602 безплатни аудиофайлове за "Harmonic"

2 seconds long. Consists of sine waves alternating betweenaround 120 hz and 300 hz with 4 harmonics. At two times an added noise appears whichsounds like a brush. Mono, sampling rate 44100 hz.

Chromatic notes starting at c0. Really sweet double delayed saw waves with lots of harmonics. Drop this into your sampler and hit it with a low pass filter and get a good groove going. Enjoy!.

*Pythagorean apotome on C = C♯++ (Ben Johnston's notation). 2187:2048 = 113.69 cents. Limit: 3-limit. MIDI pitch bend: 49,68

*Two-hundred-thirty-first subharmonic on C = D↓-. Just: 256/231 = 177.90 cents. Limit: 11-limit. MIDI pitch bend: 118,56

5:7:9 is the first inversion of the major triad. Title refers to harmonics (fundamental=1:3:9:etc.).

*Just perfect fifth on C = G. 3:2 = 701.96 cents. Limit: 3-limit. MIDI pitch bend: 80,64 MIDI file.

All sounds are created with the pluck-. Function of audacity. I modified the attack phase, changed some harmonics with notch-filter andlowpass. For the pluck noise i used a bandpass- filtered white noise.

*Schisma on C = B♯++ (Ben Johnston's notation). 32805:32768 = 1.9537 cents. Limit: 5-limit. MIDI pitch bend: 80,64

*Just major seventh on C = B. 15:8 = 1088.27 cents. Limit: 5-limit. MIDI pitch bend: 31,60

*Two-hundred-forty-fifth subharmonic on C = C-. Just: 256/245 = 76.03 cents. Limit: 7-limit. MIDI pitch bend: 42,88 on PU

*Just augmented fifth on C = G♯. 25:16 = 772.63 cents. Limit: 5-limit. MIDI pitch bend: 31,55

*Pythagorean augmented fourth on C = F♯++ (Ben Johnston's notation). 729:512 = 611.73 cents. Limit: 3-limit. MIDI pitch bend: 96,67

*Pythagorean augmented fifth on C = G♯++ (Ben Johnston's notation). 6561/4096 = 815.64 cents. Limit: 3-limit. MIDI pitch bend: 1,69

*Pythagorean augmented second on C = D♯++ (Ben Johnston's notation). 19683/16384 = 317.60 cents. Limit: 3-limit. MIDI pitch bend: 81,69

I created this sound with additive synthesis ,using different eg`s and five different sounds for low ,middle and high harmonics. The pluck noise is a filtered noise at the resonance frequency of 523 hz.

Glitch sfx #1. Modify/use however you want. I made this by playing a couple sine waves on different notes, then i added a fruity waveshaper to add harmonics whenever one of the sine waves clips, then filtered out the original sine waves, leaving you with the distorted harmonics you have here. Made with fl studio 12, massive, waveshaper, and edison. If you use this in anything, please put it in the comments, me and other people may want to check it out!.

Rehearsal of sirens i recorded from my window in prague. After that i separated the harmonics for clean sound. The recording is 96khz, stereo. Recorded using zoom h2n on x/y mode.

*Just augmented sixth on C = A♯. 125:72 = 955.03 cents. Limit: 5-limit. MIDI pitch bend: 78,49

*Pythagorean major sixth on C = A+ (Ben Johnston's notation). 27:16 = 905.87 cents. Limit: 3-limit. MIDI pitch bend: 112,65

*Pythagorean major seventh on C = B+ (Ben Johnston's notation). 243:128 = 1109.78 cents. Limit: 3-limit. MIDI pitch bend: 16,67

A quickly rising synth that then sustains until repeating, meant to sound like the sort of alarm you'd hear in top secret bases and whatnot, could be used for quite a few contexts. This was made in beepbox using the guitar harmonics instrument.

*Pythagorean augmented third on C = E♯+++ (Ben Johnston's notation). 177147/131072 = 521.51 cents. Limit: 3-limit. MIDI pitch bend: 113,70

*Pythagorean augmented sixth on C = A♯+++ (Ben Johnston's notation). 59049/32768 = 1019.55 cents. Limit: 3-limit. MIDI pitch bend: 33,70

*Major semitone/Minor diatonic semitone (17th harmoic) on C = C17♯ (Ben Johnston's notation). 17/16 = 104.96 cents. Limit: 17-limit. MIDI pitch bend: 75,65

An explosion, blowing very close a "vocal mic: sennheiser md 431", wavelab octavic harmonics, multiband eq to cut all except low-mids, clean comp-wavelab, reverb, reshaping envelope via wavelab button "v".

Camera noises. I pressed shutter button of nikon f4, which i bought 15 years ago. It is full-automatic action, and you can hear splat the shutter makes, motor-driven film winding-up, and slight harmonics its aluminum chassis plays. I recorded it using audio-technica ae5100 connected to presonus firepod.

