简介:
Boom Library战术枪械音效WAV格式
WAV | 24位/96 kHz-1.72 GB
由警方携带。颁发给各军。
被罪犯偷走。
来自真实制式武器的机枪、手枪、步枪和霰弹枪音效
当脚本需要侦探的手枪，小队的步枪或罪犯实际携带的枪支时，大多数图书馆都会按口径分类给您开枪，不知道谁会使用它或为什么使用它。战术枪从一个不同的前提开始: 它的25种武器中的每一种都由警察携带，发给军队或被罪犯使用。一次购买涵盖了警察程序，军事场景和犯罪黑社会序列，每个都是由这些角色携带的实际武器制成的，几乎每个角色都记录了匹配的处理方式。
携带的。已签发。被盗。
《TACTICAL GUNS》中的每一款武器，要么是警方装备、军队配发的制式武器，要么就是犯罪分子所使用的枪械。这就是每种武器都能上榜的原因，而不仅仅是口径或类别。
逐件武器的匹配操控
几乎每种武器都自带预录的操控动作：持握、换弹匣、解除保险、装填。那正是开枪前的声音，是让角色在尚未出手之前，便显得干练或绝望的细节。
二十八个通道，多种距离
每一段镜头都通过多达28个通道进行拍摄，覆盖从近距离到100米的范围，并以八个指定视角呈现。在一段室内镜头与一个屋顶视角之间进行切换，所用素材正是为该视角专门拍摄的。
适用于任何制作流程
采用UCS标签的元数据使每种武器及其射击模式在DAW、视频编辑软件和游戏引擎中都能被准确识别与调用。尤其是在战术类和执法类游戏中，单发子弹仍可被触发，以驱动基于物理的事件系统。
近场、远场、厚重与机械混音
设计的层包含每个武器类别 (突击步枪，机枪，手枪，步枪，shot弹枪和冲锋枪) 的850个预组装序列，每个序列混合为近距离，远距离，重型，和机械变体跨单发，连拍和全自动。
由相同的构建模块组成
每个设计的序列都是根据施工套件中提供的相同镜头和处理记录构建的，而不是单独制作的，因此混音在整个库中反映了相同的武器和相同的记录细节。
我们录制的内容
为什么是这些武器
战术枪记录了25种由警察携带，发给军队或由罪犯使用的武器。在研究过程中，每个人在现实世界中的使用都会根据公共资源进行检查，这是塑造25种武器构成图书馆的前提的一部分，而不仅仅是口径。对于无法核实其服役记录的武器，仅根据其声音和规格进行描述，而不作出图书馆无法证实的断言。
突击步枪
AK-47
FN FAL
香港G36
IMI Galil
M16
SIG MCX
斯泰尔8月
Tavor TAR-21
冲锋枪和猎枪
RAK PM63
乌兹
VZ 61蝎式
凯尔-泰克KSG
雷明顿870
Saiga-12
机枪和步枪
M60
名爵3
PKM
AWM
M14
M82A1
SVD Dragunov
手枪与左轮手枪
阿森纳枪械“打击一号”
格洛克17
伊米沙漠之鹰
史密斯和韦森模型29
拍摄环节
拍摄过程同时捕获了多达28个频道的每个镜头，每个视角都与距射手的距离有关。衣领和手腕上的DPA 4062麦克风 (每个0米) 捕获了身体细节。AB视角在三个距离处记录了三个不同的对，Sennheiser MKH 416在1m处，Audix D6在射手和枪口之间在2m处，DPA 4007在3m处。在两个距离处记录了MS视角，Sanken CMS50在5m处，Sennheiser MKH8050/MKH30在15m处，XY视角在另外两个距离处，sennheiser MKH8050在5m处，Sony PCM在100m处。Schoeps ORTF3D (20m) 和Sennheiser AMBEO VR mic (50m) 为沉浸式格式添加了3D捕获。每个镜头都跨越八个命名的视角: 衣领，手腕，AB，MS，XY，Ambisonic (AmbiX) 和ORTF3D高/低。肩部高度的DPA 4062对也是记录装置的一部分，但不作为其自己的透视文件交付。
处理会议
一组单独的会话涵盖了处理，镜头周围的机械声音而不是镜头本身。握持武器、操作保险、装填与卸下弹匣，以及快速和慢速重新装填。这已在可行的情况下按每种武器分别记录。两个例外使用公开的替代处理而不是专用会话: kel-tec KSG使用SPAS-15处理，而Tavor TAR-21使用AKS-74U处理。
设计层
最后构建了设计的图层，按类别和强度将原始镜头和处理材料混合成准备好的序列: 近距离，远距离，沉重和机械。最终的库既涵盖了组件级工作流，也包含了快速的预组装工作流。
这个图书馆有什么特别之处？
核心问题
