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Ghostly Whispers, ghost sound effects & ghost voices

Browse our comprehensive library of ghostly sounds. We offer a wide range of spine-chilling ghostly whispers , ghost sounds , ghost voices, and ghost noises, all available for download as high-quality MP3 and WAV files.  Our sound effects library includes an excellent range of ghost sound effects that are both realistic and terrifying, and will fit perfectly in your next horror sounds project. We’ve got everything from real ghost sounds to scary ghost sounds.

All of our ghostly downloads are free to use, so you can experiment with different ghost voice sounds and ghost audio for free. You can preview the audio to scary sounds and ghost sounds before you download them so you can be sure you’re getting the perfect ghost sound effect for your project.  We’re confident that you’ll find the perfect ghost sound download or that specific ghost horror sound that you’ve been looking for. We have ghost screaming sounds, creepy ghost sounds, and even ghostly whispers that will send shivers down your spine.

Our ghostly whispers and ghost sound library has been used by professional content creators around the world to add an extra layer of horror SFX to their projects. So why not give it a try and see what kind of scary scenes you can create with our ghost sounds? If you’re a professional content creator, you’ll be happy to know that we offer a range of ghost sound effects that are related to ghosts in our horror sounds area. We have creaking doors, rattling chains, and howling winds, all designed to help you create the perfect ghostly atmosphere for your project.

Enjoy our collection of ghostly downloads and start scaring your audience like never before. Our ghost sound effect download options and vast library of ghost audio can be used in your projects with confidence.

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Ghost , Ghosts

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Ghost , Entity , Spooky , Chilling

Ghostly horror breath, male, dry, low pitched 10

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• Scary Halloween Sounds

Creepy Ghost Sound Effect

by Spanac · 25/09/2023

Creepy Ghost Sound Effect. Demon Sound Effect. Ghost Sounds. Sound Effects free for your projects a wide variety of sound effects for your enjoyment. Free mp3 Download.

MP3 320 kbps (zip) Lenght: 0:27 sec File size: 1.11 Mb

License: Attribution 4.0 International (CC BY 4.0) . You are allowed to use sound effects free of charge and royalty free in your multimedia projects for commercial or non-commercial purposes.

Tags: Creepy Ghost Sound Effect Demon Sound Effect Ghost Sounds

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Ghost Sounds

Here are the sounds that have been tagged with Ghost free from SoundBible.com Please bookmark us Ctrl+D and come back soon for updates!

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Public Domain

Demon girls mockingbird.

Little Demon Girl singing hush little baby dont say a word. Spooky crap.

Attribution 3.0

Horror movie ambiance.

Super spooky horror movie ambiance. Low bass heavy vibrating pad sound. Give me the willies just listening to it.

Sqeaking Door

This is a wooden heavy cupboard door or front door squeaking noise. Good for Halloween or horror movie sound effect. Thanks Sarasprella for sharing your sounds!

Sampling Plus 1.0

Monster roar.

Sound of a monster roaring, kinda a cool sound for tricker treaters, Halloween, or some film related to horror.

Sqeaking Door 2

An even larger an more spine chilling suqeaking or creaking door. Sound modified version of Sarasprellas squeaking door sound. Thanks Sarasprella!

Strange Days

Strange and eerie crawling pad with glitches great for a horror flick or halloween themed media.

Mummy Zombie

A super monster. A breed of mummy zombie werewolf. OK. maybe not but its a cool evil monster sound.

Spooky Chains

Great spooky ghost chains. Great for a haunting, or haunted house sound effect. Very scary and great for Halloween that is just around the corner! Scare someone today! Ghost shackles!

Monster Laugh

The sound of a monster laughing. Great for a zombie, halloween, or even mummy sound effect.

Grim Reaper Your Soul

A grim reaper or demon in a calm voice saying your soul is mine. Great evil Halloween or haunted house sound.

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Just in case youve not had enough zombie brain eating sound effects here are some more! MMMMMmmmm Brains!!

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Awesome Halloween Monster sound effect. Scare the kids that come trick or treating, great for haunted houses, and more.

Large Truck Chains

Huge truck chains used for pulling, towing, and logging. Could also be the sound of chains on a tire in the snow.

Vampire Bite

The sound of a vampire biting a human. This gothic sound requested by anonymous user.

Wheres My Mummy

Little Ghost Girl asking wheres my mummy...Good for horror movies or horror things

A great wicked sound for death, souls, ghost, spooks, or just any scene with death or distruction.

Spooky Girl or ghost saying mommy. Great for a Halloween or for other scary things.

Dying sound effect. Someone sound like they have one foot in the grave. Poor soul.

A very slimey or slime sound effect. Great for slugs, bugs, aliens, ghost, or gross stuff.

