Riser sweeper
A rising whoosh to launch into a link, a bed, or a track. The workhorse of station imaging.
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Sound effects for radio
Radio moves fast and lives on imaging, so you need effects on demand. Morphic generates original stings, sweepers, and reaction sounds from a text description, ready to fire under a link or drop into a bed. You describe the punch you want and get it back in the same session.
How it works
- 1describe it
Describe the effect on Morphic
Ask for the imaging you need, like a rising sweeper, a stab, or a comedy reaction, and describe the energy and length. Morphic generates an original effect from the text.
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Load it into your playout or editor
Drop the effect onto a hot key in your playout system or into your production session, and line it up to fire under the link or on the beat you want.
- 3
Air it or bank it for the show
Play it live off the panel or bounce it into a produced promo. Keep a folder of your generated stings so the whole show shares one imaging feel.
Effects your imaging can run on
Four example effects for links, reactions, and the sound of the station.
Reaction sting
A short comedic hit for a punchline or a caller's answer. Fire it on the beat for timing.
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Crowd reaction
A canned boo or cheer for a bit, a game, or a caller. Keep it tight so it reads as a hit.
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Spin-down stab
A pitch-dropping stop for the end of a bit or a fake technical fail. Good for comedy segments.
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What it handles, and what to check
Morphic delivers the raw imaging asset; your ear owns the mix and the moment it fires.
What Morphic handles well
- Custom stings and sweepers on demand for a fast broadcast turnaround
- Reaction sounds and comedy hits described in plain words
- One workspace for imaging effects, promo music, and voiceover drops
- Effects you can use commercially on paid plans, subject to the terms
Where you still want your own ear
- Timing, since a reaction sting only lands if it fires on the exact beat
- Mix balance so a sweeper ducks the voice rather than burying it
- Restraint, because a station drowning in imaging tires the listener
- Brand fit and rights when matching a station's established sound
Simple pricing
Get started for free today, with the option to upgrade or cancel anytime.
Basic
$9/ month
billed as $0 per year1100 monthly credits
1 user only
All models
Workflows
Standard
$24/ month
billed as $0 per year3625 monthly credits
1 user only
All models
Workflows
Pro
$45/ month
billed as $0 per year6350 shared monthly credits
1 user
+ up to 4 more at extra cost
All models
Workflows
Pro Max
$170/ month
billed as $0 per year24650 shared monthly credits
1 user
+ up to 9 more at extra cost
All models
Workflows
Enterprise
For higher limits
Custom
pricing and billing terms
High-volume credits
Custom seat limits
All models
Workflows
Free
For playing around
$0
forever free
Up to 20 credits
1 user only
Limited models
Workflows
FAQs
Can I generate custom station imaging effects for radio?
Yes. Describe a sweeper, stab, or reaction and Morphic generates an original effect from the text. It is built for imaging you can fire under links and drop into produced promos.
Are these radio sound effects cleared for broadcast use?
On paid plans the effects you generate are yours to use commercially, which covers on-air broadcast. Confirm the details in the current terms for your plan.
How fast can I turn around a radio sting or sweeper?
You describe the effect and generate it in the same session, so you can build imaging for a show without waiting on a library. Bank the results for repeat use.
Can I fire these effects live from my playout system?
Morphic gives you the audio file; load it onto a hot key in your playout or automation system and fire it live. It plays for its generated length rather than looping.
Can Morphic make a whole imaging package, not just one effect?
Generate each element you need, from sweepers to reaction stings to promo beds, and keep them in one folder so the show shares a consistent sound. One workspace also covers music and voiceover.
Will AI sound effects sound cheap on air?
That comes down to the mix, not the source. Describe the energy you want, set the level so it supports the link, and use effects with restraint; done that way they sound produced, not canned.