73 безплатни аудиофайлове за "Long Note"

[absolute_silence_00. 50_sec. Wav]. S/o to rlc209!. Here's what rlc209 dm:ed about this silence: "yeah, it was no joke, your wav file was perfect. I created my first ios app a couple weeks ago and i needed to play a quick silent file to buffer the sound player function within my app so that it would play the game sounds as normal without a slight freeze or delay. ". --------------------------------------------------------------. Absolute silence! intended for the freesounders that truly need some absolute, real, clean silence!. This is not an early april fools joke 2020. I've actually thought about releasing/publishing silences for a long time now (for years!). It shouldn't exist only free sounds but also free silences !. I saw that some freesounders needed clean silence to use as "blank space". That's why these silences were created!. I am not 100% sure what silence can be used for otherwise, but it can be useful for some things when you think about it!. If you enjoyed the silence, please rate, comment, spread! it really helps!. Note: make sure to check out the other matrixxx-silences! the silence quality is always better when you download the silence(s)! ⛄. Enjoy!/matrixxx.

Long and short notes of a fife played by my dad. All notes are c5.

The range of notes from my family piano after years of not being tuned.

Recordings of a violin (performed by poppy crum) playing long sustained notes in various expressions; pitch, dynamics and express (normal, harmonic, sul tasto, sul pont) are in file name. Recordings made with a pair of neumann mics.

Johann Sebastian Bach (1685-1750) Cantata BWV 125: Mit Fried und Freud ich fahr dahin (2 February 1725) 1. Mit Fried und Freud ich fahr dahin (Chorus) 2. Ich will auch mit gebrochnen Augen (Aria: A) 05:27 3. O Wunder, daß ein Herz (Recitative: B) 13:19 4. Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden (Duet: T, B) 15:36 5. O unerschöpfter Schatz der Güte (Recitative: A) 20:55 6. Er ist das Heil und selig Licht (Chorale) 21:37 Soloists: Alto: Ingeborg Danz Tenor: Mark Padmore Bass: Peter Kooy Performed by Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1998. "Bach composed the cantata 'Mit Fried und Freud' for the feast of the Purification on 2 February 1725. Here, the opening chorus is in 12/8 time, which is almost always associated with a peaceful, pastoral mood. Here it is the expressive key of E minor, which, raised to monumental heights, will re-appear in the opening chorus of the St. Matthew Passion. The chorale is sung in long note values by the soprano accompanied by the lower voices of the chorus in densely textured imitation, and which takes up the serenely elegiac movement of the instrumental ritornello theme. Only twice does Bach interrupt the pattern: at the words 'sanft und stille' all the voices drop into a sudden 'piano' and even the lively rhythm of the vocal part gives way to a more tranquil measure. The contrast of the 'forte' on the next words, 'wie Gott mir verheißen hat' is all the more convincing in relation to the preceding words. Once again Bach leads the vocal part into a quiet, even tenor for the final line of the chorale, 'der Tod ist mein Schlaf worden.' " - Thomas Seedorf Painting: Still Life with Three Medlars, Adriaen Coorte

Striking a long plastic shoehorn along an old headboard made of wide brass pipes. Produces an ascending and descending sequence of notes.

An ambient sound of creepy metal grinding metal as a knife slides across a sharpener. Geek notes: recorded with a shureksm44.

Hit with another glass. Long decay time. Quite nice for sampling. 400 hz ≙ ~g4. Recorder/mic: zoom h4n pro (stereo x-y)processing: denoiser.

Piece of backing vocals from my new song, dropping on soundcloud soon. Key of bm, 80 bpm. Notes are b,a, a, f#.

This sound results from applying the hps model to a few notes from a flute. A 'zipper' sound with tonal chirps are produced, reminiscent of long last days of amateur radio.

Often use wine glasses in musical scores so i created my own recordings. I've used these many times and wanted to share. Kind-of reminds me of soundtrack for the dark knight.

These are some synths i tuned in reason. I've included them as an octave long run of notes so you can use them in your own productions. I hope you find them useful :].

Wrote/recorded a free dance tune at 120bpm using ableton live 9. The notes revolve around: c, g, d, e, dableton stock drum rack w/ stock samples for the percussion section. Mod amp sine bleep for the side toms. Ableton stock grand piano for piano. Muggy stock plugin for the synth-like parts w/ pitch bends in the midi. Synth1 vst64 for the long sustaining notes during the rhythm synth parts. Other notes about this recording:-14. 0 lufs integrated. -1. 4 db true peak max. Hope this helps and is useful for your next project. Cheers,bainmack. Youtube. Com/bainmack.

