Another option is to load the DLSMusicDevice on the input of the channel strip ( General Midi device - Quicktime Synth). Program change 127 is a gun shot. Each note on the keyboard will generate a slightly different gunshot tone.

You can use a "stick shot" on a snare drum. Hold one stick on the drum (tip on the drum head, shaft of the stick on the rim), then hit it really hard with the other stick. Or if you want machine gun-like fire, an open snare roll on an appropriate snare has been used historically in classical music for this sound. Or you can experiment with other drums or surfaces using this same technique.

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I wouldn't recommend the timpani suggestion. It's unlikely you'll find a timpanist who would be willing to do that to their timpani. The roundness of the shells, quality of the head and shells are important to the intonation. So timpanists are sometimes hesitant to try anything extreme. But you can ask a timpanist what they would be willing to do to get a similar effect. A bass drum would probably be better, they're not fragile and percussionists are less scared to beat the crap out of them.

You could notate it with a comment gunshot sfx, perhaps with an X-shaped note-head so you can indicate the rhythm. Or you could use the note which produces that sound in the GM percussion bank and explicitly require that (+ a note explaining that this note in this portion of the piece indicates the gunshot sound-effect). The choice here might depend upon whether you choose to give the responsibility for this sound to the keyboardist or the percussionist.

I'm working on a project to make a Laser Tag like game. I have found lots of resources using the play tone function, however I was wondering if there was something that could make a gun sound effect without using any extra chips or shields. I don't need anything real sounding but something better then a simple tone or melody would be awesome. I'm working with a Nano 328 and trying to keep things as small as possible.

It sounds even better when you can vary the amplitude, from loud to soft, fairly quickly; I remember doing this on my TRS-80 Color Computer back in the day, which had a 6-bit DAC; there was a way in BASIC to get the PLAY command to output something akin to random noise, and while doing that while decrease the volume rapidly, you could get the effect of shots being fired, and even something like an explosion. I should hope something like this could be done on an Arduino, perhaps with only a modicum of external parts...

It was a bit tricky to program, but only because I needed it to be non-blocking. (I didn't know how to use timer interrupts yet, and I needed to continuously refresh the display.)

If you can use delay() in the sound making (meaning the arduino cannot do anything else during the sound effect), it would be really easy.

Locking up the board while a .5 second or less sound plays shouldnt be a big deal so for now delay() should work. this would eliminate the need for a delay anyway to prevent someone from firing the tag gun too quickly.

And this is working perfectly. As for the amplitude problem, I'm not sure if its going to be an issue. Once I started playing with this I was able to get the sound to trail off just buy lowering the frequency. The small speaker I'm using I got from radio shack has a low end of 300hz, so setting the frequency lower then that less and less sound is played.

How do sound engineers work gun sounds ? How can I modify existing ones ? I know a little theory about pitch and pan, low/high frequency filter, what can I do with audacity and all that ? any sound I can mimic with real objects ?

It seems to me that gun sounds in movies and games are very, very far from the way real gun shots actually sound, both live and recorded. Movie and game gun sound effects are typically very heavy in the low end, which gives the impression of "punch" and "force". There might be plenty of low frequency content in real gun shots, but to me, it sounds like they are completely dominated by transients in the mid to high frequency range. So in order to record great sound effects for games you might want to turn to other sources like fireworks or recordings of high caliber artillery.

In order to record "dry" sounds without a lot of ambient sound reflections, you might need special microphones that can cope with the sound pressure level (SPL) generated by firearms. According to this source, gunfire noise reaches 155+ dB. A sampling of the max. SPL of popular condenser microphones from Neumann, AKG and RODE seem to fall well below this level. The max. SPL rating of the Shure MK57 dynamic microphone is 150dB.

Regardless of where you obtain recordings of gun shots, fireworks, etc., I would expect to spend a fair amount of time post processing the sound with compressors, EQ, tube distortion, and other effects to find just the right timbre and expression to match the style of the game and the other sound effects.

