Horror is less about "loud" and more about timing, texture, and space. Use the guide below to choose the right clip from the library or write prompts that target attack, decay, distance, and the kind of fear you want (shock vs dread).
Pick the scare role first
Decide whether you need an instant hit, a rising cue, or a background bed. The role determines how sharp the transient should be and how much tail you can afford before it masks dialogue or key Foley.
- For jump scares: request a hard attack and a short, controlled decay.
- For reveals: use a brief build that ends with a clean impact.
- For dread: choose drones/ambiences with low movement and minimal transients.
Control distance, room tone, and tail
Perspective sells fear. A close whisper feels invasive; a distant cry feels unknowable. In prompts, describe the environment and the reflections so the generated clip matches your scene's space.
- Close/mic'd: add "intimate, dry, minimal reverb, audible breath/noise."
- Distant: add "hallway/warehouse reflections, longer reverb tail, softer highs."
- Crowded mix: ask for "narrower stereo" to keep center space for dialogue.
Use texture words that translate to sound
"Scary" is vague; texture is actionable. Specify materials, grit, and motion so the sound reads as physical and unsettling instead of random noise.
- Metal/violence cues: "knife scrape, rusty chain rattle, gritty debris."
- Supernatural cues: "pitch warble, spectral hiss, airy noise floor."
- Body cues: "heartbeat thump, breath pulses, throatiness, mouth clicks."
Avoid common horror-audio mistakes
Overdoing distortion and reverb can make the sound feel cheap or bury the moment. Keep headroom, keep intent clear, and let the edit do the scaring.
- Avoid clipping: prompt for "clean output, no crackle unless requested."
- Avoid endless tails on stingers: they smear over the next cut.
- Avoid one-note beds: add subtle movement (slow modulation) without turning it into music.
