To add a sound effect in DaVinci Resolve, import the file into the media pool, drop it onto an audio track on the edit page, and position it under the frame where the action happens. Set a rough level there, then move to the Fairlight page when the cue needs real mixing rather than a volume nudge.
Resolve is two applications sharing a timeline, and knowing which one a task belongs to saves most of the time people lose here.
DaVinci Resolve sound effects at a glance
| Detail | In DaVinci Resolve |
|---|---|
| Audio formats it imports | WAV, AIFF, MP3, AAC, FLAC |
| Where the file lands | The media pool |
| Placing and timing the cue | Edit page; faster for picture-locked work |
| Mixing the cue | Fairlight page: faders, EQ, dynamics, buses |
| Quick level change | The clip's volume overlay on the edit page |
| Project sample rate | 48 kHz; set it before you import to avoid resampling |
Why the source sound matters most
Resolve's tools can shape and balance audio, but they cannot turn a wrong effect into a right one. Getting the sound itself close (the correct object, texture, space, and length) means the timeline work is placement and polish rather than a fight. Describing the cue precisely on Morphic is what makes the rest of the job short.
How to add a sound effect in DaVinci Resolve
1.
Generate the sound effect on Morphic
Open the sound effects tool and describe the cue: the object making the sound, its texture, the space it sits in, and roughly how long it should run. Generate a few takes, preview them against your shot, and download the one that fits as an audio file. The Morphic sound library is a useful reference for describing the sound you are after.
2.
Import the file into the media pool
Bring the downloaded audio into your Resolve project's media pool the same way you import any clip. It sits with your other media, ready to add to the timeline.
3.
Drop it on an audio track
Drag the effect from the media pool onto an empty audio track on the edit page, or work with it on the Fairlight page if you prefer a dedicated audio view. Keep it on its own track so it stays separate from dialogue and music.
4.
Position it under the frame
Slide the clip along the track until the start of the sound lines up with the frame where the action happens. Zoom in for a tight sync and nudge the clip a frame at a time until the hit feels instant.
5.
Set the level and refine on Fairlight
Set the clip's level so the effect supports the scene rather than overpowering it. If you want more control, take it to the Fairlight page to fine-tune the volume, add a short fade, or shape the tone so it sits naturally in the mix.
Tips for a cleaner mix
- Keep effects on dedicated tracks so you can balance them without touching dialogue or music.
- Sync to the visual hit first, then set level and tone.
- Use Fairlight for anything beyond simple placement, such as fades and small tonal tweaks.
- Layer a base sound with a quieter supporting cue for depth instead of chasing one all-in-one clip.
Cues to build a scene around
Each prompt names the source, the action, and the texture: the three things a sound model can actually act on.Glass set down
0:03A small, specific action sound. The kind of cue no stock library ever has in the right size.
Chair scrape
0:02Movement the picture implies but the production audio rarely captured cleanly.
If you would rather start from a finished cue and change one word, the glass, room and office ambience and impacts pages each open in Studio with a working prompt already in the box.
FAQs
Either works. The edit page is quick for dropping a clip and syncing it to the frame, while Fairlight gives you a dedicated audio view for finer level, fade, and tone control. Many editors place on the edit page and refine on Fairlight.
A standard WAV or MP3 imports into the media pool cleanly. WAV holds the most detail for a short effect; MP3 is smaller. Both drop onto an audio track the same way.
Use clip gain when one cue is simply too loud or too quiet, since it travels with the clip. Use a Fairlight fader when you are balancing a whole group of effects against dialogue and music, because a fader moves the entire track at once.
Name the object, the texture, the space, and the rough length. "A single heavy footstep on gravel outdoors" tells the model far more than "footstep," so the result fits the shot.
Yes. The same Morphic workspace that generates sound effects also covers music and voiceover, so a project's audio can be produced in one place.
Give it its own track, set the level under the dialogue, and use Fairlight to shape the tone or add a short fade. Layering a quieter second cue can also help a single sound feel fuller without getting louder.