大多数枪械资料库仅按口径或武器类型对内容进行分类，便不再深入。9mm镜头是9mm镜头，无论它属于警察程序，战争电影还是抢劫。战术枪从一个不同的问题开始: 谁真正携带这种武器，这对它落入的场景意味着什么？侦探手中的格洛克17和士兵肩上的AK-47是不可互换的枪声，它们是不同的角色，而现实世界的背景，不仅仅是口径，是什么塑造了这个图书馆里的武器。
三个世界，一座图书馆
战役本身的结构使这一点变得具体: 图书馆中的每种武器都属于三个世界之一: 由警察携带，发给军队或由罪犯使用。以下亮点分别涵盖了每一类中的几项；完整的武器库解析紧随其后。
由警方携带
自1982年以来，格洛克17一直是奥地利军方的标准装备，并在美国和欧洲的警察部门广泛使用。雷明顿870长期以来一直是美国执法部门的标准巡逻shot弹枪: 传统服务，而不是当今的标准，因为此后许多部门都转向巡逻步枪。这些是街头层面的执法手段：秘密监视、突击行动，以及一次失控的交通拦截。
颁发给各军
从历史上看，AK-47是世界上使用最广泛的步枪，在整个非洲和东欧的俄罗斯军队和军队中不断服役。PKM在东欧，非洲和中东地区都担任小队支持角色。AWM被英国武装部队用作远程狙击步枪，由第16空中突击旅，皇家海军陆战队和皇家空军团派出。该套装由包括FN FAL，SIG MCX和m14在内的服务步枪四舍五入。香港G36自1997年以来一直是德国联邦国防军的标准发行；IMI Galil为以色列步兵服务了数十年，并被用作哥伦比亚和南非的标准陆军步枪 (Vektor R4)；自1964年以来，M16一直是美国武装部队的标准步枪，并仍在数十个盟军中服役; 斯泰尔AUG是奥地利，爱尔兰，卢森堡，tavor TAR-21在2018年成为以色列国防军的标准步兵步枪。
被罪犯使用
VZ 61 Skorpion是该库中有记录的犯罪用途的最强武器: IRA，意大利红色旅，红军派系以及最近，瑞典和英国的有组织犯罪团伙。AK-47也属于这里，是世界上贩运最多的步枪之一。Uzi具有 “犯罪枪支” 的声誉，这更多地归功于流行文化和可取性，而不是有记录的犯罪记录; 它包含在这种理解中，而不是夸大。
全套武器库
图书馆的25种武器中有22种携带有记录的真实世界声明，足以将它们放置在三个世界中的一个或多个世界中；其余的包括他们的声音和技术配置文件，没有一个不受支持的索赔附加。
距离与视角
距离和透视范围解决了一个单独的实际问题。场景很少停留在一个距离或一个相机位置，并且可以听到重新记录或俯仰移动单个视角以伪造另一个视角。捕获从近距离到100米的多达28个通道的每个镜头，这意味着从室内到屋顶有利位置的切割使用了为精确视角记录的真实材料，不是它的近似值。
处理层
处理层处理在拍摄之前和之后发生的事情，这通常是实际销售场景的内容。一个检查安全，工作幻灯片或在压力下重新加载的角色告诉观众更多关于他们的心态，而不是枪声本身。每个武器匹配，该处理将静态道具声音变成表演声音。
用例：
-需要服务的警察程序和犯罪剧场景-精确的侧臂和巡逻shot弹枪
-战争和军事电影和电视需要真正的服务步枪和小队支持武器
-有组织犯罪，抢劫和贩运序列需要具有真实犯罪记录的武器
-游戏音频团队建立战术或执法战斗系统，需要真正的武器和猎枪，而不是另一堆步枪
-编辑在同一枪战中的内部和外部或近和远摄像机位置之间进行切割
提示：
-首先将武器与场景的现实世界逻辑相匹配 (谁实际上会携带这个)，然后是声音。携带，发行或使用是将25种武器缩小到正确武器的最快方法
-使用衣领或手腕视角进行第一人称或近距离内部切割，然后在没有可听见的接缝的情况下，在同一事件的远处切换到AB或ORTF3D视角
-在镜头之前对处理记录进行分层，以在场景转弯之前建立张力; mag检查或安全点击读取为角色，而不仅仅是力学
-从设计的混合开始快速编辑，然后下拉到施工工具包拍摄和处理元素，当一个场景需要一个视角的混合不覆盖
兼容软件
这个BOOM库的生物声音是WAV文件，这意味着你可以在任何可以处理这种文件类型的软件中导入和使用它们。
嵌入了丰富的元数据
为了为您提供最快和最简单的工作流程，所有文件都包含大量的元数据，如文件描述和关键字，以快速找到您正在寻找的声音。元数据可以由音频管理工具读取和处理。
根据新的UCS标准
简介:
Boom Library Tactical Guns Designed WAV
WAV | 24-bit / 96 kHz – 1,72 GB
CARRIED BY POLICE. ISSUED TO ARMIES.
