UVI Whoosh FX - Whoosh and Motion Designer

Whoosh and Motion Designer

Create rich and dynamic cinematic sound effects for ads, films, games, music and more
Blend 3 noise and texture layers, customize with modulation and effects
Optimized workflow with 400+ presets organized by type

$149.00

Reference : UVISC75

Quantity :

Overview

Created by and for sound designers, Whoosh FX is an easy-to-master yet powerful tool for generating all manner of movement, wind and whoosh-type effects. Set duration, customize 3 discrete layers with a deep selection of noises and textural sounds with categories including air, electrical, fire metal, orchestral, water, wind and more, choose envelope presets or draw them in with your mouse, add movement, doppler effects, transform your sound with a morphing vowel filter, and add studio-grade effects including convolver, digital EQ, delay, IR reverb, limiter and more. Whoosh FX offers a deep feature set packed in a clear and intuitive interface, easily yielding everything from synchronized sound effects for motion graphics, television and films to rich, moving soundbeds for musical and environmental applications.

Trailer Overview Cinematic Trailer Scoring

In-depth

Structure

At the heart of Whoosh FX are 3 sound sources: Noise, Texture 1, and Texture 2. These 3 sources are fully-configurable, with discrete envelopes controlling amplitude and filter (seen in the center of the UI), multi-mode filters, stereo placement, tilt, pitch and level controls, helping you quickly create a huge variety of different sounds.

Sound Sources

The Noise layer contains 11 types of synthesized noise to choose from including Band, S+H, Violet, Blue, White, Pink, Brown, Lorenz, Rossler, Logistic and Sinus, meanwhile the Texture 1 and 2 layers add a wide selection of dedicated field recordings and synthesized sound sources created specifically for Whoosh FX. Sounds are organized by category and include Air, Distorted, Electricity, Fire, Fx, Material, Metal, Motor, Noise, Orchestral, Rock, Sparkle, Synth, Water and Wind, and can be independently pitched by +/- 24 semitones.

Each layer can have a unique filter mode (LP, Comb or HP) and cutoff frequency, and can be edited individually or all at once. Selecting the Sources tab at the bottom you'll find controls for the noise and texture types along with layer-specific parameters such as pan, tilt, pitch, and width. Texture 1 and 2 both include Randomize and Undo buttons allowing for chance inspiration and a quick way back in case you overstep.

Envelope Editor

In the center of the UI are envelopes relating to each of the 3 layers, these can be set with presets or drawn with a mouse, and can be edited discretely or all-together and refined with Time and Amplitude Nudge, and a Smooth button to tame any unwanted rough bits. For example, press the All button under the central editor, draw an envelope shape, then go one-by-one through the layers adjusting timing and amplitude offsets while previewing your sound to quickly create a layered effect, or choose from a wide variety of included preset shapes ranging from basic to extreme.

Time and Motion Controls

Overall effect duration can be set explicitly in seconds or in tempo-synced musical divisions, up to 32 seconds or 16 bars, and looping can be enabled for rhythmic effects. 3 imaging modes provide options for Mono, Stereo and Wide, with Pass-By and Speed Curve affecting your sounds directional velocity. Set the overall Pitch modulation depth and choose from the standard Doppler-style modulation, or drive pitch with one of the 3 central envelope shapes. The Warp slider above the main editor allows you to globally stretch all envelopes left or right.

Vowel Filter

The Vowel tab allows you to route any of the 3 layers into a morphing vowel filter. Select the desired layers to process then choose the top and bottom vowel sounds, using the envelope editor to create simple or complex morphing transitions across the duration of your sound. Use the Copy Env buttons to copy an envelope shape down from the main editor and adjust the formant depth and Q.

Effects

Finally, the FX tab reveals a choice selection of effects including a convolver, 5-band EQ, delay, IR reverb and limiter, so you can put the finishing touches on your sound without the need for additional plugins.

A powerful and creative sound design tool, Whoosh FX was designed to be focused, intuitive and feature-rich, helping users produce professional-quality sounds quickly and reliably.

SPECS

WHAT YOU GET

Size:	1.45 GB (FLAC lossless encoding, was 2.04 GB in WAV)
Content:	402 Presets, 545 Samples
Sample Resolution:	48 kHz. Recording at 96 kHz
License:	3 activations per license on any combination of machines or iLok dongles

SYSTEM REQUIREMENTS

Runs in UVI Workstation version 3.0.5+, and Falcon version 1.6.6+
iLok account (free, dongle not required)
Internet connection for the license activation
Supported Operating Systems:
- MacOS 10.14 Mojave to macOS 14 Sonoma
- Windows 10 to Windows 11 (64-bit)
2 GB of disk space
Hard Drive: 7,200 rpm recommended or Solid State Drive (SSD)
4GB RAM (8 GB+ highly recommended for large UVI Soundbanks)

COMPATIBILITY

Supported Formats:	Audio Unit, AAX, VST, VST3, Standalone
Tested and Certified in:	Digital Performer 8+, Pro Tools 2019+, Logic Pro X+, Cubase 7+, Nuendo 6+, Ableton Live 8+, Studio One 2+, Garage Band 6+, Maschine 1+, Tracktion 4+, Vienna Ensemble Pro 5+, Reaper 4+, Sonar X3+, MainStage 3, MuLab 5.5+, FL Studio, Bitwig 1+, Reason 9.5+

MANUAL

>> Download Whoosh FX Manual >> Download Soundbank Installation Guide

Listen

Reviews

"Whoosh FX is a dramatic improvement for whoosh production software. This one has a few key things that really set it apart: it’s pitch sensitive, so I can map a bunch of notes out on my midi keyboard and get a nice variety of whooshes, spaced as far apart as I like. This is fantastic if I want to add a plugin chain including reverbs and delays. Preserving the long decay of a reverb is key to making many great whooshes. It responds well to key velocity as well so I can really shape the feel of the whooshes. The GUI is very intuitive with nice colours to help you navigate the different wave forms and source sounds. I love the vast array of presets and while I usually like to muck around on my own to come up with shapes and flavours, using the pre-made whooshes really helped inform me on how the plugin works and gave me tips on things I can manipulate that I hadn’t investigated yet such as shaping the envelopes manually or altering the initial starting frequency of the source sounds."

White Noise

Sound Designer & Composer Dave Whitehead and Sound Designer Michelle Child
(The Hobbit Trilogy, The Lord of the Rings, King Kong, Blade Runner 2049, Tin Tin, District 9, Snow Piercer, Elysium, The Ring Two)

"I can make fire, the sound of ice caverns, and the sound of ice caverns exploding. I've been using it for transitions and impacts all over my tracks. It really is down to how deep you want to go. Out the box it's ready to solve lots of problems and add excitement, but with a little finesse you can get it to make some extraordinary bespoke sounds you have been dreaming for. Stacked in with synths or horn hits, it really gives you modern take on Trevor Horn / art of noise style hits that I'm always reaching for."

Sunny Levine

Producer, Composer & Recording Artist
(Shabazz Palaces, Ariel Pink’s Haunted Graffiti, Pete Yorn, Happy Mondays)

"Whoosh FX is perfectly suited for spicing up cinematic scores and trailer music but also performs equally well with all kinds of electronic music that need a powerful lift."

Epicomposer

"[In the Final Fantasy VII remake] commercial libraries like UVI Meteor and Whoosh FX were used frequently. I also have a personal, custom library from decades-old projects and I combine that with the latest libraries to edit and create something new." - Makoto Ise

A Sound Effect