"Shot sounds sound like a toy" and "death sounds from ship are really cheap", and there was no arguing with either. The shot was a bare descending sine, which is the sound every toy ray gun has ever made. The death was one band of filtered noise with a sine under it - thin, and over before the eye had finished with the explosion. The synthesis is rewritten rather than tuned, because the shape was the problem: LAYERS, not a waveform. A bang is a crack, then a body, then a tail, and they have different lengths. One envelope over one source cannot be any of those things, so the explosions now run three clocks - the crack is done in a fifth of the length, the roar runs most of it, and sparse debris keeps falling afterwards so there is an aftermath rather than a stop. A SUB. Below about 80Hz is where "big" lives; without it an explosion is a hiss however loud you play it. Measured: 74% of a ship death's energy and 86% of a structure's now sits under 200Hz, against almost none before. SATURATION. Soft-clipping folds in harmonics, so a sound reads as loud rather than merely being loud - and stops peak normalisation flattening everything into the same quiet mush. DETUNED PARTIALS on the shot. Three of them at deliberately wrong ratios beat against each other and read as a mechanism; the single sine was the whole of the toy problem. A noise transient and a sub thump under it give it something to hit with. Lengths went up with the weight: the ship death from 0.85s to 1.45s and the structure from 1.6s to 2.3s, both audible to the end rather than gone in the first third.
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Loïc Wisniewski
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