Breath & Heartbeats SFX

A six-second isolated human breath sound design element, dry and close-miked, with air noise as the whole event. Drops under a cut point to suggest a character catching themselves or waking.

The shortest breath in the set at two seconds — a single sharp intake with no tail. Best used as a hard accent right before a cut or title card.

A five-second breath element, close and airy, sitting alone without music. Useful as a one-shot to humanise a silent beat in a tense sequence.

Six seconds of isolated breathing with audible air texture, dry enough to place inside a dialogue gap. Suits a character bracing themselves before action.

A short five-second breath one-shot, unpitched and rhythm-free. Designed to be layered under drones or dropped naked into silence.

One of the longer breath takes at eight seconds, giving room for a full inhale-exhale cycle of air noise. Works for a slow reveal or an exhausted character shot.

A seven-second breath element, intimate and close, with no musical content. Sits well as a bed under whispered voiceover.

Seven seconds of isolated human breathing, dry and unprocessed enough to pitch or reverse. A flexible tension element for editors building their own beds.

A compact five-second breath, close-miked with clear air detail. Use as a single accent under a match cut.

Five seconds of solo breath texture, no pitch and no pulse. Suits an underwater surfacing shot or a first gasp after impact.

An eight-second breathing take with enough length to loop into a continuous panting bed. Good for chase footage or a hidden-in-the-dark scene.

Eight seconds of isolated breath, airy and dry, long enough to fade in and out under score. A neutral tension layer rather than a hit.

At thirteen seconds this is the longest breath cue on the set, offering a sustained sequence of inhales and exhales. Best where breathing itself carries a whole shot — a diver, a runner, a patient.

A six-second breath one-shot with close air detail and no tonal content. Drop it under a title reveal for a human pulse of presence.

Five seconds of dry solo breathing, unpitched and easy to layer. Works as the quiet moment between two impacts.

A six-second isolated breath element, intimate and close. Useful when a scene needs a body in the room without dialogue.

Nine seconds of breath texture, long enough to sustain across a slow push-in. Air noise is the entire content, leaving pitch free for score.

A seven-second breath take, dry and close, sitting comfortably under narration. A workhorse tension element for promo edits.

Eight seconds of isolated human breathing with clear air detail. Long enough to establish a rhythm of exhaustion or fear.

An eight-second breath element, unprocessed and layerable under drones or heartbeats. Neutral enough to work in either dread or effort contexts.

A six-second solo breath, close-miked, with no melodic or rhythmic content. Use as a single human accent in an otherwise silent cut.

Six seconds of dry breath texture suitable for pitching, reversing or stacking. A raw building block rather than a finished stinger.

A very short three-second breath hit — essentially one gasp. Cuts cleanly to picture as a startle accent.

Three seconds of isolated breath, tight and close with no tail. Best used at a hard edit point or before a blackout.

A ten-second breathing take, long enough to run under a whole shot without looping. Air noise only, leaving space for music and voiceover.

Seven seconds of close solo breath, dry and unpitched. A flexible mid-length element for building panting or dread beds.

At sixteen seconds this is the most extended breath element here, a continuous stretch of air and breathing with no musical content. Suits a full slow-motion sequence or an entire cold open.

An eight-second breath take with room for a complete cycle of inhale and exhale. Works as a settling beat after an action hit.

Four seconds of isolated breath, short and dry. A quick human accent for a cut point or reaction shot.

A seven-second breath element, close-miked with clear air texture and no pitch. Layerable under heartbeat elements from the same set.

Eight seconds of solo breathing, dry enough to process heavily. Good raw material for creature or suit-breathing design.

A five-second breath one-shot with audible air detail. Neutral and short, easy to spot against picture.

Four seconds of isolated breath, tight and close. Use as a startle or as the last sound before silence.

A six-second breath element, unpitched air noise recorded close. Fits a character steadying themselves before a decision.

Two seconds — the briefest breath in the collection, a single clipped intake. Purely an edit accent.

Three seconds of close solo breath with no tail or tone. Drops in cleanly at a hard cut.