Maybe someone could find a use for this. I doubt it. Rising tone from 440 to 880 hz, with extra harmonics arising over that period. Random slow panning l/r. Much faster random panning (~200 hz), but shallower. Ridiculous echo and reverb. Just what i felt like doing on a sunday morning.

This sound is a synthesized sound where the loudness and the timbre (weights) of the harmonics are derived from a short excerpt of carnatic music. The original sound from where these parameters are derived will be soon linked here in the description.

This sound i did create with cubase daw. It's based on the sound "guitar harmonics" of cubase and i added the following effects : multi delay, chorus and phaser. It's only one track. Samplerate : 48 000 khzit's free to use. It might be a good background sound for special scenes in games, movies or videos.

A. Timmons pickup in the bridge position with mid-long reverb using some pinch harmonics on some tones. The dark airy, possibly almost cavernous, desolation you asked for. . . Be more specific regarding pitches/keys, any tweaks. . . I'll find you.

I was messing around with harmonics and came up with this, hope you enjoy it is free to use but if you use it in a game or something can i at least see it? :).

This is a recording of a church bell ringing before the evening service. Bell is playing a slightly flat b3 (around 240hz) with nice harmonics (very loud at d4). I was recording it on my laptop from the yard behind the church using two shure ksm32 large condenser mics and a rme fireface uc. Hpf at 60hz, no postprocessing.

My girlfriend brushing her teeth with an electric tooth brush. The fundamental pitch of the toothbrush motor is just near b2. The mouth shape adds the first few upper harmonics (a la throat singing). Make a pad or pull into a granular synth!. Recorded with an akg c214 into an ni audio kontrol 1.

*Pythagorean comma on C = B♯+++ (Ben Johnston's notation). 531441:524288 = 23.460010 cents. Limit: 3-limit. MIDI pitch bend: 65,71 (23.461914 cents) The note de picted as lower on the staff (B♯+++) is slightly higher in pitch (than C♮).

*Just major third on C = E. Just: 5:4 = 386.31 cents. Limit: 5-limit. MIDI pitch bend: 79,59 A M3 with pitch bend on 79,59 for about 386.31 cents rather than 400.

Work in progress speech synthesis speech, all drawn in photosounder. I've drawn the basic vocalisation by drawing horizontal lines in the 100 hz range using the white spray with the harmonics modifier, and modulated that using the dark spray to create the formants. I also added a couple of fricatives with the white spray, but it's incomplete.

An ambient sort of sound done by doodling around in photosounder. Using the white spray with the harmonics on i drew two squiggly lines across the image horizontally, then flipped the image 90 degrees counter-clockwise, then with a wide dark brush i darkened some areas of the image to make the sound progress for a narrow band continuous noise to a full bandwidth squiggly kind of noise.

5 7 9 chord on E, eight steps in the octave. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include eight steps in the octave, based on 5:7:9 and of which only the just version would be used. Traditional notation: E B♭ D.

A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.

I drew this thx deep note imitation in photosounder by drawing several lines with the white spray with the harmonics modifier. I first had a look at the original thx sound and tried to reproduce what i saw. The final chorus sounds bad because it's hand-drawn, so the right notes aren't hit plus the lines aren't straight so the pitches keep moving around a bit.

My original dw toms, mixed with themselves 1 octave up [the octave up is lowered -6db and the envelope reshaped to allow loud only the attack]. Then for that resulting mixdow again the same thing [so i used the same method two times]. At all steps i was using the simple compressor[not multiband] for not allowing overlimiting. For the two general mixdowns [because it was a double process] i used hard compressor at -0. 45 dbs. And for the two octavic parallel channels i used hard compressor -3. 60 dbsbecause the octave doesn't sound realistic if not well compressed. For all my dw octavic tomsed i used the same exact method. My original dw toms are here if you want to read data or mics. These toms do not sound realistic as stand alone sounds. These harmonics work better only in a complete mixdown, and have increased audibility than the original recordings [for silent music parts use the original because low velocity of parallel instruments will expose the supportive tom-harmonics].

A tabla loop played only with the bayan (the bass drum). The taal is kherwa (the rhythm) and the bayan isn't used at all. Recorded using behringer c-1u, recorded in adobe audition, and finally did some eqing (the major part of the eqing was removing the 60 hz hum and the obnoxious other harmonics). Enjoy!.

I'm an enthusiastic and i created and attempted my first gun's shooting and respective reloading sound. Totally lo-fi, using metallic door bangs and many other rattlings. I boosted some 'ugly' harmonics so you can adapt it as best as your mixes need it. Similarity: i'd say it sound like, known in videogames, a sub-machine gun; a small full-auto gun. Like a p90 from cs:go or a msmc from cod:bo 2.

