Cycle
Every press, a different take
A pad holds several takes — each press places the next one, never twice in a row.
- PrPremiere Pro
- Sound design
Sound design has never been this advanced — or this convenient. Everything you can do with sound, in one plugin: layering, sound customization, onset points, a global offset, remembered volume, speed-ups and transitions. All of it in a single pad with lightning-fast placement. Run the sound of your entire edit fast and without the routine.
During the trial the app tells us whether the plugin was launched — just that and the day.
Scale
Tabs, pad kinds and client sets — built around you.
How it works
Track, onset point, offset and color — no manual nudging.
Insert
Finds a free track by itself
The sound lands at the playhead — on the first free track.
Nothing to move by hand
Onset point
The hit lands on the frame
A mark inside the sound — a riser's peak, a whoosh's middle. Set it once.
Peak lands right on the cut
To loudest
Finds the peak for you
One button finds the loudest spot.
One button in pad settings
Global Offset
A couple of frames early
Shifts the insert from the playhead for all pads at once.
−100 to +100 frames
No moving each sound by hand
Labels
Visible at a glance
One of Premiere's 16 label colors — for the pad and the sound.
16 colors, as in Premiere
Tidy, automatically
Variations
Changes the sound on every insert — and can rework what's already placed.
- Diversity
Spread on every insert
Speed, pitch and volume vary; some inserts play backward.
speed up to ±40%volume up to ±12 dBreverse 5–100%Pitch changes without affecting length — via Pitch Shifter, tested on Premiere 25.5.
- Diversify
Placed sounds, made different
Select sounds on the timeline and press “Diversify”.
- Ladder
Build-ups, swells, series
Each next one — shorter, louder or higher. Not it? “Restore” rolls back.
Layering
Build it once — after that, a complex sound goes in like a simple one.
Build it on the timeline
Low end, whoosh, debris — each on its track, offset to the scene.
“Grab from Timeline”
The selected clips become a Layers pad.
One press, every layer
Each layer lands on its own track with the same offsets.
- “Cycle” from the same clips
- From Project Panel, no timeline
Use cases
Three scenes, same pads — they switch on their own.
Social media video
Dozens of small sounds per video — each with a press at the playhead.
Trailer and promo
The riser peaks right on the cut, a layered hit lands with one press.
Footsteps and Foley
Ten steps, ten takes, jacket rustle right next to them. Never a loop.
Comparison
Regular sound design vs SFX Machine
The same sound, by hand and in the panel. We count the actions.
By hand
7actions
- Open the sound folder
- Find and preview the right one
- Drag it to the timeline
- Find a free track
- Line up the peak with the cut by eye
- Set the volume
- Color it with a label
With SFX Machine
1action
- Press the pad
The pad does the rest
- At the playhead
- Track — automatic
- Hit — right on the cut
- Volume — set
- Color — instant
By hand
With SFX Machine
7× fewer actions
Counted by the actions in the list, not seconds.
Free trial
Try it on your own edit, decide later.
Free · no key
Three days to try
Press “Try 3 days” in the panel. No key, everything works. Once per computer.
Key · from the site
Like it? Get a key
Enter the key in the same panel — pads, tabs and presets stay put.
Installation
Install Hub
Installs and updates plugins.
Add SFX Machine
One button in Hub.
Open it in Premiere
Window → Extensions → SFX Machine.
Press “Try 3 days”
Or enter a key.
Versions
Each version — what was added, changed and fixed. Hub installs updates for you.
Version 2.2.0
November 5, 2026Changed
- Internal developer diagnostics were updated; nothing changes in how the panel works for you.
This plugin is alive and growing fast
We're actively developing and testing it, so your feedback means a lot. Found a bug or missing a feature? Let us know — most fixes and requests ship within 3–4 days of your report.
Questions
No. The panel works with your own sounds: it takes them from the timeline or the Project panel and puts them on pads.
At the playhead, on the first free audio track; the panel skips busy tracks. If the sound has an onset point, that point lands on the playhead instead of the start.
With the usual Ctrl+Z in Premiere. If one press made several undo steps, the panel says in its status line how many times to press. “Diversify” has its own button — “Restore”.
Yes. The pad settings have “From Project Panel”: the file selected there becomes the pad's sound. Or use “Grab from Timeline” — straight from the edit.
Up to 20 tabs of 100 pads, up to 100 takes in each pad. The whole set of tabs saves as a named preset, and you can have as many presets as you like.
Three days from the first press of “Try 3 days” in the panel. No key needed, everything works. The trial is once per computer.
Premiere Pro 24.0 and later. Tested on 25.5.
No Mac version yet. It’s coming soon.
Use “Export to Folder”: the pads go to a folder together with their sounds. On the other computer, use “Import from Folder”.
The “?” button in the panel header: “Report a Problem” sends an email together with the panel log. Version history and support are there too.
Sometimes: on first launch, after a panel update and once a week — the panel confirms the key with the site by itself. The rest of the time it works offline.
Yes. A key works on one computer; enter it on the new one and it moves there by itself, while the old one stops opening the panel. Up to three moves in 30 days; more often — through support.
SFX Machine
Key — $80 · 3-day free trial · version 2.2.0