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Talking to a professional does not mean you grasp the whole spectrum of what is called foley. I am a sound designer, not a foley artist, but let me set some things straight. Foley is a lot cloth tracks, footsteps (very hard suff) and generic random sounds like picking up a glass or, there it is, firing a gun. And depending on the budget there will be sample libs used.Film sound is much more than foley.
i think what the professional was trying to tell you that when a foley artist records a gun, its not a gun being used in the studio. That's foley, you mimic sounds. It does not say ANYTHING about if guns in movies are being done by a sound designer or foley artist.

There's lot's of gun recordings. There are even recordings of bullits traveling trough the air. impact sounds of bullits hitting the sand (on a shooting way). It is true that guns often dont sound very impressive. But saying guns are never recorded is just mad.

http://designingsound.tv/minto-gun-reco ... omparison/

http://designingsound.org/2010/04/chuck ... ing-guide/

A very powerfull tool of creating tension is via crickets, crows and owls and many other environmental sounds. So yes, outside recordings are used alot.

Also here's how they create car crashes for sfx libs: (incl dummy head binaural recording, and lo and nehold a LD mic only shotguns?)

ChadDub wrote:Does anyone know how to go those bass drops that go on in movies? For example:



It has more character than a sine, and I've tried having detuned sines pitch dropped, and then time stretching that, but it's not as good.

sounds like thers a saw wave in ther too, but really cutoff