Design the sound around its job
A whoosh describes motion rather than contact. Its rise and peak should follow the visible acceleration of a swing, dash or transition, then leave room for the impact. Decide whether the source is light air, fabric or a heavy object; a generic cinematic sweep can make a small action feel much larger than it is.
Prompt examples
short fast character dash, narrow airy rush, rapid acceleration and clean stop, dry close game movement, no impact
one heavy hammer swing through air, broad low air displacement, slow rise into a fast pass, short finish, no metal contact
soft brief interface transition whoosh, smooth upward air movement, restrained high texture, no hit, no tonal logo
Make it work in the game
- Mark the motion peakWatch the action and identify its fastest moment. Align the strongest air movement there rather than placing the whole sample at the start of the animation.
- Match mass and travelDescribe a quick narrow pass for a light object or a broad low movement for a heavy one. Specify direction only if the asset should carry that movement.
- Leave space for contactTrim the finish before the landing or strike becomes the focus. Use a separate impact so missed swings and successful hits can sound different.
What to check before export
- Check the motion at normal playback speed; an impressive slow preview may not fit the action.
- Avoid a built-in impact when the same animation can miss its target.
- Compare stereo movement in headphones and mono so the cue remains useful on different playback systems.
Continue your sound workflow
Frequently asked questions
Why does the whoosh feel late?
The loudest part may occur after the animation's fastest motion. Move the cue or trim its lead-in so the peak follows the visible pass.
Can I stretch one whoosh for every animation?
Small timing adjustments can help, but large changes also alter the texture. Generate lighter, heavier and shorter variants when the motion changes substantially.