STOLEN BY CRIMINALS.
Machine Gun, Pistol, Rifle and Shotgun Sounds From Real Service Weapons
When a script calls for a detective’s sidearm, a squad’s service rifle, or the gun a criminal actually carries, most libraries hand you gunfire sorted by caliber, with no sense of who would use it or why. TACTICAL GUNS starts from a different premise: every one of its 25 weapons is carried by police, issued to armies, or used by criminals. One purchase covers a police procedural, a military scene, and a criminal underworld sequence, each one built from the actual weapons those characters would carry, with matched handling recorded for almost every one.
Carried. Issued. Stolen.
Every weapon in TACTICAL GUNS is one carried by police, issued to armies, or used by criminals. That’s the reason each weapon made the list, not caliber or category alone.
Matched Handling, Weapon by Weapon
Almost every weapon ships with its own recorded handling: grab, mag change, safety, reload. That’s the sound before the shot, the detail that makes a character read as competent, or desperate, before they ever fire.
Twenty-Eight Channels, Multiple Distances
Every shot is captured across up to 28 channels, from point-blank out to 100 meters, delivered across eight named perspectives. Cut between an interior take and a rooftop vantage point using material actually recorded for that perspective.
Built for Any Production Pipeline
UCS-tagged metadata keeps every weapon and fire mode addressable across DAWs, video editors, and game engines alike. For tactical and law-enforcement titles specifically, individual shots stay triggerable for event-driven, physics-based systems.
Close, Distant, Heavy, and Mechanical Mixes
The Designed layer contains 850+ pre-assembled sequences per weapon category (assault rifles, machine guns, pistols, rifles, shotguns, and submachine guns), each mixed as Close, Distant, Heavy, and Mechanical variants across single shots, bursts, and full auto.
Built From the Same Construction Kit Elements
Every Designed sequence is built from the same shot and handling recordings available in the Construction Kit, not separately produced, so the mixes reflect the same weapons and the same recorded detail throughout the library.
What We Recorded
Why These Weapons
TACTICAL GUNS records 25 weapons chosen for being carried by police, issued to armies, or used by criminals. Each one’s real-world use was checked against public sources during research, part of the same premise that shaped which 25 weapons made the library, not caliber alone. Where a weapon’s service record couldn’t be verified, it’s described by sound and specification only, not by a claim the library can’t support.
Assault Rifles
AK-47
FN FAL
HK G36
IMI Galil
M16
SIG MCX
Steyr AUG
Tavor TAR-21
Sub Machine Guns & Shotguns
RAK PM63
UZI
VZ 61 Skorpion
Kel-Tec KSG
Remington 870
Saiga-12
Machine Guns & Rifles
M60
MG3
PKM
AWM
M14
M82A1
SVD Dragunov
Pistols & Revolvers
Arsenal Firearms Strike One
Glock 17
IMI Desert Eagle
Smith & Wesson Model 29
The Shot Sessions
The shot sessions captured every take across up to 28 channels simultaneously, each perspective tied to its own distance from the shooter. DPA 4062 mics on the collar and wrist (0m each) captured on-body detail. The AB perspective was recorded at three distances with three different pairs, Sennheiser MKH 416 at 1m, Audix D6 between shooter and muzzle at 2m, and DPA 4007 at 3m. The MS perspective was recorded at two distances, Sanken CMS50 at 5m and Sennheiser MKH8050/MKH30 at 15m, and the XY perspective at two more, Sennheiser MKH8050 at 5m and Sony PCM out at 100m. Schoeps ORTF3D (20m) and a Sennheiser AMBEO VR mic (50m) added 3D capture for immersive formats. Each shot is delivered across eight named perspectives: Collar, Wrist, AB, MS, XY, Ambisonic (AmbiX), and ORTF3D High/Low. A DPA 4062 pair at shoulder height was part of the recording rig too, but isn’t delivered as its own perspective file.
The Handling Sessions
A separate set of sessions covered handling, the mechanical sounds around the shot rather than the shot itself. Grabbing the weapon, working the safety, loading and unloading the magazine, reloading fast and slow. This was recorded per weapon wherever practical. Two exceptions use disclosed substitute handling instead of a dedicated session: the Kel-Tec KSG uses SPAS-15 handling, and the Tavor TAR-21 uses AKS-74U handling.
The Designed Layer
The Designed layer was built last, mixing the raw shot and handling material into ready sequences by category and intensity: Close, Distant, Heavy, and Mechanical. The finished library covers both the component-level workflow and the fast, pre-assembled one.
What’s so special about this library?
