How do you make something sound truly terrifying? Welcome to the world’s largest collection of horror sound stories, where award-winning audio teams take you behind the nightmare-inducing sound of more than 70 films, games, series and beyond! You also get tutorials and tips from veterans like two-time Oscar winner Karen Baker Landers and Joe Dzuban, plus free SFX and the most popular horror sound libraries right now. Read on - if you dare.
New horror sound stories
Go behind the sound of the past year’s scariest films, series and games - and find out how horror sound design works in a new documentary:
TV seriesCrystal LakeHow do you approach horror like a drama? Steve “Major” Giammaria and Nicholas Renbeck take you behind the sound of the Friday the 13th prequel series - and why Jason’s prosthetics meant a lot of ADR:Read the story →
GameThe Blood of DawnwalkerHow the audio team designed the sounds for bloodthirsty vampires, fantastical creatures and brutal gore:Read the story →
VideoThe Sound of HorrorDiscover how horror sound design is made - and why sound is so effective at scaring an audience:Read the story →
FilmBackroomsHow mono found footage, exaggerated Foley and camel screams make Backrooms so terrifying:Read the story →
TV seriesWidow’s BayThe Apple TV series blends comedy and horror. Larry Benjamin, Tim Hoogenakker, Matt Yocum and Kevin S. Parker tell how they made its quirky sound:Read the story →
FilmLee Cronin’s The MummyGet the exclusive story behind the film’s skin-crawling sound, with Peter Albrechtsen, Gabriel Gutiérrez and Garret Farrell:Read the story →
FilmSend HelpGet the story behind the dynamic sound of Sam Raimi’s dark comedy/horror film, from Marti D. Humphrey and Gregory H. Watkins:Read the story →
FilmUndertoneIt has been billed as ‘the scariest film you’ll ever hear’, and David Gertsman and Jon Lawless reveal how they enhanced its raw sound:Read the story →
FilmScream 7Find out how Tom Ozanich and Jon Greasley made the heart-pounding, grisly sound of the latest Scream film:Read the story →
FilmFrankensteinGuillermo del Toro has a wonderful, fantastical style, and Nelson Ferreira and Nathan Robitaille describe how they made sound to match it:Read the story →
TV seriesIT: Welcome to DerryGross creature sounds, deranged xylophones and sonic hallucinations - David V. Butler, Brandon Jones and Erick Ocampo reveal how they made them:Read the story →
FilmThe Long WalkWhy did cicadas play a role in the death-by-spoon scene? Jeremy Peirson explains, and reveals how propeller planes became ‘evil’ truck-bys:Read the story →How to make horror sounds
Two video tutorials with free sounds, followed by techniques and tips from horror sound veterans:
Video tutorials · 41 free SFX
Video tutorial · 26 free SFX
How to design fierce creature vocals
Chase Steele takes you through sourcing and layering creature material, then editing and processing it into some mean creature vocals:
Video tutorial · 15 free SFX
How to create haunting horror sounds for interfaces
An exclusive A Sound Effect tutorial by Chase Steele on designing horror sound effects for horror-type interfaces:
Techniques & guides
Interview9 brutally-effective horror sound design techniquesHorror master Alessandro Romeo shares 9 of his favorite horror sound design methods:Read the story →
InterviewHow to design horror soundsJoe Dzuban (The Conjuring, Insidious, Annabelle) shares his insights and tips:Read the story →
VideoSounds of horror & emotional statesTwo-time Oscar winner Karen Baker Landers on cringe-inducing horror sound and subtle environments that express emotion:Read the story →
GuideHow to create horror sound effects that are truly scary (and gory!)Saro Sahihi from SoundBits has made a full gore library and creepy, ghostly libraries. Here are his tips for making those sounds:Read the story →
Tutorial5 tips for making the most of Dehumaniser 2Five tips from Michał Pukała at Krotos for the Dehumaniser 2 vocal sound design system:Read the story →
Tips10 creature voice acting tipsTips for making your own creature vocalizations sound great:Read the story →Trending horror SFX libraries right now
