Stab sound effects

The blade going in, the pull back out, the orchestral shriek over the top, the blade drawn before any of it, and the version heard through a wall.

  • Generate the entry and the withdrawal separately, because the second one carries the scene
  • Foley cut for your frame rather than a stock stab used across other productions
  • Download clean audio and drop it straight into your edit
Create now効果音ライブラリを見る
Stab sound effects

Blade Foley for film, games, and animation

Entry

A short compressed thrust with a wet edge and no ring. Small and dull, which is what makes it land as real.

プロンプトを編集

Withdrawal

A slow wet drag with a sucking release. The half most edits miss, and the half an audience remembers.

プロンプトを編集

Shriek

High violin strokes, harsh and piercing with no melody. Not a real sound, and the reason the scene works.

プロンプトを編集

Blade drawn

Metal sliding free of a tight sheath with a bright rising ring. The threat before anything happens.

プロンプトを編集

Repeated thrusts

Several entries at uneven spacing. The unevenness is what makes it frantic rather than mechanical.

プロンプトを編集

Through a wall

The same event muffled with the wet edge gone. Lets a scene imply the act without depicting it.

プロンプトを編集

Generate blade Foley 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。

生成

Ways to use a stab sound effect

Punctuate the moment it happens

The entry lands on the frame of contact, and the shriek a frame or two before it. That small lead is what makes the audience flinch.

プロンプトを編集
Punctuate the moment it happens

Fill the seconds before without music

A blade drawn holds two seconds of a still shot and does more for the dread than a string cue rising would.

プロンプトを編集
Fill the seconds before without music

Tell the audience how composed the attacker is

One entry and a slow withdrawal reads as deliberate. Several thrusts at uneven spacing reads as panic.

プロンプトを編集
Tell the audience how composed the attacker is

Show what you will not film

A muffled thud through a wall lets the scene stay on a listening face, which is almost always the stronger shot.

プロンプトを編集
Show what you will not film

こちらもおすすめ

Horror & suspenseの効果音をもっと見る

シンプルな料金体系

今すぐ無料で始めて、いつでもアップグレードまたはキャンセルできます。

Basic

$9/ 月
請求額は $0 年

1100 月 クレジット

1 ユーザーのみ

すべてのモデル

ワークフロー

Standard

$24/ 月
請求額は $0 年

3625 月 クレジット

1 ユーザーのみ

すべてのモデル

ワークフロー

Pro

$45/ 月
請求額は $0 年

6350 共有 月 クレジット

1 ユーザー

+ 最大 4 名まで追加費用

すべてのモデル

ワークフロー

Max

$170/ 月
請求額は $0 年

24650 共有 月 クレジット

1 ユーザー

+ 最大 9 名まで追加費用

すべてのモデル

ワークフロー

Enterprise

より高い制限のために

カスタム

料金と請求条件

大容量クレジット
カスタムシート制限
すべてのモデル
ワークフロー
Pricing Gradient

Free

気軽に試したい方に

$0

ずっと無料

最大20クレジット
1ユーザーのみ
一部のモデル
ワークフロー
プラン詳細を比較

よくある質問

Which half matters more, going in or coming out?
Coming out. The entry is short and dull, but a slow wet withdrawal with a sucking release is the sound an audience remembers, and most edits leave it off entirely.
How is this different from the death page?
This is a physical event with a blade. That is a game cue for a life ending. A game usually wants both in different layers, and a film usually only wants this one.
Do I need the orchestral shriek?
Only if the scene is already heightened. It is not a real sound and it announces that you are making a horror film, which is sometimes exactly right and sometimes too much.
Where should the shriek sit relative to the hit?
A frame or two before it. Arriving first is what makes the audience flinch ahead of the picture, where landing together just makes the moment louder.
How do I keep it from sounding comic?
Keep it dull and short. A stab that rings, echoes, or lasts more than about two seconds stops reading as flesh and starts reading as a prop being hit.
Can I use these in a game or a film?
Yes. Audio generated on a paid Morphic plan is cleared for commercial use, including games, film, and broadcast.