Transition sound effects

Whooshes, swells and falls built to the shape of your cut. Say how the sound gathers, where it peaks, and whether it lands on a hit or on silence.

  • Say how the sound gathers, where it peaks, and how it ends
  • Movement written for one cut rather than a preset shared by every editor
  • Clean audio you can slide against your edit point to the frame
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A long streak of pale light dragging through dark haze, particles pulled along its length and flaring where it ends

Transition shapes for edits, titles, and motion graphics

Air pass

A body of air moving past and away with nothing at the end of it. The version most cuts want, because it can be slid either side of the edit point without committing to a landing.

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Rising swell

Noise climbing and thickening until it stops at the top. Reach for it when the audience needs several seconds of warning that something is about to change.

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Rush into a hit

Movement that ends on a landing. The rush belongs before the cut and the hit on the first frame after it, which makes the join feel deliberate rather than abrupt.

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Swell into silence

A build that cuts out at its loudest point. The hole it leaves is doing the work, so the next shot starts on clean air and feels louder than it is.

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Downward fall

A tone sliding down and gaining weight as it goes. It reads as an ending where a rising sound reads as an arrival, which makes it the natural close of a sequence.

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Short swish

A light quick brush of air with no weight behind it. Sized for small elements arriving on screen, where a full rush would sound like far more than a title card moving.

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Generate a transition from a prompt

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Ways to use a transition sound effect

Give a cut a push instead of a bump

Air moving across the join carries the eye from one shot to the next. It does the same job in a game menu or a social edit as in a finished film.

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Give a cut a push instead of a bump

Hold the space where a scene has not started yet

A swell running for five seconds fills dead air before anything happens. A podcast chapter break leans on it as readily as a title sequence does.

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Hold the space where a scene has not started yet

Set the pace of a whole sequence

Short swishes read as light and quick, a heavy fall reads as final. The transitions you choose tell an audience how fast the piece intends to move.

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Set the pace of a whole sequence

Suggest movement the camera never shows

A rush ending on a dull hit implies something arriving from outside the frame. Nothing has to be animated or shot for the audience to feel it land.

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Suggest movement the camera never shows

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よくある質問

What is a transition sound effect?
A short sound that covers the join between two shots so the change reads as intentional. Most are movement rather than events: air passing, a swell rising, or a tone falling, with the cut placed at the moment the sound peaks or stops.
How do I make a whoosh sound effect?
Ask for displaced air rather than a whoosh. Describe a body of air moving past with a smooth build and a clean fall away, and say whether anything lands at the end. Naming the mechanism gives a far more usable sweep than naming the effect.
Where should a transition sit against the cut?
Start it before the edit and let its peak fall on the first frame of the new shot. A transition placed entirely after the cut always feels late, because the audience has already seen the change by the time they hear it.
Should a transition end on a hit or on silence?
Use a hit when the new shot needs weight and silence when it needs air. A swell that cuts out at its loudest leaves a gap that makes the next scene feel quieter and more deliberate, which is often stronger than another impact.
How long should a transition sound be?
One and a half to three seconds for a cut, and four to six when it has to build anticipation. Anything longer stops being a transition and becomes something the audience listens to in its own right.
Can I use generated transition sounds commercially?
Yes, audio generated on paid plans can be used commercially. See our terms for full licensing details. Building your own also means the movement is cut to the shape of your sequence instead of a stock sweep you have to stretch around it.