A six-second breathing take, dry and layerable, with air as the only content. Suits an intimate close-up where dialogue has dropped out.

Six seconds of isolated breath, close-miked and unprocessed. A neutral human element for stacking under score or drones.

Four seconds of breath, short enough to work as an accent but with a little more air than the two-second hits. Good for a reaction beat.

A seven-second solo breath with clear inhale and exhale air detail. Useful under a slow camera move or a held stare.

Eight seconds of dry breathing, long enough to loop into a sustained panting bed. Suits chase or exertion footage.

A six-second isolated breath element with no pitch or pulse. Flexible one-shot for tension edits.

Seven seconds of close-miked breath, dry and easy to place under narration. A functional human presence layer.

A five-second breath one-shot, airy and unprocessed. Cuts in as a single accent without dominating the mix.

Four seconds of solo breath, short and close. Works at a hard edit or as a small startle.

A six-second breath element with audible air texture and no tonal content. Neutral enough for either dread or effort.

Two seconds of clipped breath — one of the shortest accents in the set. Purely a cut-point hit.

Eight seconds of isolated breathing, long enough to establish a rhythm under picture. Layer with heartbeat elements for a panic bed.

A six-second dry breath take, close and unpitched. A dependable mid-length accent for tension edits.

Eight seconds of solo breath with room for a full cycle of air. Suits an exhausted or relieved character moment.

Seven seconds of close-miked breathing, raw enough to pitch down for creature design. Also works untouched as a human tension layer.

An eight-second breath element, dry air texture with no melody or beat. Fits under a slow reveal or drone bed.

Eight seconds of isolated breathing, loopable into a continuous panting texture. Good for footage of physical strain.

An eight-second breath take, close and unprocessed, offering a full inhale-exhale. Neutral human presence for quiet scenes.

Four seconds of solo breath, brief and dry. A quick accent for a reaction shot or cut.

Sixteen seconds of isolated heartbeat, a steady low thump with a pulsing rhythm and no pitched content. Long enough to underscore an entire tense cold open or slow push-in.

A nine-second heartbeat element, dry low thumps in an even pulse. One of the shorter beds here — good for a single shot or a quick tension beat.

Twelve seconds of pulsing low-end heartbeat, sub-heavy and unpitched. Sits under voiceover without competing for frequency space.

A twelve-second heartbeat bed of steady thumps, loopable and free of melodic content. Works for interrogation scenes or waiting-room tension.

Seven seconds of heartbeat pulse, the shortest of the heartbeat set alongside a couple of others. Use as a brief accent under a cut rather than a sustained bed.

Fourteen seconds of isolated heartbeat thumps, low and rhythmic with no tonal centre. Long enough to carry a full tension build under narration.

A twelve-second heartbeat element, dry sub thumps in a steady pulse. Neutral enough to layer with breath elements from the same collection.

Fifteen seconds of low pulsing heartbeat, unpitched and loop-ready. Suits a sustained sequence of dread or a hospital scene.

A fourteen-second heartbeat bed of even low thumps, leaving the midrange completely clear. Ideal under dialogue or voiceover in a tense scene.

Fourteen seconds of isolated heartbeat pulse, sub-heavy and steady. A workhorse tension bed that can be trimmed or looped freely.

Thirteen seconds of low heartbeat thumps with no melodic content. Works for a slow-burn reveal or a character on the edge of panic.

A fourteen-second heartbeat element, dry and pulsing, easy to pitch or speed up for rising panic. Raw material as much as a finished bed.

Fourteen seconds of steady low heartbeat, unpitched and clear of the vocal range. Underscores waiting, surveillance or hiding.

A fourteen-second pulsing heartbeat bed of dry sub thumps. Long enough to run under an entire tension sequence without a loop point.

Twelve seconds of isolated heartbeat, low and rhythmic. A mid-length bed for a single scene beat.

Fifteen seconds of heartbeat thumps in an even pulse, no pitch and no melody. Suits a sustained slow-motion or held-breath sequence.

