Making a powerful punch sound from scratch || Waveform

Main ideas / concepts / lessons

• Start with a listening test to know your system limits

  • The host runs a challenge to determine the lowest frequency your headphones/speakers can reproduce.
  • The lower the score, the better the playback capability is typically considered.
  • You should note the frequency number at the exact moment you can no longer hear anything, because it will be referenced later.

• Punch sound design is about layering

  • The feel and impact of a punch in games comes from layering multiple samples (not from recording a single “perfect” punch).
  • The key problem becomes: how to choose and record samples that will combine well.

• Record “flesh-like” materials and extract useful textures

  • The episode’s “shopping list” targets materials with textures similar to human flesh/impact components.
  • Examples used:
    • Steak as the foundation layer
    • Bread to add additional “thump”
    • Celery to create a consistent cracking/bone-break style layer
  • There are “no rules” for recording, encouraging experimenting to get many variations.

• Add weight using sub-bass

  • Punches feel powerful partly because of very low frequencies—especially the “root note” region that can sit below ~60 Hz (compared to how bass drums feel at concerts).
  • The host links this to the earlier listening challenge: if your system can reproduce below 60 Hz, you can get more “weight”/sub-bass benefits.
  • In audio terms, those very low frequencies are sub-bass and are associated with perceived weight and cinematic impact.

• Process each layer differently based on what it naturally does well

  • The approach is to play to each sound’s strengths rather than trying to force a weak sound into something it isn’t good at.
  • If a sample can’t be made to sound good, discard it and use another.

• Use “worldization” (context placement)

  • After building the layered punch, the sound must be placed into the correct environment.
  • “Worldization” here means adding processing (notably reverb) so the punch matches the space it occurs in.
  • Reverb is chosen with a short decay time, implying a small room rather than a large space.

• Sound design can come from everyday sources

  • The host emphasizes that impactful game sound design often comes from weird or mundane recording sources (produce sections, tools, garages, etc.), and the real skill is making them fit convincingly in new contexts.

Methodology / instructions (detailed)

1) Listening challenge (system capability check)

• Play the provided test tone sequence.
• Observe the number/frequency shown as it decreases.
• Stop when you can’t hear anything anymore.
• Record the exact frequency value at that moment for later use.

2) Source selection + recording session (“shopping list”)

• Gather materials with texture suited for impact layers:
  • Steak (start for a powerful punch)
  • Bread (add more interesting layers / thump)
  • Celery (for consistent cracking sounds)
• No strict recording rules:
  • Experiment with “whatever horrible techniques” help you capture a variety of sounds.
• Celery recording tip:
  • Freeze celery for ~1 hour before recording so the water freezes in the stalks.
  • This produces more crunch when snapped.

3) Initial evaluation of recorded layers

• Play the best takes from the session.
• If they sound flat/weak, don’t keep them unprocessed—proceed to add missing elements (especially low-end weight).

4) Add sub-bass “weight” using the steak layer

• One recommended sub-bass method:
  • Duplicate the steak sample
  • Pitch one duplicate down an octave
  • (The “alien” effect can sound odd on voice, but is effective on small/percussive sounds.)
• Further beef-up:
  • Add distortion to the lowest layer to strengthen the low-end impact.

5) Shape the bread layer for punch “thump”

• Bread is described as having more natural thump than steak.
• Suggested processing approach:
  • Remove high and low frequencies (focus on mid-range).
  • Improve the mid-range rather than trying to “fix” everything else.
• Pitch movement strategy:
  • Make the bread’s pitch/energy drop from high to low quickly.
  • This creates a more drawn-out, impactful impression.
• If the bread doesn’t work to the desired effect, replace the sample (don’t force it).

6) Process the celery layer for cracking/bone-break texture

• Use celery cracking as a consistent “bones breaking” style element.
• Minimal effects needed because the source is already naturally punchy/crunchy.

7) Combine the layers into a single punch sound

• Layer the processed steak + bread + celery together to build the composite punch.

8) “Worldization” / environmental matching (reverb)

• Place the punch into a target scene/environment.
• Apply reverb to match the room characteristics:
  • Use reverb with short decay time to imply the room is not large.
  • Other reverb controls exist, but the episode focuses on decay time conceptually.
• Test the result in context:
  • Compare the processed punch against what would happen if it were a “real” punch sound.

Speakers / sources featured

• Marshall — host/creator of Waveform
• Waveform — the channel/series referenced by name (no other distinct sources or speakers indicated)