Robinson's Grand Entry March performed by the Concert Band of the United States Air Force Band. Track 3 from A Symphony in the Sky (1965). Recorded at the U.S. Air Force Band studios, Bolling Air Force Base, Washington, D.C. Credits: Chorus Master – Franklin J. Lockwood Conductor – Arnald D. Gabriel Liner Notes – Sergeant Harry H. Gleeson Audio Supervisor: Sgt. Al Derecki. Engineers: Airmen John Long, Jerry Schwinger and Bill Seabrook

Squadron Song performed by the Singing Sergeants and Concert Band of the United States Air Force Band. Track 11 (B5) from A Symphony in the Sky (1965). Recorded at the U.S. Air Force Band studios, Bolling Air Force Base, Washington, D.C. Credits: Chorus Master – Franklin J. Lockwood Conductor – Arnald D. Gabriel Liner Notes – Sergeant Harry H. Gleeson Audio Supervisor: Sgt. Al Derecki. Engineers: Airmen John Long, Jerry Schwinger and Bill Seabrook

24 bit sample, direct to sound card, volume adjusted to remove peaks. . . Sound is a long recording of static and crackling noises with random notes and music from a circuit bent musini toy. I honestly don't know if the static sound (activated with two body contacts) is classified as "white" or "pink" noise, but i really like the sound of it! a plethora of crunchy, crispy, noisy snippets to transform into a drum kit or something like that!.

The Stars and Stripes Forever performed by the Concert Band of the United States Air Force Band. Track 6 from A Symphony in the Sky (1965). Recorded at the U.S. Air Force Band studios, Bolling Air Force Base, Washington, D.C. Credits: Chorus Master – Franklin J. Lockwood Conductor – Arnald D. Gabriel Liner Notes – Sergeant Harry H. Gleeson Audio Supervisor: Sgt. Al Derecki. Engineers: Airmen John Long, Jerry Schwinger and Bill Seabrook

I was playing around with my sampler fx today and decided to rig up my electric guitar. I use a fender american special stratocaster, hooked up to an akai s2000 sampler with on-board fx - distortion and guitar metal applied in real time, the signal then sent through to amplitube fx rack on my computer with vintage crunch setting. This is a strum of the lower e open. I recorded a number of stabs and thought this clip might come in useful.

A groovy & sinister tunei made in garageband for something called victors crypt!. I couldn't sleep so i was playing around with a drumbeat. I kinda liked it so i added staccatto string-chords along with a bass in the same notes. Things start growing and ended up something groovy with a spooky touch. Could be useful in anything dark, eerie, spooky, creepy, scary, horrific,mysterious, crime-ish, thrilling or whatever comes to mind. Feel free to use it as long as you give me the credit for it/write me as composer. And subscribe to and watch my channel :). Be cool, watch and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

Binaural* recording of cathedral bells repeating over and over (not looped). Towards the end of the file the bells are heard from a distance (the recording continued while walking away). Recording notes:. 1. Recorded in the field using soundman okm ii binaural microphones with the h1 zoom recorder. Sunday 87/2/2015 mid afternoon. 2. The recording has been left unedited to allow the greatest amount of creative reworking. 3. Recordings are as long as possible for video usage (it's easier to shorten a sound than to expand it). 4. Volume in these series will be left unaltered to allow easier mixing as far as possible. You won't have distant birdsong louder than a closeup door slam. 5. Attribution is appreciated but not necessary. A "thanks" or smiley face in the comments below will be fine. Commercial use is okay. Any concerns, send me a message. *binaural is a recording method that allows surround sound over stereo headphones but over speakers can add depth when mixed with other sounds.

Session 1, find more koto in this sound pack. The recorder wasn't optimally placed in the session 1 recording, so sometimes you might hear some low impact noises transitioning through the table to the recorder. Some eq (low cut) should be able to fix this. We went to my friend's father to record a koto, a traditional japanese zither-like (table harp) instrument, consisting of a large wooden base with long strings for plucking. The strings are tuned in the japanese pentatonic scale, allowing a mystic, mysterious, beautiful harmony. It was my first time ever playing this instrument, so don't expect wonders lol. But i tried to "feel" the instrument as well as i could, working from my limited keyboard and guitar playing skills. I improvised simple patterns, and also tried to work with call and response ideas, and bass notes, plucking the low strings with my fingers, and then plucking the high ones with a pick. Happy listening, chopping, and remixing!. In kashiwa, chiba, east of tokyo. Mid october 2016. Zoom h2n stereo ms recording in 96khz, 24bit.

