Mark the exact frame a scene changes
A swell that stops dead gives an editor a single frame to cut on. It works the same in a game cutscene or an animated title as it does in a trailer.
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Reverse sound effect
A sound growing out of nothing and stopping on your frame. Say what is running backwards and how long the swell takes, and get it cut to your transition.
- Say what runs backwards and how many seconds the swell takes to arrive
- A swell written for your transition, not a stock file trimmed until it nearly fits
- Audio that stops dead on the beat you land it on
Reverse swells for edits, trailers, and game audio
Reverse cymbal
A bright wash gathering out of silence and stopping at its loudest. The card most edits want, because the shimmer is broad enough to sit over almost any picture without arguing with it.
Reverse piano
A warm tonal swell that rises evenly and stops instantly. It carries a pitch, so it belongs where the cut has music behind it and a noise wash would clash.
Reverse impact
Low weight gathering ahead of the hit that never comes. Reach for it when the cut it leads into is violent and the swell has to feel like pressure rather than shine.
Reverse bell
A thin ringing tone swelling upward to a hard stop on the strike. Small and precise, which suits a title card or an interface moment where a cymbal would be far too much.
Reverse breath
A human intake played backwards, airy and rising to nothing. It reads as a person rather than an effect, which changes what a cut feels like without adding a voice to it.
Long reverse wash
Twelve seconds of dense grain building to a hard stop. Long enough to run under an entire opening title sequence, where a three-second swell would have to be joined.
Generate a reverse swell 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 reverse sound effect
Fill a title sequence with something other than a track
Twelve seconds of backwards wash carries an opening on its own. Explainer videos and podcast intros use it where a music bed would commit them to a genre.
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Set the weight of what comes next
A low backwards swell promises something heavy, a thin bell promises something small. Choosing between them tells an audience how to feel about a cut they have not seen yet.
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Put a person in a moment with nobody speaking
A breath running backwards places someone in the scene without a word or a face. Audio drama and first-person game moments lean on that more than film does.
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Suspense sound effect
Generate suspense sound effects with Morphic. Set the weight and the length of the tension so the bed runs the scene instead of being stretched to fit.
Sweep sound effects
Sweep sound effects for transitions, noise sweeps, rising and falling whooshes, reverse tails and metallic passes to carry one shot into the next.
Swoosh sound effect
Need a swoosh sound effect timed to your cut? Morphic generates it from your description, so the transition sits cleanly in the timeline.
Tape stop sound effects
Tape stop sound effects: slow wind-downs, hard brakes, warbling pitch drops and power-off droops for transitions, hard edits and glitchy moments.
Transitions & productionの効果音をもっと見る
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よくある質問
How do I make a reverse sound effect?
Name a real sound and describe it running backwards. Say what swells, how long it takes to grow, and that it cuts off dead at its loudest. The hard ending is the part worth stating explicitly, because it is what makes the effect usable on a cut.
What is a reverse sound effect used for?
Leading an audience into a cut. Because the sound grows before the picture changes, it prepares a viewer for a transition a second or two ahead of it, which is why trailers, title sequences and game cutscenes all reach for one.
How long should a reverse swell be?
Two to four seconds for a single cut, ten or more under a title sequence. Longer swells build more anticipation but commit you to a moment further ahead, so match the length to how much of the scene you want the sound to own.
Why does my reverse effect feel like it lands late?
Because the peak sits before the end of the file rather than on it. Line the last frame of the audio up with the first frame of your next shot, and ask for a take that stops at its loudest point instead of trailing off.
What is the difference between a reverse sound and a riser?
A reverse sound is a real recording running backwards, so it keeps the character of whatever made it. A riser is built to climb from the start, usually out of noise or a tone. Reverse gives you texture and identity, a riser gives you pure tension.
Can I use generated reverse sound effects commercially?
Yes, audio generated on paid plans can be used commercially. See our terms for full licensing details. Generating the swell also avoids the usual route to one, which is reversing a piece of music or a commercial recording you have no right to alter.