Noncommercial 3.0

Lock in load m4.

Putting the Magazine into a M4 and Cocking it. M4 Magazine going in then being cocked. Big thanks to Ghost Rider for this awesome weapon sound.

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The oooooorigins of horror’s spooky sounds

How the creepy traditions of prose, theater, and radio made their way to modern movies

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Long before radio became mainstream entertainment, Edgar Allen Poe was already writing for the airwaves. Throughout the last decade of his life, his poetry and prose bristled with words and phrasing so colorful they could practically be heard. Sounds permeated his gothic storytelling — filled with black cats screaming and hearts beating — and preyed upon readers with their detailed and chilling force.

Look to Poe’s 1839 short story The Fall of the House of Usher , in which he describes an entombed woman’s reanimation within a cavernous castle by citing the “distinct, hollow, metallic, and clangorous, yet apparently muffled reverberation” and “the grating of the iron hinges of her prison.” More than 50 years later, Bram Stoker found inspiration in Poe’s auditory descriptors, embedding them into his 1897 novel Dracula . As Stoker illustrates a feasting vampire’s scarlet lips and bloody mouth, he engages the other senses. “I could hear the churning sound of her tongue as it licked her teeth and lips, and I could feel the hot breath on my neck,” he writes.

“The churning teeth and tongue — that’s really creepy. You hear that,” says Richard Hand, author of Terror on the Air!: Horror Radio in America and professor of media practice at the University of East Anglia. “Reading novels from the 19th century, there might be clanking suits of armor and cobwebs, but [writers] were invested a lot in describing the sound of a distant wolf, or the scream of someone, or the heartbeat in the ears, or the whisper — those kinds of things are really central.”

Over the ensuing decades, those corporeal, visceral noises — the foundation of gothic stories — migrated from the page to theatrical and radio productions, where sound designers amplified their text-based terror. With hushed tones and artificial clatters, backed by organ and orchestral crescendos and crackling narration, radio broadcasts quickly established a vocabulary of spooky sounds and tropes (from creaky doors to high-pitched shrieks) that would come to define horror and inspire listeners’ imaginations.

By the 1950s and ‘60s, as visual mediums became the primary storytelling devices for audiences, scary television series and movies utilized inventive technologies and abstract instrumentation to complement the screen, further evolving the sonic hallmarks of the genre. To this day, those mid-century synthesized and impressionistic soundscapes remain crucial foundations for modern horror movies, further accentuating their timeless appeal and universal effects. “There’s something quite arcane, something primal and effective about them,” Hand says of horror audio tropes. “It’s like good music. There are certain chords that still work.”

Finding the bump that goes bump in the night

The first spooky sounds came inside the theater. In order to accurately interpret a play’s auditory descriptions, stagehands often got creative, introducing cracks of thunder by wobbling large sheets of aluminum, or rubbing canvases to produce a harrowing gale. When theatrical productions began being broadcast over the radio in the 1920s, early foley artists expanded their sound-making tactics, relying on their new blind medium to find materials that could feign more macabre noises.

In his book The Great Radio Heroes , author Jim Harmon notes that, in the 1941 horror series Inner Sanctum Mystery , “to get the proper sound of a head being bashed, [producer] Himan Brown devised a special bludgeon with which he would strike a small melon. The juicy, hollow, squishiness was much truer than the sound from the standard piece of foam rubber used on many shows.” Even more mundane sounds, like ice cubes being tossed into a glass, sometimes needed punch-ups — sound designers often substituted them with metal bolts — which collected a crisper, cleaner noise. “There was an ingenuity to that,” Hand says, “but it was still importing some things from the stage, those off-stage sound effects that could be so evocative.”

As the Golden Age of radio took off in the 1930s, building more intimate and immersive soundscapes for listeners became a greater priority. Using what Hand calls a “hierarchy of sound,” horror productions could intimate a spectral or creeping presence with slight progressions of volume, oscillating between a distant howl and the loud thud of footsteps to indicate the lumbering presence of, say, Frankenstein’s monster. “A lot of those sounds were done live,” says Erik Lobo, the host of horror television series Cinema Insomnia . “Whether those sounds were realistic or not, people understood what they were supposed to be. It became a language.”

Those narrating these tales became just as crucial to setting the creepy mood. In The Witch’s Tale , an influential program that ran from 1931 to 1938, a Salem witch cackles and invites listeners to turn out the lights and stare into the fire, before introducing a scary story. It’s an atmospheric curation that Orson Welles would use on episodes of The Shadow, portraying an ominous character that could cloud minds and cause illusions. Welles’s dynamic voice grew infamous after his live performance of H.G. Wells’s The War of the Worlds , an extraterrestrial fiction many thought was really occurring — its horror magnified by field transmissions and unsettling moments of quiet. “There’s this awful silence that drags and drags until someone says ‘We apologize we’re having technical difficulties,’” Hand says. “That silence can be as powerful as the heartbeat rising from silence.”

