Tape Stop

The pitch-down warble of audio dragging to a dead halt. Generate the tape-stop your edit needs, from a slow sagging wind-down to a fast smeared brake, and drop it clean on the cut.

  • Set how steeply the pitch falls away, a lazy sag or a hard yank into silence, and that curve is what comes back.
  • Shaped around the moment you're cutting, so your stop doesn't sound like the same preset everyone pastes on.
  • Comes back as a clean isolated element you can park on its own track and fade into whatever follows.
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A reel-to-reel tape spool caught slowing mid-spin under warm low light against a dark ground, tape slack at the head

Tape stop cues for video, games, and animation

Slow wind-down

A long, gradual sag in pitch and speed, right when the ending should feel exhausted rather than sudden.

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Fast brake

An abrupt yank to a halt in a fraction of a beat, for punchlines and moments that need the floor pulled away.

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Warble down

Falling pitch with an unstable flutter through it, closer to failing tape than a smooth electronic slide.

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Power-off droop

The signature of something losing electricity: pitch and volume dropping together into a small mechanical thud.

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Vinyl slowdown

A turntable losing momentum, with faint surface noise dragging down alongside the record.

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Glitch stutter stop

A digital version that hiccups and repeats before it dies, suited to modern edits and broken-signal moments.

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Generate a tape stop sound from a prompt

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Ways to use a tape stop sound effect

Kill the music the second everything goes wrong

The classic comic stop: sound sags and dies exactly when a plan falls apart, in a sketch, a reaction clip, or a game over screen.

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Kill the music the second everything goes wrong

When a hard cut lands too abruptly on its own

Jumping between two unrelated shots can feel like a mistake. A pitch drop covers the seam and makes the change deliberate.

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When a hard cut lands too abruptly on its own

Old machines and worn-out playback

Wobble and drag carry the character of tired equipment, useful for a period scene, a found-footage sequence, or a lo-fi intro.

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Old machines and worn-out playback

A device dying somewhere out of shot

A slowing whir off screen suggests a recorder or projector giving up, letting the failure happen where you never have to build it.

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A device dying somewhere out of shot

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よくある質問

What is a tape stop sound effect?
It is the pitch-down warble you hear when magnetic tape or a record is dragged to a stop, the audio smearing lower and lower as it loses speed. It became a staple transition and rug-pull effect because the slowing pitch reads instantly as everything grinding to a halt, even on digital tracks that never touched tape.
Where can I get a tape stop sound for a video?
Generate one rather than search for it. Describing the slowdown you want takes less time than digging through a stock library, and you get the exact drag your cut needs instead of the closest available clip. Every sound on this page was made from the prompt printed beside it, so you can start from one and adjust it.
How do I make a custom tape stop sound effect?
Describe how fast it stops and how it warps, then generate it. A prompt like "a tape stop dragging down in pitch and warbling to a dead halt over 2 seconds" gives Morphic enough to work with, and you can adjust the wording until the drag matches your cut.
What is the difference between a tape stop and a tape rewind?
A tape stop drags the pitch downward as the tape slows to a halt, so it sounds like everything sagging and stopping. A rewind runs the tape backward at speed, so it chatters upward and fast. They are opposite gestures: a stop pulls a moment to a close, while a rewind cues something up to replay.
Can I use these tape stop sounds commercially?
Yes, audio generated on paid plans can be used commercially. See our terms for full licensing details. Because each sound is generated rather than pulled from a shared library, you also avoid the clip turning up in someone else's video.
Why does my tape stop sound not sit right in the edit?
Usually the length of the drag does not match the moment. A slow two-second wind-down laid under a hard cut overshoots the beat, while a fast brake under a lingering shot feels clipped. Generate a version whose slowdown matches the length of the moment, land the halt on the cut, and it settles in far more easily.