The Core Question
Most gunfire libraries sort their content by caliber or weapon type and stop there. A 9mm shot is a 9mm shot, regardless of whether it belongs in a police procedural, a war film, or a heist. TACTICAL GUNS starts from a different question: who actually carries this weapon, and what does that mean for the scene it’s dropped into? A Glock 17 in a detective’s hand and an AK-47 slung over a soldier’s shoulder aren’t interchangeable gunfire, they’re different characters, and that real-world context, not caliber alone, is what shaped which weapons are in this library.
Three Worlds, One Library
The campaign’s own structure makes the point concrete: every weapon in the library belongs to one of three worlds: carried by police, issued to armies, or used by criminals. The highlights below cover a few from each; the full arsenal breakdown follows them.
Carried by Police
The Glock 17 has been standard issue for the Austrian military since 1982 and is carried widely across police departments in the US and Europe. The Remington 870 was long the standard patrol shotgun in American law enforcement: heritage service, not current-day standard, as many departments have since shifted to patrol rifles. These are the street-level weapons: a stakeout, a raid, a traffic stop that goes wrong.
Issued to Armies
The AK-47 is, historically, the most widely used rifle in the world, in heavy and ongoing service across Russian forces and militaries throughout Africa and Eastern Europe. The PKM holds the same territory in a squad support role, confirmed across Eastern Europe, Africa, and the Middle East. The AWM was adopted by the British Armed Forces as its long-range sniper rifle, fielded by the 16 Air Assault Brigade, the Royal Marines, and the RAF Regiment. The set is rounded out by service rifles including the FN FAL, SIG MCX, and M14. The HK G36 has been standard issue for the German Bundeswehr since 1997; the IMI Galil served Israeli infantry for decades and was adopted as the standard army rifle of Colombia and South Africa (as the Vektor R4); the M16 has been the standard rifle of the US Armed Forces since 1964 and remains in service with dozens of allied militaries; the Steyr AUG is the current standard rifle of Austria, Ireland, Luxembourg, and Tunisia; and the Tavor TAR-21 became the standard infantry rifle of the Israel Defense Forces in 2018.
Used by Criminals
The VZ 61 Skorpion is the strongest weapon in this library for documented criminal use: confirmed use by the IRA, the Italian Red Brigades, the Red Army Faction, and, more recently, organised crime gangs in Sweden and the UK. The AK-47 belongs here too, as one of the most trafficked rifles in the world. The Uzi carries a “criminal gun” reputation that owes more to pop culture and desirability than to a documented crime record; it’s included here on that understanding, not overstated.
The Full Arsenal
Twenty-two of the library’s 25 weapons carry a documented real-world claim strong enough to place them in one or more of the three worlds; the rest are included for their sound and technical profile, without an unsupported claim attached.
Distance and Perspective
The distance and perspective range solves a separate, practical problem. A scene rarely stays at one distance or one camera position, and re-recording or pitch-shifting a single perspective to fake another is audible. Capturing every shot across up to 28 channels, from point-blank to 100 meters, means the cut from an interior to a rooftop vantage point uses real material recorded for that exact perspective, not an approximation of it.
The Handling Layer
The handling layer addresses what happens before and after the shot, which is often what actually sells a scene. A character checking the safety, working a slide, or reloading under pressure tells the audience more about their state of mind than the gunfire itself. Matched per weapon, that handling turns a static prop sound into a performing one.
Use cases:
– Police procedural and crime drama scenes needing service-accurate sidearms and patrol shotguns
– War and military film and TV needing real service rifles and squad support weapons
– Organised crime, heist, and trafficking sequences needing weapons with a real criminal-use record
– Game audio teams building tactical or law-enforcement combat systems that need real spread across sidearms and shotguns, not another pile of rifles
– Editors cutting between interior and exterior or near and far camera positions within the same gunfight
Tips:
– Match the weapon to the scene’s real-world logic first (who would actually carry this), then to the sound. Carried, issued, or used is the fastest way to narrow 25 weapons down to the right one
– Use the Collar or Wrist perspective for a first-person or close interior cut, then switch to the AB or ORTF3D perspective at distance for the same event without an audible seam
– Layer the handling recordings ahead of the shot to build tension before a scene turns; a mag check or a safety click reads as character, not just mechanics
– Start from a Designed mix for a fast edit, then drop down to the Construction Kit shot and handling elements when a scene needs a perspective the mix doesn’t cover
COMPATIBLE SOFTWARE
This BOOM Library of creature sounds comes as WAV files, meaning you can import and work with them in any software that can handle this file type.
RICH METADATA EMBEDDED
To provide you with the fastest and easiest workflow possible, all files contain extensive metadata like file description & keywords to quickly find the sounds you’re looking for. Metadata can be read and processed by audio management tools.
ACCORDING TO THE NEW UCS STANDARD
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