Punctuate a title card
A sub drop under the frame the title lands does what a full score would, without committing the sequence to music.
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Cinematic sound effects
Trailer grammar: the brass braam, the reverse into a cut, the sub drop under a title, the hit followed by total silence, and the long tail that carries a logo.
- Ask for the move rather than the instrument, because trailer audio is grammar and not orchestration
- A set built for your cut instead of the trailer pack every other edit is already running
- Download clean audio and drop it straight into your edit
Trailer sounds for film, games, and video
Brass braam
A huge low brass note with a rough metallic edge. Overused for a reason, and still the fastest way to say this film is large.
Reverse into a cut
Growing backwards from silence into a hard stop. Lands the cut for you, so the picture can change on the stop.
Sub drop
A low frequency falling steadily with enormous weight. Felt rather than heard, which is why it works under a title card.
Hit and silence
An instant attack with absolutely nothing after it. The silence is the effect, so give it room in the cut.
Logo tail
A long decaying shimmer that thins slowly to nothing. Carries the last five seconds after everything else has stopped.
Rhythmic hit series
Three heavy impacts at an even spacing. The cutting pattern for a title sequence, generated as one clip so the spacing holds.
Generate a trailer sound from a prompt
出発点を選び、好きなように編集して、Morphicで生成しましょう。
Ways to use a cinematic sound effect
Fill the last beat without music
A logo tail decaying to nothing holds six seconds after everything stops, which is exactly what an end card needs.
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Set the scale of the film
A brass braam reads as enormous. Three even hits read as controlled and deliberate. The move sets the genre before a frame of footage does.
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Imply what happens after the cut
A hit followed by total silence makes an audience supply the thing you did not show, which is the cheapest scare in a trailer.
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よくある質問
What makes a sound cinematic rather than just big?
Timing. Trailer audio is a set of moves, a reverse into a cut, a hit followed by silence, a tail that outlives the picture. Each is an instruction about when, and that is what a louder sound alone never delivers.
How is this different from the impact and riser pages?
Those pages each own one element and serve any edit. This one is the trailer grammar that combines them, so every card here is a move rather than an object.
Is the brass braam too much of a cliche?
It is a cliche because it works and an audience reads it instantly. If it is too broad for your piece, three even low impacts give the same weight while reading as controlled rather than epic.
Why does my hit sound weak on small speakers?
It is living entirely in the sub range. Ask for a metallic edge on the attack as well as the low weight, so there is something in the mid range for a phone speaker to reproduce.
Should I generate a hit series as one clip or three?
One clip, if the spacing matters. Three separate hits placed by hand rarely land as evenly as a single generated series, and the evenness is what makes the pattern read as deliberate.
Can I use these in a commercial project?
Yes. Audio generated on a paid Morphic plan is cleared for commercial use, including trailers, advertising, broadcast, and games.