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.
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 MP5k 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 MP5k’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 MP5k 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 an RME Audio FireFace 800 with the 4-710D set as the timing master for pristine audio clarity.