back the trigger until all of the rounds have been dumped out).

Type of gun _ Name of gun _ Caliber _ Type of shooting _ Perspective _ Version number

Foley file names can be like these:


These are some of the technical terms I’ve taught to many of my clients. The South Koreans that attended their paid session were quite fascinated and franticly wrote down new terms such as Bursts and MagDump.

Watson Wu and independent sound effects:

In addition to his custom projects, Watson Wu has also been releasing several independent SFX libraries with both weapon and SFX recordings – here’s an overview:

  • Cars Ferrari Dino Play Track 53 sounds included, 28 mins total

    Get the roaring sounds of a 1974 Ferrari Dino. This Daytona 246 GT edition Italian made exotic car is a 5 speed manual mid-engine v6, and it's known to be The Ferrari without an exterior Ferrari badge.

    53 wave files were captured in 24 Bit, 96 kHz – and the combined recorded driving time is more than 28 minutes.

    Recordings included:

    Onboard Settings:
    Channel 1 = Exhaust 1, Channel 2 = Exhaust 2, Channel 3 = Engine 1,
    Channel 4 = Engine 2

    External Passby Settings:
    Stereo in Left and Right Channels

  • Cars Honda Civic EX 2005 Play Track 65+ sounds included, 40 / 197 mins total

    This library delivers recordings of the 2005 Honda Civic EX, a 127hp, 1.7 liter, inline 4 cylinder, 4 speed automatic transmission Japanese car.

    Included are ready-to-use foley recordings, external passbys, and 4 channels of onboard wave files. All 65 wave files are at 24 bit / 96khz khz and the library features more than 40 minutes of combined driving time (total duration: 197 minutes).

  • Get the powerful sounds of Mustang Dragster Cars in this sound effect library by Watson Wu. It gets you 25 recordings of both classic and modern Ford Mustang passbys at a 1/4 mile race track.

  • Cars Porsche Carrera Play Track 107+ sounds included, 45+ mins total

    Get the sounds of a 1999 Porsche Carrera, captured by recording specialist Watson Wu. The German-made Porsche Carrera is a 6 speed manual, 3.4 liter, Flat 6, weighing in at only 2,900 pounds. The combined recorded driving time is more than 45 minutes long.

    Recordings included:

    Onboard Settings:
    Channel 1 = Exhaust 1, Channel 2 = Exhaust 2, Channel 3 = Engine, Channel 4 = Cab

    External Settings:
    Stereo in Left and Right Channels

  • Get the sounds of 12 authentic weapons from both World War 1 and World War 2, captured by recording specialist Watson Wu. A total of 587 files are included – 107 foley sounds and 480 firing sounds.

    Weapons included:

    Enfield • M1 Carbine • M1 Garand • Mauser • Mosin Nagant – long • Mosin Nagant – short

    Pistols & revolvers:

    British Webley Revolver • Colt 1911 Pistol • German Luger Pistol • Smith & Wesson 1915 Revolver • Smith & Wesson 1917 Revolver • Walther PKK Pistol

    Each complete weapon set includes close, medium, far and incoming stereo perspectives.

    All the weapons are authentic, the gunpowder is real and 100s of rounds were sent downrange to get you these powerful weapon sounds from the World Wars.

  • Get rare weapon recordings off the AA12 Full Automatic Shotgun (12 gauge). It gets you 14 foley sounds in mono and 56 firing sounds in stereo, captured in 24 bit resolution and 96 kHz sample rate.

  • Motorcycles Yamaha YZ250 Dirt Bike Play Track 50 sounds included, 35 mins total

    The Yamaha YZ250 Dirt Bike SFX library from Watson Wu delivers the sounds of this 2004 motorcycle with a 250cc 2 stroke engine. Files are divided into external static sounds, external following sounds, foley sounds, and onboard sounds. Captured Onboard – from the driver's point of view. External recordings: External Static is from a fixed stereo microphone. External Following is from an MS Stereo Shotgun mic following the traveling dirt bike.


Foley Sounds

The first things I record are usually the foley sounds. We do this because fired weapons tend to get too hot to hold. You can literally crack open an egg and let it cook on a full automatic AK-47 that has fired several rounds! The typical foley sounds I record are magazine inserts, magazine removals, charging the bolt, safety on, safety off, and dry fire.

Types of Firing

When recording a full automatic weapon like an MP5, there is a selector switch that will allow single shots as well as full automatic shots. I will typically instruct the armorer to first perform single shots follow by short burst shots, then at least 4 to 5 MagDump shots.

