Josh, thank you, and no problem, I'm somewhat of a tech nerd, I like this fader-pushing and knob-tweaking (mostly virtual these days) as much as the next guy and I like talking about it, too. Trust me, this hobby and business of ours has a neverending learning curve, there's ALWAYS something to learn about, if today it's not the ever-developing software it's the music itself and tomorrow it's the other way around...Just wanted to mention that a huge production credit is due to my producer Jaakko "JS16" Salovaara, with him the first officially released tracks of mine became alive, many found their final form because of his ideas and "golden touch"I still work with him, though these days we're *just a touch* more equal than back then when I was so new to the "real pro production world" (whatever that is).Just a quick addition to the earlier post:The way we did it the character of the "explosion" is of course determined mostly by the explo/boom sample used, so just audition all the bangs and booms you can get your hands on (and make your own, too, try a kick drum and looots of reverb). The (in this case) 909 kick drum just brings the solid low end to the effect. You might want to low cut some of the explosion rumble and add some nice long reverb separately so the hit is "tight" and with the explosion sample tail and some reverb you still hear it longer, but a little cleaner (vs. muffled and not-so-detailed). The timing of the attacks of the kick and the boom sample is pretty important also, they should land exactly at the same time, it'll be most effective like that. I don't know how standard or good this little piece of advice is but it's worked for me most of the time.