The phrase "as a sound effect" is correct and usable in written English.
It can be used when discussing audio elements in media, such as film, music, or video games, to describe a specific sound that enhances the experience.
Example: "The director decided to include a loud crash as a sound effect to heighten the tension during the climactic scene."
Alternatives: "as an audio cue" or "as an auditory element".
"Instead, it wound up known only as a sound effect".
Let a door squeak on its hinges; the hens accept it as a sound effect.
Interstellar's director, Christopher Nolan, said "there are moments in this film where I decided to use dialogue as a sound effect," adding, "I've always loved films that approach sound in an impressionistic way".
The Batman and Inception director said he used dialogue as a sound effect at points "so sometimes it's mixed slightly underneath the other sound effects... to emphasise how loud the surrounding noise is".
Kloser throws in some interesting percussion cues ("Antarctica" and "Down the Tunnel"), but more as a sound effect than a consistent motif".
Kode9 trying 2 make the sound of an airhorn with his mouth but then sampling that from the podcast and using it 4da next 4/5 shows as a sound effect.
But musicians like those come across now as holdouts and outright contrarians against the dominance of three-minute, two-idea tracks — of the pop song as little more than a sound effect and a sound bite.
A tribute to Michelangelo Antonioni's Blow-Up (1966), it featured John Travolta as a sound-effects mixer who inadvertently records a car accident that seemingly causes the death of a politician.
It begins with his 1973 breakthrough, "Sisters," and includes "Obsession," his homage to Alfred Hitchcock's "Vertigo," and "Blow Out," his riff on Michelangelo Antonioni's "Blow-Up," starring John Travolta as a sound-effects technician whose tapes reveal evidence of a homicide.
Consonance is also occasionally used as an off-rhyme, but it is most commonly found as an internal sound effect, as in Shakespeare's song, "The ousel cock so black of hue," or "The curfew tolls the knell of parting day," from Thomas Gray's "Elegy Written in a Country Church Yard".
The composer and sound designer, Todd Barton, had a longtime interest in ancient Japanese music and relished putting together a soundtrack that includes traditional Japanese instruments, Noh chanting, as well as sound effects from thundering horse hooves to the twang of the arrows that finally kill Washizu.