Same patch as in electronic minute no 226 and 227 but on my real modular. I'm using a filter. Thats why i call this version subtractive. I'm subtracting harmonics from a square wave. Why are 226 blue? probably because i did it at work. . . Listening in bad earbuds. Makes you rise the bass. Lets see if i can make this wave ble at the end! i will slowly fade out the vco with high pitch. At the very end i'm switching the synth off.

Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?

This is a very small part of a song of mine called cyanean rocks. I used. Tempo: 140 bpmsguitar: prs se santana - guitar strings: ernie ball rps 10 slinkybass: vst cobra satin - bass strings: 3 vst, 1 fenderamp: yamaha thr 10 - select aco,a gentle amount of chorus & delayprogramms: fl8, wavelab 6drums: dw, tama. I do not tune my guitar and bass with the standard tuning. Veiler's personal tuning for guitar. Mi bass -remains-> mi bassla -becomes-> sol thin string - it is a sol string like the classic solre -becomes->do# the closest to re stringsol -remains-> sol, and it is exactly the same with the upper sol- buy extrasi -becomes-> do# the closest to si stringmi cantini -remains-> mi cantini. You must perform intonational adjustment to the bridge saddlesif your guitar has permanent bridge saddles - it sounds like ass. If you don't know what intonational adjustment of the bridge saddlesgo ask a guitarist because you are not - even if you say so. [we fix the harmonics - we focus in the octave tuning usually usinghex key = allen key]. In some guitars we may have to fix the harmonics once a month. If you don't know anything, search it on wikipedia. You have to throw away the la string. You have to purchase an extra sol to replace the unused la string. If you don't understand that, please don't speak to me, i hate idiots. Effects: phase deleting 25 ms of the right channel(if you destroy a critical drum-attack remix it to the right channel). Please brush your teeth!!!.

I really enjoyed exetone studio's recording of a bell found here - https://freesound. Org/people/exotonestudio/sounds/416992/. I took this sample into melodyne and moved all of its frequencies into "c" range. This gets rid of harmonics and makes the sample well-suited to use as a musical instrument. I prefer the original sample for some purposes. Unprocessed, it has a richer sound. And i also truncated to get rid of a tricky bit i couldn't fix. And i combined stereo tracks into mono, since that works better for an instrument where one wants to control panning inside of a composition. So as a pure sound effect, i recommend the original. This version is just useful as an instrument.

This was produced by tapping on a stethoscope which had an earbud pressed against a shure sm57 mic. Low pass filter applied, as well as compression and a gate. Chorus added. Used a recording cassette deck as a preamp going into an m-audio audiophile usb soundcard. Note: if you're having problems listening to this clip, the cutoff frequency of your speaker set may be too high(solution: new speakers). The signal strength exists almost entirely in the very low frequencies, so you may need a sub-woofer to hear it. Otherwise, try turning your speaker volume all the way up. Doing so may saturate the signal and at least allow you to hear the harmonics of the signal caused by the distortion. I don't recommend it, but you'll at least maybe be able to hear something.

Vigorous picked bass sound. Preset #4 from bassesland vsti software. Notes starting from c5 produce harmonics. Http://syntheway. Com/bassesland. Htm. Bassesland is a virtual bass software that covers a wide range of sounds, from an electric bass guitar or an acoustic double bass, to the vintage bass synthesizers. Features. - rotary switch selector to change between the following basses:. 01 electro acoustic bass02 fretless electric bass03 jazz electric bass04 fingered bass and harmonics05 picked bass and harmonics06 muted bass and harmonics07 slapped electric bass08 bass slides (glissandos)09 fuzz bass overdrive10 minimoog sub-bass11 moog prodigy bass12 moog system 55 modular synth13 moog taurus pedal preset14 moog taurus bass pedal preset15 roland jx-3p juicy funk16 roland jx-8p synth bass17 roland juno-106 fat bass18 clavia nord lead acid bass19 oberheim ob-xa buzz bass20 arp 2600 bass (arp instruments, inc)21 oscar bass (oxford synthesiser company)22 kawai k3 resonance bass23 upright bass (acoustic double bass)24 upright bass pizzicato.

I was recording outside my bedroom window while eating dinner in the living room, then i came back in here to see if i got anything interesting. I was zooming through the recording at 5x speed when i came across this bit of incidental pareidolia. I'm not sure what was going on, maybe the neighbors' stereo, but i don't remember hearing it, it's much louder in the living room so i should have. Whatever it was came out as a little distant choppy 2-notes alternating melody when played at 5x speed, which suddenly gets louder and solid as you hear the lower note followed by a third lower note. These 2 louder notes sound to me like someone singing the words all day. This would lead me to believe the original tones have some light harmonics i don't hear at normal speed. After which it goes back to the softer stuttering 2-note alternating thing from before. It doesn't sound like much at all at normal speed. So i just did a few straight pitch changes with goldwave until i got to 5x and saved this little file. See if it sounds like "all day" to you.