There are people who make a living off making sound effects for games and movies; I am sure there's much more to the art of making sound effects than what I just outlined here. For example, the Wikipedia article I just linked to mention that:

As for the gun sound changing character depending on the environment, you might want to consider achieving this using real-time DSP effects, provided you haven't completely used up the CPU load budget. Unless you create a huge number of fixed sample variations, you will be able to create much more realistic changes to the sound using simple reverb and echo effects in-game. The ear is extremely sensitive to changes in reverb, so you will need to keep track of a large number of fixed samples in order to create convincing transitions as the player moves around in the game's different environments. With real-time DSP you basically just need to adjust the decay time, delay time and dry/wet ratio of the reverb DSP in response to the player's position and the environment.

Looking at this video from EA DICE. (makers of the Battlefield series). You will see that the microphone type/brand/model has a very big impact on the resulting sounds. Also the distance too has a large impact.

The location is an issue. Because most of the time, you will record in a large empty space for security reasons. If your game's location is more a city, the recording you will make will not match your need: a gun in a desert does not sound like a gun in a city.

If your gun sound is heard from many distances in your game or if you want to abstract the most possible the location from the recording, you may want to record it the more dry possible and apply the wet portion (reverb) at run-time. You may use a convolution reverb for best results.

Yep, you read that right! It's not the loud noise... it's the fact that 150 db right next to your ears numb them a bit and for a few seconds after the gunshot everything goes quiet while your eardrums recover.

To create a realistic gunshot sound in a game, lower all other ambient noises afterwards for a few seconds... maybe replace them with a little bit of ringing for good measure. (IIRC Call of Duty does a nice job of this)

The bullet makes a twirllll sound very fast and very treble. You can reproduce very near this effect with a steel cable stretched and a little hammer. Hit the cable with the hammer, and the zunning sound is exactly the same. Very used in old west films.

Is there a simple way to add a "ray gun"-like sound? I'm not real picky about the type of sound as long as it's vaguely ray gun-ish. Would a simple buzzer (with or without the on/off of the timer output) work? Is there something better?

When the trigger switch is closed the energy stored in C1 turns on the LED and energizes the 555 oscillator. The voltage across C1 will decrease quite rapidly causing the the frequency of the 555 to fall (a sort of voltage control monostable pulse) giving a 'pew' type sound.

Problem.... the older version of logic has sound effect loops like crashes, gun shots, cows and any number of other cool little sound effects, the latest version seems to be missing these simple loops? Type in "gun" and the only thing I get is "shogun"..... "crash" and all I get is cymbal crashes.

Normally I wouldn't need these sounds but my 15 year old son is doing a cool little school project where he wants to re-score some commercials like the iPhone spot where all kinds of things are being shot at and bouncing off the phone.... cool father son project right? Yeah, expect Dad can't get the effects together for him to get it done....totally screwing up what could be an awesome father son project!

M1 Garand gunfire on battlefield. M1 Garrand is a 30 caliber rifle, and often called Greatest Battle Implement Ever Devised. It was the first semi-automatic rifle used by the military. Sound effect requested by William Andrews. Thanks William.

There are only a few special devices necessary for radio sound effects. I've found it's not the props themselves, but the way they are manipulated that make the difference. For one show, I had Crusaders venturing underneath a volcano. One scene called for them to wade through an ocean of bones. We tried spooning a bunch of gravel, but it didn't sound right. I turned to my mentor, Cliff Thorsness, CBS's ace sound effects artist in Los Angeles from the 1930s to the 1960s for help. At first he grabbed some hi-lighter pens and moved them in his hand, but it didn't sound big enough for an ocean of bones. Then he went to our gravel box and started manipulating the gravel up against the sides of the wooden box--Wham, that was it! It's all in how you use the sound effects devices. Here's how I built a number of simple SFX devices we use all the time.

Convincing thunder and other low rumbles as well as odd space sounds can be wrung from a 2 x 4 foot sheet of high impact styrene plastic--with a thickness of about 60 mil. These are sold by specialty plastic shops--try looking in the Yellow Pages. You can buy a sheet for about $10. You can manipulate it in various ways to get different sounds. To get thunder, I grab it with two hands from the 2 foot end and move my hands in a punch-after-punch motion (like a boxer working a speed bag at a gym.)--you ripple it. To get a really convincing thunder-crack, have a second person quickly jerk a crash box and then follow it up immediately with the thunder sheet. You can get some outer space "wup-wup, wup wup" sounds by grabbing each 2 foot end with a hand and flexing it in broad slow strokes. I've used that sound for giant amoebas undulating around. 0852c4b9a8

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