Weapon Mechanics: Folding Pocket Gun

Let the weapon mechanics series get you started sculpting your critical weapon handling!  These sample packs are designed for game developers and audio-post for video and film in mind to let you sculpt your own design.  All core FPG mechanical functions and basic handling were recorded with depth and care, providing multiple takes of each action to provide a decent pool of samples to help you achieve whatever level of realism you may desire.  My multi-mic approach focuses on all of the close-and-quiet operation of the FPG to get a balanced, full, rounded sound that can easily be worked in with explosive live-fire sounds.  Hi-Res recording ensures you can pitch, stretch, and mangle to your heart’s content!


Sample Rate: 96khz
Bit Depth: 24-bit
Channels: mono wave


All microphone sources “raw” untreated (aside from minor edits to remove unwanted noise within tolerable levels). C414 (Room)mic was kept muted. The signal chain consisted of some basic parallel compression and clean limiting to tame the loudest peaks, but otherwise all performances are at a consistent gain and volume.

Microphones used:

NTG-3: Facing Barrel, as close to on-axis as possible without getting in the ejection path.

R-121: Special / Indirect. The mic is just over the barrel of the FPG but aimed so that the figure-8 picks up the room reflections, the weapon barrel sitting just under the null area of the polar pattern.

AT3035: This LDC is essentially capturing on-axis sound of the body of the FPG’s mechanisms from the left side of the armorer / weapon handler (essential First-Person perspective). This mic is kept a bit forward of the trigger, and evenly listening for the barrel / slide actions as well as picking up handling from the rear of the weapon.

MXL991: Placed in-phase with the AT3035 on the same side (for coherency), placed closer to the rear of the FPG to pick up fine-detail components such as the hammer and trigger actions, with an emphasis on high-frequency content.

C414: “Room tone” mic placed overhead and behind the armorer / weapon handler. The mic was set to omni and is really only meant to help with eliminating room tone from the direct mics if needed and/or creating an IR of the room that these samples were captured in.

Recording Signal Chain notes

All microphones were fed through a Universal Audio 4-710D, with each channel’s tone blend knob set to 100% transistor. The channels were left completely untreated, no compressors were engaged, but the unit’s master switch for Limiting was set to on to prevent clipping and to avoid overloading the pre-amp or converters. The 4-710D was connected via ADAT to a FireFace 800 with the 4-710D set as the timing master for pristine audio clarity.


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