A thirteen-second heartbeat element, dry low-end pulse with clear space above it. Drops easily under narration or dialogue.

Thirteen seconds of low pulsing heartbeat, loopable and unresolved. A standard tension bed for interrogation or stakeout footage.

A ten-second heartbeat cue, shorter than most of the set, with steady sub thumps. Good for a compact tension beat between cuts.

Eight seconds of isolated heartbeat pulse — one of the briefest in the collection. Use as an accent rather than a bed.

Eleven seconds of low heartbeat thumps, dry and unpitched. Fits a short reveal or a held reaction shot.

Sixteen seconds of sustained heartbeat pulse, low and even, among the longest beds here. Carries a full cold open or slow build under voiceover.

A fourteen-second heartbeat element of steady sub thumps with no tonal content. Neutral and loop-friendly for extended tension.

Twelve seconds of dry pulsing heartbeat, clear of the midrange. Layers cleanly with breath elements for a panic sequence.

Thirteen seconds of isolated heartbeat, low and rhythmic. A general-purpose tension bed that can be trimmed to any cut.

An eleven-second heartbeat pulse of dry low thumps. Compact enough for a single shot but long enough to establish rhythm.

At seventeen seconds this is one of the longest heartbeat beds in the set, a sustained low pulse with no pitch. Ideal where the heartbeat needs to run under an entire scene or narration block.

Fifteen seconds of steady heartbeat thumps, unpitched and loopable. Suits a slow reveal or extended surveillance footage.

A twelve-second heartbeat element, low and pulsing, with the whole vocal range left open. A clean tension bed for voiceover work.

Ten seconds of isolated heartbeat pulse, dry sub thumps with no melody. A short bed for a single tense beat.

Fourteen seconds of steady low heartbeat, loop-ready and unresolved. Workhorse dread bed for hiding, waiting or watching footage.

A ten-second heartbeat cue of dry pulsing thumps. Brief enough to spot precisely against a cut.

Sixteen seconds of sustained low heartbeat pulse, unpitched throughout. One of the longer beds, suited to a full build or extended narration.

Thirteen seconds of isolated heartbeat, low thumps in a steady rhythm. Neutral enough to sit under score without clashing.

Fifteen seconds of dry pulsing heartbeat with no tonal content. Long enough for a slow push-in or a held silence.

A fifteen-second heartbeat bed of even low thumps, clear of the midrange. Sits under dialogue or voiceover in a tense scene.

Six seconds — the shortest heartbeat element on the album, just a few low thumps. Purely an accent for a cut point or startle.

Thirteen seconds of low pulsing heartbeat, unpitched and loopable. General tension bed for thriller and documentary edits.

Fifteen seconds of steady heartbeat thumps, sub-heavy with no melody. Suits an extended sequence of waiting or dread.

An eleven-second heartbeat element, dry low pulse, easy to trim. A mid-short bed for a single scene beat.

Twelve seconds of isolated heartbeat pulse, low and rhythmic with no pitch. Layers well with breath and drone elements.

Thirteen seconds of dry heartbeat thumps in an even pulse. A neutral tension bed with the vocal range fully open.

Sixteen seconds of sustained low heartbeat, unpitched and loop-ready. Long enough to carry a whole tension build.

Seventeen seconds of continuous heartbeat pulse — among the longest beds here, with steady low thumps throughout. Ideal for extended narration or a slow-burn cold open.

Seven seconds of heartbeat thumps, one of the shortest in the set. Use as an accent under a cut rather than a bed.

Fifteen seconds of low pulsing heartbeat with no tonal content. A dependable dread bed for surveillance or hospital footage.

Thirteen seconds of isolated heartbeat, dry sub thumps in a steady rhythm. Neutral and easy to loop or trim.

Fifteen seconds of steady low heartbeat pulse, unpitched and clear above the low end. Runs under voiceover across a full tension beat.

Seventeen seconds of sustained heartbeat thumps, one of the longest beds on the album. Suits an extended slow build or an entire quiet scene.

A ten-second heartbeat element of dry low thumps. Compact bed for a single shot or short transition.