Cover a cut so it stops being one
A short whoosh peaking on the edit point carries the eye across it, which is the whole reason transitions have sound.
Edit prompt
Whoosh sound effect
Short transitions, long sweeps, reverse rises, and the heavy pass of something large. A whoosh has to match the move it covers, so length is everything.
- Match the length of the whoosh to the length of the move
- A sweep cut to your transition, not a stock file stretched
- Clean audio that peaks exactly on the cut
Whoosh types for edits, animation, and games
Fast transition
0:02A short rush rising then falling quickly. Built to cover a cut rather than to be noticed, which is what most edits need.
Long sweep
0:05A sustained rush peaking in the middle. It covers a longer move, and the peak is where the cut belongs.
Reverse riser
0:04Rises and stops dead at the peak. It leads into a cut rather than covering one, so the silence after is the effect.
Heavy pass
0:04A deep rush with weight and a dropping pitch. The drop is what makes it read as mass moving rather than air alone.
Metallic whoosh
0:03An air rush with a thin ringing edge. It reads as a blade or a machine rather than as movement in general.
Whoosh with impact
0:03A rush landing on a dull hit. The hit resolves the movement, so the transition arrives somewhere instead of trailing off.
Generate a whoosh from a prompt
Pick a starting point, edit anything you like, then generate it in Morphic.
Ways to use a whoosh sound effect
Lead into a cut rather than cover it
A riser that stops dead at the peak leaves silence where the cut lands, which hits harder than covering it would.
Edit prompt
Say how heavy the thing is
A deep rush with a dropping pitch reads as mass, while a thin one reads as air. Same gesture, completely different object.
Edit prompt
Land a graphic rather than let it drift
A whoosh ending on a dull impact gives the movement a destination, so a title arrives instead of fading in.
Edit prompt
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FAQs
How long should a whoosh be?
As long as the move it covers, and no longer. A whoosh that outlasts its transition is the most common reason one feels wrong, because the ear expects the sound to end when the picture settles.
Where should the peak of a whoosh sit?
On the cut. The loudest point of the sweep should land on the edit point, which is what carries the eye across it. Generating the whoosh at the right length makes that alignment trivial rather than fiddly.
What is a reverse whoosh for?
Leading into a cut rather than covering one. It rises and stops dead at the peak, so the edit lands in the silence immediately after, which hits considerably harder than a sound continuing through it.
How do I make a whoosh feel heavy?
Ask for a low rush with a dropping pitch as it passes. Weight lives in the low end and in that downward shift, whereas a thin bright sweep reads as air moving rather than an object with mass.
Why do my whooshes sound the same?
Because they are probably the same length. Vary duration first, then shape: short for a cut, long for a move, rising for a lead-in, and ending on an impact for an arrival.
Can I use these whoosh sounds commercially?
Yes, audio generated on paid plans can be used commercially. See our terms for full licensing details. Because each one is generated rather than pulled from a shared catalogue, you also avoid the transition already under a hundred other edits.