When asked about the sub-bass sounds in that scene with Meiying's encounter with the Meg Erik Aadahl stated: You have the mass of this multi-ton creature slamming into the window, and you want to feel that in your gut. It has to be this visceral body experience. By the way, effects re-recording mixer Doug Hemphill is a master at using the subwoofer. So during the attack, in addition to the glass cracking and these giant teeth chomping into this thick plexiglass, there's this low-end "whoomph" that just shakes the theater. It's one of those moments where you want everyone in the theater to just jump out of their seats and fling their popcorn around. To create that sound, we used a number of elements, including some recordings that we had done awhile ago of glass breaking. My parents were replacing this 8' x 12' glass window in their house and before they demolished the old one, I told them to not throw it out because I wanted to record it first. So I mic'd it up with my "hammer mic," which I'm very willing to beat up. It's an Audio-Technica AT825, which has a fixed stereo polar pattern of 110-degrees, and it has a large diaphragm so it captures a really nice low-end response. I did several bangs on the glass before finally smashing it with a sledgehammer. When you have a surface that big, you can get a super low-end response because the surface acts like a membrane. So that was one of the many elements that comprised that attack." Jason W. Jennings stated: "Another custom-recorded element for that sound came from a recording session where we tried to simulate the sound of The Meg's teeth on a plastic cylinder for the shark cage sequence later in the film. We found a good-sized plastic container that we filled with water and we put a hydrophone inside the container and put a contact mic on the outside. From that point, we proceeded to abuse that thing with handsaws and a hand rake - all sorts of objects that had sharp points, even sharp rocks. We got some great material from that session, sounds where you can feel the cracking nature of something sharp on plastic. For another cool recording session, in the editorial building where we work, we set up all the sound systems to play the same material through all of the subwoofers at once. Then we placed microphones throughout the facility to record the response of the building to all of this low-end energy. So for that moment where the shark bites the window, we have this really great punching sound we recorded from the sound of all the subwoofers hitting the building at once. Then after the bite, the scene cuts to the rest of the crew who are up in a conference room. They start to hear these distant rumbling sounds of the facility as it's shaking and rattling. We were able to generate a lot of material from that recording session to feel like it's the actual sound of the building being shaken by extreme low-end."

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