Around the same time period, midnight ghost shows had begun borrowing from radio’s early jump scares and haunting narrations to captivate and frighten their own audiences. Often held on the stages of American movie theaters, the shows acted as the second half to silent film double bills , building towards “blackout” sequences to close the shows that often featured seances and ghostly apparitions. Inspired by the spiritualism movement in the United States in the mid-19th century, sparked by the ghostly rapping noises heard by two young girls in Hydesville, N.Y. , magicians and performers took advantage of similar jumpy sounds.

Sometimes that meant planting a crewmember in the audience to give an ear-splitting scream, or using the theater’s projector to induce a startling thunder clap. The sharp, abrupt noises likely found their origins in the word “boo,” a universal ghost word traced back to Greek that meant “to cry aloud, roar, or shout.” According to an investigation on Slate , “the combination of the voiced, plosive b- and the roaring -oo sounds makes boo a particularly startling word.”

Suggesting a lingering paranormal presence, however, required a different, more ethereal kind of sound. So, ghost show emcees often wound music boxes — with untuned spare children’s music — and attached them to their microphones, providing hands-free background songs so they could run up and down the aisles unencumbered. “That tinkly sound. I think there’s something about the mechanics of that,” says Beth Kattelman, an associate professor at Ohio State University. “It can run without a human presence, but you need a human to set it off … and there’s a slight distortion in the tone of music boxes, too.”

As Kattelman writes in the essay “Magic, Monsters, and Movies: America’s Midnight Ghost Shows, ” “enterprising ghostmasters came up with clever ways to fill the theater with otherworldly sounds,” which often meant stringy, “minor tonalities and diminished chords,” she says, and irregular time signatures, keeping audiences uneasy and braced for something malevolent. “Even an untuned piano — there’s a haunting quality because there’s more than one tone coming out of there,” Kattelman says. “It makes you wonder what else is there.”

Conjuring sounds from the ether

When Leon Theremin patented his own musical device in 1929 and began showing its capabilities, some concertgoers began to faint . They thought the theremin — an electronic box with antennas, vacuum tubes and wired circuitry that produced a sharp, high-pitched noise — had somehow tapped into the ether and conjured spirits. Because a thereminist never touched the instrument to produce a sound (only hand movements between the electromagnetic waves initiated the wobbly frequency), it appeared as though some other presence was responsible. “If you see someone play theremin, it looks like magic,” says Rick Reid, a thereminst and electronic music composer. “You can glide between frequencies, you can play any pitch possible and it’s not limited to the notes of the western scale — it’s both familiar and alien at the same time.”

In effect, the theremin took the high-octave notes of the Hammond organ — a radio background staple — and turned up the spookiness, cutting through cellos and flutes with its own distinct vibrato. As Lydia Kavina, a longtime therminist for Hollywood productions, says, “for a ghostly image or haunting feeling, composers usually used music techniques such as tremolo, trills and glissando.” But, she adds, the “theremin can produce this all in such a huge spectrum like no other instrument … from a microtonal interval to 6-7 octaves.”

Originally a commercial flop in the 1930s, the theremin eventually became a favored instrument of composers working on science-fiction and horror movies in the late 1940s and ‘50s. After showing up in director Alfred Hitchcock’s Spellbound in 1948, the theremin — as played by Samuel J. Hoffman — had its most influential break in 1951’s The Day the Earth Stood Still , in which composer Bernard Herman established it as the go-to sound for movies about the supernatural and extraterrestrial. It became a sort of connective tissue between audio and visual mediums, the latter of which could lean more on an expressionist sound design to enhance and distort the suspenseful imagery it was supporting. “All of those older movies have a hyper-real quality where they’re not really descriptive of real life,” Lobo says. “I think that there’s something powerful about that because it feels more like a dream.”

Indeed, throughout most of the post-World War II creature features — from It Came From Outer Space to The Spider to series like My Favorite Martian — the theremin and its synthesizer descendants developed a new auditory shorthand for fear and paranoia. “There’s something that makes the sound of the theremin quite psychedelic,” Kavina says. “Its thin timbre pierces the ear, and also its instability of pitch doesn’t let you relax and ignores the melody.” The eventual saturation of electronic sounds in pop culture also reflected the Cold War climate in which they were made — air raids sirens and man-made alarms became just as startling as the shrieks and screams of past radio dramas. “I remember as a kid, if the TV glitched, that was really scary,” Kattelman says. “Or when they would go off the air overnight, all of a sudden there was no human presence in that box, and now it was something totally foreign.”

