Creating different types of explosion sounds for home podcasts might sound like a task reserved for professional sound designers, but it’s totally doable with a little creativity, the right tools, and some know-how. Whether you’re putting together a fictional story, a radio drama, or just need that big boom for a climactic moment, homemade explosions can really add to the drama and engagement of your podcast. The best part? You don’t need a Hollywood budget to make them work. With some basic gear and a good understanding of how sound works, you can craft some pretty convincing blast effects.
Let’s walk through how you can create explosion sound effects for your podcast, from capturing the right noises to mixing them in a way that sounds epic.
1. The Anatomy of an Explosion Sound
To make a believable explosion sound, you first need to understand what goes into one. A real explosion isn’t just a single “boom”; it’s a mix of different sounds that happen in quick succession:
- The initial blast: This is the sharp, immediate sound you hear first. It’s the high-pitched “bang” or “boom” that catches your attention.
- The shockwave: Following the blast, there’s a rumbling, low-frequency wave. It’s like the aftershock that feels more than it’s heard, a deep growl or whoosh that travels.
- Debris and aftermath: After the blast, the sound of things flying around, windows breaking, or even distant rumbling can create texture, making the whole thing feel more real and chaotic.
Your job as a DIY sound designer is to replicate each of these layers to build a sound that feels authentic and immersive. Explosion sounds in movies and shows tend to have multiple layers to capture the complexity, and you’ll want to do the same.
2. What You’ll Need
Before we dive into how to actually make these sounds, let’s talk about what you’ll need. You don’t need a fancy studio setup—just a few essentials to get started.
Microphone
If you’re serious about getting high-quality sound, you’ll need a good microphone. You don’t have to break the bank, but something like the Shure SM7B (a workhorse for podcasters) or even an Audio-Technica AT2020 (a more affordable option) will work wonders. The better your microphone, the clearer your sound will be, which makes a huge difference in the final result.
Audio Software
To mix and edit the sounds, you’ll need a digital audio workstation (DAW). Popular free options include Audacity, but if you’re willing to invest in something a bit more powerful, Adobe Audition or Logic Pro X are also great choices. These programs allow you to edit, layer, and process sounds in various ways.
Sound Library
While you can create explosions from scratch, it’s also okay to use some pre-recorded sounds to save time. Libraries like Pro Sound Effects have tons of explosion and destruction sound effects that can help supplement your DIY creations. You can always tweak and layer these sounds to make them your own.
Field Recorder
If you want to get real-world sounds for your explosions, field recorders like the Zoom H5 or Tascam DR-40 are great for capturing authentic effects—things like distant explosions or the sound of debris falling after a blast.
3. The Process: Recording Explosion Sounds
Now, let’s dive into how to create the sounds themselves. It might take a little trial and error, but part of the fun is experimenting with different techniques.
1. Record the Sharp Blast
Start with capturing the sharp burst that forms the core of your explosion sound. You can’t just go outside and set off fireworks, but you can create similar sounds by using common items around the house.
- Popping balloons: Fill a balloon with air and pop it near the microphone. The sharp “pop” is great for simulating an explosion’s initial burst.
- Slamming books: Drop a heavy book or slam something solid against a hard surface to get that sharp, explosive noise. You can also try clapping your hands hard for a quick, high-frequency impact.
- Clashing metal: If you have metal objects, striking them together can create an interesting percussive sound that adds sharpness to the explosion.
2. Record the Rumble
After the initial blast, you’ll need to capture the deep, low-end rumble that mimics the shockwave of an explosion. For this, you’ll want to focus on heavier sounds:
- Heavy thuds: Drop heavy objects like a bag of flour or a thick pillow onto the floor to get that deep, rumbling sound. You can also try dragging a heavy item like a chair or a table across the floor.
- Subsonic rumbles: Try low-frequency sounds like a distant truck or an industrial fan that makes a low hum or rumble. Even the sound of a washing machine or refrigerator can serve as a base for that post-blast growl.
3. Record Debris and Aftermath
The final step is adding the chaos of debris flying everywhere. This gives the explosion a sense of aftermath, like things breaking or moving around.
- Glass breaking: Smash glass or ceramic items (safely, of course) to create the sound of windows shattering.
- Paper and plastic: Crumple paper or crush plastic bottles to simulate smaller debris. These sounds are perfect for adding texture to the explosion’s aftermath.
- Distant rumblings: You can even create a “far-off” feeling by recording the sound of wind or the low rumble of thunder in the background. This will help the explosion feel like it’s part of a larger world.
4. Layering and Mixing the Explosion
Once you’ve recorded these different sounds, it’s time to put them together. This is where your DAW comes in.
Layering Sounds
Start by layering the sharp burst at the top of the sound. This should be the loudest part of the explosion. Then, layer the rumbling shockwave sound underneath to give the effect depth. You can even make the rumble last a few seconds after the initial burst to mimic the lingering shockwave.
After that, add the debris and aftermath sounds. These don’t need to be as loud as the burst and rumble, but they should fill out the sound and give it a sense of movement and destruction.
Adjusting Levels and EQ
Once all the sounds are layered, it’s time to mix them. Play around with volume levels to make sure no layer overpowers another—everything should come together cohesively. If the blast is too jarring or harsh, you can soften it a bit by applying a high-pass filter to remove some of the extreme highs.
Also, use EQ to shape the overall tone of the explosion. You might want to cut some low-end frequencies to avoid muddiness or boost certain high frequencies to make the burst sound more punchy.
Reverb and Delay
Finally, add reverb to give the explosion a sense of space. Explosions are often heard in large, open areas, so adding some reverb can help make it feel more realistic. You can also use a slight delay effect for the rumbling shockwave, simulating how sound would bounce off surfaces.
5. Using the Explosion in Your Podcast
Now that your explosion sound is ready, it’s time to use it in your podcast. The timing is crucial here—if it’s for a dramatic moment in a narrative, the explosion should hit at just the right point for maximum impact. Use it when the action peaks, and make sure it’s clear that the blast is part of a larger story moment.
Also, keep the overall mix in mind. You don’t want the explosion to drown out the dialogue or music. Adjust the levels so that the explosion complements the story without overpowering it.
Conclusion
Making DIY explosion sound effects for your podcast is a fun, creative process that doesn’t require a lot of fancy equipment or expensive sound libraries. With some basic tools and a bit of practice, you can create sounds that add depth, drama, and excitement to your podcast. The key is layering different elements to mimic the complex nature of real explosions, then fine-tuning those layers with your DAW. With a little experimentation, you’ll be able to make explosions that feel as real as they sound.
Chris Mcdonald has been the lead news writer at complete connection. His passion for helping people in all aspects of online marketing flows through in the expert industry coverage he provides. Chris is also an author of tech blog Area19delegate. He likes spending his time with family, studying martial arts and plucking fat bass guitar strings.