Opus Sounds Directory
Drops & transitions

Digital glitch transition

Drops & transitions · 2026-10-06

Related guide: Glitch, Tape-Stop and Countdown Sound Effects: How They Work and How to Make Them

Claude Opus 5.5

Fast tempoEnergeticDark
New
Space
CC0

Prompt

A 1.2-second digital glitch transition in F# minor at 140 BPM. It opens on one sixteenth of a bright F# minor phrase: a hollow square-ish chord stab under a fast arpeggiated bleep line. A buffer-repeat effect then grabs that slice and stutters it faster and faster: sixteenths, thirty-seconds, sixty-fourths, then 1/128 and 1/256 repeats that blur into a buzzing tone. Each repeat is re-pitched upward like a sped-up buffer and crushed a little harder. Gated noise bursts flick left and right, and ring-modulated bleeps chirp between the slices. A 44 ms digital drop-out sucks everything away. Then a hard slam lands exactly on frame 18 (0.6 s): a mono F#1 sub hit, a crushed F# power chord, a downward ring-mod zap and a noise blast. A short tail of high ring-modulated sparkle grains ping-pongs out to silence. Everything is alias-free. Pitch shifts are re-synthesised from band-limited partials. Bit-crushing uses a smooth quantiser run at 8x oversampling and then filtered down. There is no naive sample-and-hold anywhere.

Metrics

Integrated LUFS
-13.7 LUFS
True peak
-7.1 dBTP
Length
1.2s · 57,600 samples @ 48000 Hz
Target master
-14 LUFS · peak ≤ -1 dBTP
Checks
Passed

Spectrogram

Spectrogram of Digital glitch transition, a free whoosh sound effect at 1.2s and 140 BPM

Generated code

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Timing & cues

140 BPM · 30 fps · seed 140018

  • Frame 18: digital cut

Buffer-repeat stutters of a one-sixteenth F# minor phrase (square-ish stab + 32nd bleep arp) accelerate from 1/16 to 1/256 while rising in pitch and getting crushed harder, with gated noise flicks and ring-mod bleeps between slices. A 44 ms drop-out precedes the slam on frame 18 (mono F#1 sub, crushed power chord, ring-mod zap, noise blast), then high ring-modded sparkle grains ping-pong out. Alias-free: pitch shifts are re-synthesised from band-limited partials and the bit-crush is a smooth quantiser at 8x oversampling.

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