The hosts introduce the topic of whether movie silencers are truly as quiet as they appear on screen. They lay out the calibers being tested: .22 LR, 9mm, .45 ACP, 300 Blackout, 5.56/.223, and .308. They explain supersonic versus subsonic ammunition, noting that anything at or above roughly 1,050 feet per second is supersonic and produces a distinct crack downrange, even if the muzzle blast is well suppressed. Subsonic loads use less powder or otherwise run slower to avoid that crack. The goal of the video is to compare Hollywood portrayals with real-world sound levels and to see how each caliber behaves with a suppressor, both in terms of muzzle noise and the unavoidable mechanical sounds of the firearm cycling.
They start with .22 LR using an FN 502 pistol and reference a movie clip of a suppressed .22 being fired. On the range, they shoot subsonic .22 LR through a dry suppressor without hearing protection so the action noise is obvious. The report is very quiet, but still clearly audible, and the hosts point out that in a real restaurant or similar setting people would notice the sound of the action and gas, unlike many movie scenes. They then add a small amount of water to one suppressor and compare it to the dry can. The wet can is noticeably quieter, approaching what many would consider “Hollywood quiet,” though the mechanical cycling noise remains. They conclude that .22 LR can get very quiet, especially wet, but not magically silent.
The discussion moves to 9mm with a Glock 17 and a Dead Air Mojave 9 suppressor. They begin with 115-grain supersonic 9mm, shot dry, and note that the can appears to slow the rounds enough that the typical supersonic crack is not obvious, though the ammunition itself is labeled supersonic. They then switch to 147-grain subsonic 9mm, still dry, and immediately hear a reduction in overall sound. Next, they add water to the Mojave 9 and fire subsonic rounds again. The difference is dramatic, with the hosts describing the sound level as comparable to a suppressed .22 LR and calling it effectively “Hollywood quiet,” aside from the action noise. They emphasize that a quality 9mm can, true subsonic ammo, and a wet setup can produce extremely low perceived sound levels.
They transition to pistol caliber carbines, starting with a Grand Power Stribog A3 using Glock magazines, an AB Suppressor F4, and a Holosun optic. The first several rounds are supersonic, followed by subsonic loads in the same magazine. The supersonic rounds are noticeably loud due to the crack, and the hosts point out that the short suppressor length does not help with overall suppression. When the subsonic rounds cycle, the sound drops significantly, illustrating how much the projectile’s speed matters. They then shoot an MP5-style roller-delayed gun with a different suppressor, again comparing supersonic and subsonic ammunition. The MP5 setup is judged quieter overall, though they credit the lighter suppressor and design rather than the platform alone. The segment underscores how suppressor length, ammo choice, and action type all influence perceived noise.
Next up is .45 ACP, described as 9mm’s bigger brother and naturally subsonic because typical .45 ACP loads travel below the speed of sound. They run an FNX-45 pistol with a Dead Air Mojave 45 suppressor after showing a related movie clip. On the range, the combination is very quiet, and the hosts note that it is comfortable to shoot without ear protection. However, they still hear the slide cycling and gas pressure, which would be noticeable in many real-world environments like a train station unless ambient noise is very high. They contrast this with Hollywood scenes where suppressed .45 ACP shots in crowded public places go completely unnoticed. The conclusion is that while .45 ACP with a good can is extremely quiet and practical, it does not match the near-silent portrayals often seen in films.
The focus shifts to 300 Blackout, which they describe as a highly capable rifle round, especially when suppressed. One rifle is an MCX equipped with a Dead Air Nomad LT, and another is a Christensen Arms rifle with a 16-inch barrel and a different can. They first shoot subsonic 300 Blackout through the Nomad LT and find it impressively quiet, close to the Hollywood ideal for a rifle. Supersonic 300 Blackout is then fired, producing more noise but still benefiting from the suppressor. Comparing the two rifles and cans, both are quiet, but the Nomad LT setup stands out. They emphasize that 300 Blackout truly shines with subsonic ammunition, offering strong performance with very low sound levels. Adding water to the can makes it even quieter, to the point where shots resemble soft hit markers from video games, though it can affect reliability and produce visible smoke.
Finally, they move to 5.56, acknowledging upfront that it will not be as quiet as 300 Blackout. One rifle uses a Griffin suppressor with a KAC-style upper, and the other runs a HUXWRX Flow 556 Ti. They note that while subsonic 5.56 exists, it is generally unreliable in standard gas-operated rifles, so they are effectively limited to supersonic loads. Because the bullets are traveling well above the speed of sound, the supersonic crack dominates the sound signature even with effective cans. The Flow 556 Ti’s larger internal volume makes it quieter than some other 5.56 suppressors they have used, and one host is surprised at how reasonable the noise level is. Still, they stress that 5.56 cannot achieve true “Hollywood quiet” in a practical configuration, and ear protection remains advisable despite good suppression at the muzzle.
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