Discover the horror libraries selling most on A Sound Effect in the last 7 days:
Browse all horror sound effects libraries →
More horror sound effects
Top 10The best horror sound effects libraries of 2026The top 10 horror libraries ranked by sales on A Sound Effect, updated monthly:Read the story →
New releasesScary new sound effects for Halloween and beyondNew and trending Halloween sound effects, from Aztec death whistle screams to a haunted carnival:Read the story →
Behind the libraryHow a zombie sound effects library is madeVoice director Sébastien Croteau on all the growling, biting and chewing for Zombie Hordes:Read the story →The horror sound interview archive
More than 50 exclusive A Sound Effect interviews on how the scariest sound for film, TV and games was made - newest first:
Films
WeaponsMeet the Rumbler, the contraption Luciano Vignola and Filipe Messeder used for the rattle layers in the end chase. They also talk panned Foley and believable gore:Read the story →
28 Years LaterJohnnie Burn recorded his metal vocalist for the Alpha infected’s scream, and (poorly) played recorders and flutes for the sound of wind through skulls:Read the story →
SinnersLive on-set music, stems worldized in the Juke Joint and natural-sounding vampires: the post sound team breaks down how they did it:Read the story →
The MonkeyHow do you bring a feeling of fun to the mayhem? Eugenio Battaglia shows how he did it:Read the story →
NosferatuDirector Robert Eggers and sound artist Damian Volpe take you behind the film’s haunting sound:Read the story →
Smile 2Dan Kenyon talks about his collaboration with director Parker Finn, designing the demon vocal processing and working with Cristobal Tapia de Veer’s unique score:Read the story →
The SubstanceTo create the internal POVs of the body horror, Valérie Deloof, Victor Fleurant and Gregory Vincent used special recording techniques. Here, they explain them:Read the story →
Terrifier 3Terrifier 3 became the highest-grossing unrated film of all time. Martín Hernández shows how he crafted ultra-gory moments like the chainsaw shower massacre:Read the story →
Salem’s LotSean Garnhart took a nature-based approach to the supernatural sound of Gary Dauberman’s film:Read the story →
The WatchersDevil birds, an enchanted forest and creatures that mimic humans gave Jill Purdy and Sylvain Bellemare a chance to explore nature sounds in a new way:Read the story →
The Exorcist: BelieverRich Bologna combined sound design and music to create an unsettling mood ahead of the chaotic, multi-phase exorcism:Read the story →
TrapMost of M. Night Shyamalan’s film unfolds at a pop concert. Dashen Naidoo and Jill Purdy reveal how they made it feel live, and how they switched to the killer’s POV:Read the story →More film interviews
Saw XJigsaw’s death traps are inventive and brutal. Adam Stein and David Rose tell how they created their sound, and the resulting gore:Read the story →
Talk to MeFind out how Emma Bortignon gave each possession its own sound, and what went into the sound of a dying kangaroo:Read the story →
Evil Dead RiseDemonic vocals swirl around the theater in this Dolby Atmos mix. Peter Albrechtsen, Garret Farrell and Gabriel Gutiérrez describe the new vocal processing for the Deadites:Read the story →
Winnie-the-Pooh: Blood and HoneyOn this low-budget film, sound was a cost-effective storytelling tool. Ryan Hatton explains how he created its creepy ambience and gory scenes:Read the story →
Knock at the CabinDavid Forshee used Colin Hart’s custom recordings for the insects in the woods, and made a tsunami sound like it was captured with a smartphone camera:Read the story →
M3GANAs M3GAN turns from caring companion into evil robot, her sounds change too. P.K. Hooker reveals how he designed them:Read the story →
The Black PhonePaul Hackner used the song structure of Pink Floyd and other ’70s bands to design the dream sequences, and he shares how to create the perfect jump scare:Read the story →
Bodies Bodies BodiesHow do you make a long-lasting hurricane interesting? Luciano Vignola and Mariusz Glabinski explain, along with their use of Foley to heighten the chaos:Read the story →
