Swell sound effects in both senses, the sound designer's and the sailor's. On the designed side, tones and textures bloom up out of nothing and sub-heavy swells sit under a trailer cut. Lots of low end. On the water side, ocean swells rolling in and breaking on the shore. Somewhere in between sits a stadium crowd, swelling up as the game turns.
Libraries
69
Publishers
34
Formats
Mono, stereo, surround, ambisonic
Sample rates
44.1 to 192 kHz
Licence
Royalty-free for commercial work
Price range
$4.99 to $299
FiltersAll 69 libraries tagged SwellFilter by the spec, not just the subjectRecorded or designed, sample rate, bit depth, channel format, embedded metadata and file count. Narrow it down before you download anything.
Low frequency rumble sound effects isolated from passing traffic in the 0-500Hz range, featuring quakes, tremors, rises, hovers, swells, and pitch bends recorded at 192kHz with Sennheiser and Sanken microphones.
This mini collection contains doppler, swoosh, and siren sound effects. It includes dry, non-doppler, and processed variations alongside organic recordings and designed motion elements.
This library contains 14 water sound effects from Madeira, including waves, waterfalls, streams, and drips. Files feature extensive Soundminer, BWAV, and iXML metadata.
This library provides 232 low-end sound effects for trailers, including deep tonal rumbles, sub-bass swells, dark resonant drones, and cinematic punctuation.
This library offers navigation, notification, select, and other app sound effects. It provides essential audio elements for video games and various multimedia projects.
29 high-resolution WAV sound effects featuring a wide variety of ocean waves. Includes gentle lapping to stormy swells. Total duration 1 hour, 5 minutes at 96kHz/24-bit.
Uniquely crafted vocal recordings transformed into stereo Doppler sound effects, featuring contrasting tones from mysterious to ominous, ideal for fantasy and magical sound design projects.
Meticulously recorded sound effects blend chamber reverb with manipulated voices and objects, producing ethereal swells and atmospheric transitions suitable for dark, experimental productions.
A designed swell is a sound that grows instead of hits. It's softer than a Riser and less obvious about where it's going, which is why editors use one to open up a scene or pull the audience into a reveal. The libraries build them from all sorts: sub-bass you feel more than hear, airy breaths and reversed whooshes, electrical surges, and tonal Shimmer that sparkles as it grows. With an Accent on the end, it becomes a transition. The ocean recordings are the other kind of swell, from gentle lapping on a lake to heavy surf off the Pacific, and stadium crowds give you a human version that rises with the action. Very different jobs. Same word.