Recording Format

My preferred method of recording is the poly wave file format in 24bit resolution, 96 or higher kHz sample rate. When I use my Sound Devices 788T-SSD 8-track recorder, each wave file contains 8 channels. This makes it easier for me to stay organized especially when there are numerous guns to record and manage.


Prior to editing, I would use Wave Agent from Sound Devices to export the poly wave files into single mono files. Sometimes I need to remove unwanted birds, insects, drops of empty bullet casings, and wind noise using RX4 Advanced. Afterwards, the single mono files are then dragged and dropped into the DAW. While I do use ProTools and Sony Vegas, Reaper has been a joy to work with. I would compare it to Google Chrome. It’s light, fast, and easy to use! Moreover, it works with both Mac and Windows.

To beef up gun sounds, I often do layering and the usage of various plug-ins. I find Waves plug-ins to be extremely helpful. Sound Forge is a great software to finalize files. The Batch Processing tool is like Gold!

Gun Sounds for Games

When I work on games, it’s typical that I’m tasked to create variations for each of the shots. If the weapon again is an MP5 submachine gun, this means that there might be as many as 10 variations for close Single shots, 10 variations for close Burst shots, 10 variations for close MagDump shots, etc. The variations can be subtle from one file to the other such slight EQ/Pitch changes to vast Soft/Hard Compressions, more layering, delays, echo lengths, etc. You can see how many files there might be for implementation when all of the editing completes. The number of files can be doubled if you have to do both indoor and outdoor types of sounds.

With the modern games we have today, shots are randomized to entertain your ears. After all, field recordists and sound designers work in the entertainment industry.
Remember, safety is Always Number One! Hire professional armorers to do the shooting and handling for you.


Please share this:


A big thanks to Watson Wu for his insights on weapon sound effects recording!

A Sound Effect gives you easy access to an absolutely huge sound effects catalog
from a myriad of independent sound creators, all covered by one license agreement
- a few highlights:
  • Sci-Fi Polarity Play Track 975 sounds included

    Polarity delivers more than 950 sounds of electricity, science and technology – captured in several locations around the world, from electricity museums to science labs. About 50% of the library is all about electricity, with various types of Jacob's Ladders, Tesla Coils, Ruhmkorff lamp and all sorts of impactful bursts of energy.

    Then we go through welders, plasma spheres, 3D printers, starting to cover a more broad technology theme – like old phones, telegraphs, dynamo wheels, rotary dials, whirling watchers, alarm, lab centrifuges, something scientists call a roller and a rocker, servo sounds, neon lights, a wimshurst machine and sparklers.

    Many sounds in this section were captured from vintage equipment, from a 1928's tram to old telephone switchboards, high voltage levers and control surfaces.

    All content was recorded at 192KHz with a Sanken CO100K, a couple of Sennheiser 8040 and a Neumann 81i, translating into final assets that have plenty of ultrasonic content, ready for the most extreme manipulation.

  • Looking for futuristic interface sounds? The High Tech Interface Sounds library is a targeted solution for just that. It features 280 sound effects in categories like Beeps, Buttons, Clicks, Data Processing, Micro High Tech and more – created by Sergey Eybog, who recently won an award for his user interface sound design.

  • Databending: A digital art form where flaws in digital systems are exploited and used for creative purposes.

    Data Disruption contains 200 sounds sourced from raw computer files which have been interpreted as audio data. Bitmaps, executables, plugin files and more have been exploited to bring you a unique, varied collection of sound effects and atmospheres ready for a range of productions.

    This sound collection has 100 'raw' files which include harsh, random data noises, intense drones and a versatile selection of glitch one shots as well as 100 processed sounds which were subject to extreme editing and mangling to deliver an array of abstract sonic artefacts.

    Most useful for scenarios where computer technology – known or otherwise – is glitching out, these sounds are best suited to Science Fiction productions which call for the noise of broken communications, signal failures, ailing machines, industrial settings, planetary ambience and dystopian soundworlds.

    That's not to say they won't also come in handy for Glitch/IDM music producers looking to build up an original collection of sounds for their latest kit, or for the creative sound designer to further shape these sounds into anything from user interface clicks, blips and bleeps to surreal soundscapes and beyond.

    Available as a standalone SFX library – or get it bundled with the popular Data Destruction library at a very special price below
Explore the full, unique collection here
Just enter your details below to get the newsletter and free sound effects (soundlist):

Leave a Reply

Your email address will not be published. Required fields are marked *

HTML tags are not allowed.