Speak No EvilSundance audiences called the ending shocking. Marco Vermaas tells how he built intensity through the soundscape, all the way to that ending:Read the story →
MasterMariama Diallo’s debut deals with isolation, exclusion and racism, and Robert Hein and Robert Fernandez used sound to support those feelings:Read the story →
PreyWhy does the Predator sound more primitive here? The prequel is set in 1719, so the team redesigned the iconic sounds. They also recorded Comanche dialogue:Read the story →
Twin Peaks: Fire Walk With MeIn this audio interview for the film’s 30th anniversary, Doug Murray shares his stories of “sound painting” with David Lynch:Read the story →
Halloween KillsGet the story of how Rich Bologna designed and mixed the 13th Michael Myers film, working with director David Gordon Green:Read the story →
CandymanHow did Michael Babcock use sound as a storytelling tool in Nia DaCosta’s film? He explains, along with the sonic vocabulary he created for it:Read the story →
DemonicNeill Blomkamp’s film blends virtual reality with demonic folklore. Jo Rossi, Vince Renaud and Nolan McNaughton detail how they designed the simulated world, the demons and the dream sequences:Read the story →
ContagionIts realistic portrayal of a global pandemic made the film popular again. Larry Blake looks back at how they crafted its sound:Read the story →
The Conjuring: The Devil Made Me Do ItFind out how the WB Sound team shaped the sound of The Conjuring 3 to feel scary yet real:Read the story →
Halloween (2018)Michael Myers’ no-frills method of murder inspired the simple, savage soundscape that Will Files and P.K. Hooker created:Read the story →
HereditaryWhat makes a room tone sound evil? Parabolic NY reveal how they did it, and point out a sinister sonic element you probably haven’t noticed:Read the story →
The NunFind out how Bill R. Dean and Ron Eng recorded bells and homemade crosses, and designed the demon vocals for the film:Read the story →
A Quiet PlaceSound and silence are key elements in the film, which made it a thrilling and challenging project for Ethan Van der Ryn and Erik Aadahl:Read the story →
Annabelle: CreationBill R. Dean ramped up the fear factor with sound, and in an exclusive video clip he shows his approach with light bulbs, filament and synth sounds:Read the story →
It Comes at NightGet the full story behind the film’s tense and unnerving sound from Damian Volpe and Robert Fernandez:Read the story →
Alien: CovenantHow did Oliver Tarney and Michael Fentum build on the original Alien sound concepts? They reveal their new sounds for the Neomorph and the Covenant ship:Read the story →
Blair WitchGet the inside story on the sound for the Blair Witch Project sequel, from supervising sound editor Andy Hay:Read the story →
Lights OutWhat were the surprising sources of the film’s signature sounds? Bill R. Dean reveals them, and shows how dynamics made the scares effective:Read the story →
The Conjuring 2Joe Dzuban talks about the value of temp mixes, and why the right talents and tools matter so much in horror sound:Read the story →TV series
Black Mirror Season 7Five members of the sound team dig into their work on four Season 7 episodes, including “Plaything” and “Hotel Reverie”:Read the story →
True Detective: Night CountryAlaska’s sunless winter works against the detectives. Martín Hernández, Stephen Griffiths and Jake Fielding used expressive wind and vocal elements to give it character:Read the story →
Archive 81How do you make static scary? Mark Relyea and Daisuke Sawa explain, and they reveal how they created the voice of the demon Kaelego:Read the story →
Midnight MassTrevor Gates and Jonathan Wales created the show’s choir and built its locations with sound. They also take you through the disturbing sequences:Read the story →
The Haunting of Bly ManorHow does Bly Manor sound different from Hill House? The Newton Brothers, Trevor Gates and Jonathan Wales compare the two series:Read the story →