Unlike radio, which needed to produce more descriptive sounds to inspire imagery, horror movies and television embraced their changing, abstract soundscapes. In 1963’s The Birds , Hitchcock stripped his movie of a score, instead using the Trautonium, another microtonal instrument, to distort the various bird calls and create a palpable sense of terror. The same kind of piercing sounds can also be found in 1953’s The Creature From the Black Lagoon , in which bright brassy noises jolt together upon seeing the infamous swamp monster. “Having those really disconcerting, odd screeching sounds,” Lobo says, “it definitely clued you in that what was happening was wrong, that it was supernatural.”

Of course, movie writers and directors still often relied on primal noises to fill out their sound effects, often pulling bottled noises from earlier thrillers. Longtime Hollywood sound designer and wrangler Steve Lee remembers many filmmakers implementing the Fay Wray scream from 1933’s King Kong some three decades after it was released. “She was one of the great screamers of that era, and those screams were in the RKO library and were archived there, used over and over,” he says. “Various screams, not just of people but of animals, have always invoked a very emotional response.

“It all comes down to what makes the story work.”

Primal sounds

At the beginning of 1933’s The Invisible Man , the eponymous character wades through dense snow and whistling wind to find shelter at a nearby inn. Upon his opening the front door, the piercing cold rushes inside and quickly stifles the lively bar of drunk patrons. The movie terrified Lee as a child, but the sound of the opening scene left an indelible memory. “I will never forget the wind’s presence,” he says. “It was such a wonderful sound and it was scary because you knew the storm was outside. The music and laughter just stops and you get this screaming wind that’s suddenly like, ‘Uh oh, what’s going down?’”

The scene is a reminder of horror’s unbreakable relationship to sound, and why we keep getting scared by the same distinct noises. As Kattelman suggests, primal sounds penetrate the autonomic nervous system and re-engage our survival instincts, accounting for the goosebumps and chills. “A lot of those instincts are connected directly to our physiology,” she says. “Because we can’t see 360 degrees, we have to be very attuned to sound to keep alert for something threatening.”

The recurrence of these tropes throughout the middle of the century — ranging over the classic Universal horrors to televisions shows such as Scooby-Doo and Star-Trek — has also taken out some of their implicit scares, and, for the genre die-hards, become almost a comforting reassurance. “At a certain point, we end up romancing all the cliches and the tropes,” Lobo says. “It’s not about the artform evolving or giving us anything new, but enjoying the tradition of it all.”

Like the early gothic texts, the first haunting sounds that emerged over the airwaves and into screens remain vital to the genre — and for those still working, like Lee, they continue to inspire. “They fill our imagination and give us the aspirations to be as creative [as possible] when coming up with our own stories,” he says. “I’m always thinking about those [movie] moments and going back and trying to figure out what sounds were used.”

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4 Sounds That Might Mean You Have A Ghost

More from spirit, r29 original series.

Ghost Sounds - Scary Sounds,Horror Sounds 12+

Javed khan pathan, designed for ipad.

• 4.2 • 38 Ratings

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Description.

Ghost Sounds brings the scariest, hair raising tones for thrill and excitement that your heart will be pounding fast every time your phone resounds. Watch your friends and family as they get confused and tremble with fear at the sound of your phone. If you are into horror genre, you will find some of your favorite haunting ghost sounds here. Do you enjoy ghost? Would you like to listen to some sounds of ghost? It is very easy to find a high-quality ghost ringtone for your phone. You can quickly set any sound from our great collection of sounds of ghost here. Now you can scare yourself by ghost sound also scare the friend and family. You can enjoy Twentynine different Ghost sounds: Mummy Haunted Male Sad Moan Breathing Undead Help me Kill you Fear old door Eeri Women Mockingbird Darkness Creepy Knock Stange Owl I see you Creepy door Footsteps Crazy Bats Midnight Moan Crow Evil laugh Answer me Haunted Frightened Presence Greeting Get you Mommmmmmmy Some of the great features: ï High quality Ghost sounds ï Simple and scary design ï Timer - so the app turns off automatically ï Scary background images If you have any comment or suggestion please let us know so we can make this app better.

Version 3.0

This app has been updated by Apple to display the Apple Watch app icon. fix size timer dialog

Ratings and Reviews

Nice app but needs more horrible sounds, you know the kind that sends shivers up your spine and gives you goosebumps

Great app. Very good sound quality. All the sounds are feel real to hear. Thanks much for sharing this. Wonderful app. I like so much this app. I am highly recommended this app. Thanks

Nice horror sounds collection

Very nice app. Lots of horror, ghost music are. And all sounds are horrible and realistic. I'll use those music with my buddies to make fun. Thanks much for sharing this.

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The developer, Javed Khan Pathan , has not provided details about its privacy practices and handling of data to Apple.

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