In front of my desk in my room is a wood paneled wall with a cubbie. It's about a foot wide, 10 inches from top to bottom and maybe 7 inches deep. I'm just guessing. Around this cubbie is a border of wood. In the bottom right corner under the border i have jammed one end of an elastic string that used to have glitter on it. It's from a christmas box of chocolates my uncle sent me last year. I stand in front of this cubbie whose bottom is at chin height, (i'm only 5ft1in) so my arms are above my head as i pull this string across the cubbie up and to the left to the border on the top which acts as my only fret. The string is a few inches longer than the cubbie is wide, but when i pull it it gets longer so my hand is 3/4 along it's length as i pull back and forth across the border to tighten and loosen the string. No matter how hard i pull it never pops loose from it's mooring. This time the mic is sitting in the cubby so i get a much clearer and louder sound. When i stretch the string across the top it has a fairly long sustain, so i can play 4 notes on a single pluck.

Created by divkid for use in the make noise soundhack morphagene. There are dry-only, fx-only, and mix versions of this reel in the pack. See it in action at https://youtu. Be/rk4ufmfcouc. Patch walkthrough. The patch starts with the qu-bit chance providing discrete random values (sample and hold) going into an instruo harmonaig. This takes the stepped random voltages and quantizing them to a given scale. I put in the notes c d eb f g ab bb which is a c natural minor scale, the relative minor of eb major (for anyone that's curious). However like most of my modular work i didn't actually tune the oscillators to anything specific. So treat the scale as a pattern of intervals not a set of specific notes. The quantized notes then form 4 voice chords giving us a root, third, fifth and seventh cv output that will be diatonic following the scale pattern, meaning the third will be major or minor, the seventh major, minor or dominant and the fifth natural or diminshed to suit the scale. With the 4 quantized outputs on the harmonaig these all go into the four oscillators on the synthesis technology e370 quad morphing vco. Each of the e370 oscillators are in the basic morph xy mode using the built in rom b set of wavetables. Wavetables are modulating by various mixes of the befaco rampage, mutable instruments tides, wmd multimode envelopes and music thing modular turing machine. The modulation sources are mixed and split with multiples and mixers. These modulating wavetables then go into a bubblesound vca4p where i'm using 4 mk1 intellijel dixie oscillators all un-synced and free running with sine wave lfos. Each lfo freely fades the voice in and out of the vca4p. As this is unsynced there's no regard to pitch changes linked to changes in amplitude and the swells. I find splitting the gate/rhythm from pitch regarding sequencing to be a freeing and interesting way to work that's not available on traditional instruments. This is just a simple application of that idea with the lfos fading freely unrelated to the other modulation or sequencing of pitch. The sound then goes from the vca4p mix out into a befaco mixer and praxis snake charmer which the output section of the larger case and i'm sending a 'pre' auxiliary out into my fx case. The dry sound first goes into the erica synths fusion delay / flanger vintage ensemble which is giving me short modulated delays giving vibrato like sounds and pushing the input level and overdrive gives us some warmth and grit that thickens up the sound and also fills in the gaps left by the free running lfos pulling quieter sounds and compressing in the on board tube. This then outputs to the feedback 1 bit multitap delay module which has it's delay chip pushed to longer times for some added crackle and noise. I'm using the two delay taps for a shorter and longer delay with little feedback to mix the dry sound for a generally noisier and smeared version of the input. This then goes into the xaoc devices kamieniec with it's on board lfo as slow as possibly for a mildly resonant phase shifting. This goes into mutable instruments clouds set to sew random grains slowly and randomly which are pitch shifted up 2 octaves to fill out some high end flourishes against the closed chord voicings at the core of the patch. Finally this goes into a long lush reverb from the halls of valhalla card in the tiptop audio z-dsp. The stereo fx chain and the mono dry signal are mixed in the befaco hexmix and recorded as a mixed stereo file. I'd consider this to be the main 'reel'. However i split the dry signal and the fx only wet stereo signal and recorded those at the same time so you can choose which reel to use and experiment with dry/wet or blended sounds from this patch.