The Third DayOscar winner Niv Adiri took a cinematic approach to designing and mixing the uneasy sound of the HBO limited series:Read the story →More TV series interviews
Lovecraft CountryThe mix of historical drama and horror gave Tim Kimmel and Paula Fairfield lots to explore, from world-building to monster making:Read the story →
The Haunting of Hill HouseStephen King hailed the series as close to a work of genius. Emmy winner Trevor Gates tells how its powerful sound was made:Read the story →
The MistGet the behind-the-scenes story on the creepy sound of the Stephen King series, from Bryan Parker and Emmy-winning sound designer Paula Fairfield:Read the story →
Penny DreadfulWhat does it take to make sound that is truly scary? Jane Tattersall gives her answer, and shares her favorite sound moments from the show:Read the story →Games
Alien: Rogue IncursionIn this VR game, players fight facehuggers and Xenomorphs themselves. Chris Dang and Tim Schumann explain how they matched the films’ aesthetic and upped the fear factor:Read the story →
Alan Wake 2The team designed Washington State and the Dark Place like two different games, and created new vocals for the Taken and the Fade Outs:Read the story →
ScornThere is no dialogue in the game. Koca Kastavarac reveals how they created its heavy atmospheres, its organic-metallic machines and enemies like the Parasite:Read the story →More game audio interviews
The Dark Pictures AnthologyEach game in the series is a different horror sub-genre. Barney Pratt compares the sound of each release, up to The Devil in Me:Read the story →
The QuarryAdele Cutting handled dialogue in 8 languages, designed the werewolf sounds and gave the game cinematic nods to classic horror films:Read the story →More horror sound stories
Here are stories from horror films, games and a podcast series - and how sound is made for scarehouses:
Video
How sound is used to create suspense in horror movies
DIY ideas: how to create your own horror sounds
Want to have a go at creating your own horror sounds? Here are some DIY ideas from sound designer David Filskov’s excellent Guide to Sound Effects:
Bats flying
I used an umbrella opening and closing rapidly for the sound of bats flying one time… turned out great. I think I had to filter out some of the low frequency material, though.Tim Clarke
A pair of leather gloves flapped about is a good substitute for wings flapping when a bat takes off.Garry Taylor
Blood and guts being torn out
I know how to make a nice sound of blood and guts being torn out. Just make a milk pulp, put it into your mouth, and then try to say “Ghhhh”. Mix it with the end section of any water splash sample or add a sample where you’re moving out your hand from a bucket of water.Adam
Gore and squidge
Wet wash leather - fantastic for gore and squidge.Mark Estdale
Fruits! Especially tomatoes (for splatters) and potatoes (for wet crunchy sounds). Another classic is making a goo with eggs and dip rags and paper towels into them and play.Gustaf Grefberg
Rat shrieks
Pitched-up chickens.Ben Burtt
Up-pitched kittens. Especially the screechy ones.Gustaf Grefberg
Stone coffin opening
Slide off the top of a toilet tank.Ben Burtt
Spirits screaming
Dolphin and sea-lion cries, other animal screams and human vocalizations.Ben Burtt
Tentacles, sliding
Get a few day’s worth of stubble on your face. Go somewhere real quiet and record running your hand and arm under your chin - it mixes in nice with the hairs on your arm. Or as I just found out, get a mouse mat with a rubberized or cloth surface and rub that under your chin :-) To further this idea maybe put some shaving gel on and take a credit card and lightly rub it across? That way you get bristly with a bit of slime.Dave Sullivan
Having just eaten a bowl of macaroni and cheese shells, I have to say it’s the most convincing tentacle sound I’ve ever heard. It also made the bowl harder to finish :-)Jay Semerad
Vocalization of monster
Metal pressed against dry ice.Paul Arnold
Slide a straw up or down in a McDonald’s large drink plastic lid. Try pitching it down and stretching it - and voilá! McZilla.Max Hodges