Metal Impacts Sound Effects

The making of this high impact library

After recording a few dozen metal impact sounds with a standard close-mic recording setup, we were just not getting the next-level quality we wanted for this library. The recordings had an overbearing proximity feel and the sharpness of the transients was fatiguing our ears. With time, experimentation and a lot of listening we found a formula which changed the game completely. We want to share some of our findings with you!

Microphone Setup Positioning 1

Using a stereo pair of Sennheiser mkh 8040s feeding into a Mix Pre 6, the first step was to change up the mic positions into some balanced but unusually placed, more distanced configurations. For the sound pressure levels (SPL) that the impacts were throwing out, mid-distance recording positions were providing a broader frequency, more balanced overall feel. It might be obvious, but taking the time to position the mics and find where the nodes of sound waves are most interesting is key. At this point in our setup, the captures of the old metal cabinet we were pounding already started producing some very interesting results.

Microphone Setup Positioning 2

Getting within striking distance of the quality target, we still found that the recordings were not celebrating that resonant bass personality that is particular to metal objects and surfaces. To address this, we brought in a LOM Geophon contact mic which we do recommend to pick up low end frequencies beautifully. Positioning the Geophon at different nodal points on the metal surface - which was entirely different for each surface used - we started getting some well balanced low end into the recordings. The captures were really starting to get to where they needed to be; the bass was there, the frequency range was there, and above all, the complex personality of the metal impacts was really pouring through the headsets. Almost there, some truly fantastic audio captures.

Microphone Setup Positioning 3

The final touch was added to the recording setup when a fourth microphone, a shotgun Rode NTG2, was added to the mix. The shotgun mic was pointed directly at the source of the impact with mid-low input gain to bring in a present but balanced transient into the impact recordings. Absolute magic - the quality target was achieved and even surpassed. For recordings like these we can definitely recommend multiple microphone positions, and a high quality contact mic is essential. For each object and surface used in this Metal Impacts SFX Library, the recording formula described above was used to capture the best sounding metal impacts, shakes, resonances, rattles and rings you will ever own.

Pro Tip...

For you sound designers needing mono sources for game production as in sound points in 3D space, you can either mix down the stereo files into mono, or choose the left of right channels. This is tried and tested and works brilliantly with this library, still bringing you the detail, impact and depth you're looking for.

To get an idea of the vast amount of metal objects and surfaces we used to bring you this sound effects library, please see above for the complete files listing.