Director wants a lot of ricochet sounds. Am wondering how your treat these. They are so short. Do you pan them from one speaker to another very quickly, or just drop it in one speaker?


I had a heinous scene in Warriors Way, which only made sense once I crawled through placing/panning the shot location, then placing the impact location and then connecting the two with the bullet whizz - the scene went from a mess to be far more dramatic and clearly defined...

As you say the sound is so fast, the more difficult part is actually make it work so it 'reads' as a bullet by.... Depending on what else is happening you may favour the surround (ie have more of the whizz or ricco in the surrounds for it to rate)

With bullet doppler whizzes it can work well to chop it in half and having the first half eg in front L and the last half in right surround - so rather than a pan its a jump cut from front to back. Of course the pan placement for the start needs to match where the gun is and placement of the end needs to be where the destination is.... If a ricco is part of the bullet impact at destination then it is likely a discrete location

  • Thank you. I'll try this technique and see how it works. – Sunshy Jun 11 '13 at 7:16

I'd just drop them in one speaker and delays/reverb returns to other channels as necessary to sit them in space. Depending on the length of ricochet sound, I'll sometimes automate a divergence spread (point to wide).

  • Appreciate the ideas Shaun. I'll give it a try. – Sunshy Jun 11 '13 at 7:16

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