3612 pistas de audio libre de derechos para "3"

A long recording on board the "green car" of the jr tokkaido line from atami to shinagawa. A "green car" refers to the first class cars on some long distance local trains. The ride is smoother and the cars are generally much quieter. The cars are generally empty but, this was at the end of a 3 day weekend, so the car was actually quite active (i'll try to get a quiet one soon). You can hear the ticket attendant, the conductor's announcements, station arrivals and departures, passengers getting on and off the train and settling in and having conversations. At some point you can hear the guy behind me eating senbei (a crunchy japanese rice cracker) - that's a little annoying, but there might be some usable bits in there if you're good at editing backgrounds. But like i said, i'll try to get a less busy train next time. Recorded with 2 stereo mic pairs and unedited.

Recorded on a small olympus device, set next to an open sleeve of stale saltines. You can hear her in the plastic packaging grabbing mouthfuls and chewing the crackers all up. She dips into the sleeve of crackers 3 or 4 times in this recording and smacks her chops after eating it all. Sorry about her collar chiming as dog's tags tend to, i just had to record that big mouthed crunch. I've removed the loud plastic rustling sounds, to focus more on the crunching sounds as she munches on snack crackers. Great for dog food or puppy chow commercials or for a film of a beast eating at charred crispy remains. If you use it for a film put a link to your work in the comments below, i'd love to see how you use this audio of a big mouthed cutie pie cruncher dog.

A summer evening in a vineyard by the german town of freyburg on unstrut. The recording abounds with natural background noises (wind in trees, birds, insects). In the foreground, a little bird is singing, giving it all it has. I am no bird expert, but if somebody knows what species it is, i'd love to know. At 3:22 into the recording, the tower bells of the keep of neuenburg castle, located on the hill opposite, toll 9 o'clock. They do this by tolling a high bell 4 times, once for each quarter of the full hour, followed by a lower bell tolling the hour 9 times. The recorder is located on the top of the vineyard, facing across the valley between vineyard and castle. These are the rear channels of a 4ch surround recording. Recording conducted with a zoom h2, mic's set to 120° dispersion.

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].

Here is another night of that couple next door. They were active for around 25 minutes. Sounds like they had a really good night. The recorded audio of this was over two hours long and edit down to this length. Many of their conversations before they you know and after they finished were excluded out. At 2:32, sounds like the woman said "wanna go ahead,. . . "starting around at 3:45 was when they probably began to have their fun in bed, but there were still bits of soft chit chat between the couple. At 13:25 is when there are bits of moans coming from the woman. At 14:50 is when the rising action really begins. At 25:00 was when their fun was coming to an end, and you should be able to hear some of the noises from the guy. For those who just want the good parts of the audio: 13:25-25:56.

This is a collection of "small room reverb" impulse responses that i sampled in a new england home known as butternut lodge, built and owned by actress bette davis back in 1940. It consists of all wooden rooms with many non-parallel surfaces, rugs and furniture and includes 3 round-shaped "silo" rooms! these rooms sound clean and do not have the irritating "ping" of many rectangular rooms. Short history/pictures of butternut (https://www. Airbnb. Com/rooms/24692769?source_impression_id=p3_1659215694_liuasyfxoceab5fn). Although these round shapes (and some of the other very small rooms) could potentially wreak havoc with phase at specific frequencies when summed to mono, i recorded this using the mid/side mic technique; therefore, the "side" channels fully cancel out, leaving a clean monaural reverb signal. These irs are stored as flac files. They can be used directly by any daw without conversion and have the added feature of being id3 tagged with a photo of the room each ir is taken from. After downloading, select view -> large icons in the folder to view the rooms. I sampled each room using a swept sine wave into a jbl flip 6 bluetooth speaker; recorded through a tascam tm-st1 m/s stereo microphone, feeding a tascam dr-07 recorder @ 24-bits 44. 1 khz and deconvolved using reaper. As of this post, i've been using these rooms for about 2 weeks. So far, i've found the "garage" to sound fantastic on drums! the drum sound! also, many of the other smaller rooms have a great effect on guitars, keys, and hand percussion. Each room varies in tone and brightness, so i've found that selecting/tuning the reverb send works well if approached like an eq. Increase the effect send until the instrument "feels" right (then perhaps back off slightly). A close-miked acoustic guitar, for instance, will take on a nice brightness and 3-d quality; not particularly reverberant, just big. At that point, i recommend applying any eq, compression, and bigger-sounding reverb effects. Hopefully you enjoy this. Please let me know how you like it and if you have any suggestions. Cheers!. Ken.

Over 150 public domain sounds curated from freesound and the internet archive. A grab bag of random sounds, could serve as a building block for your music or incidental sounds in a video. All sound info is in each cue point of the main file. Cues that do not have info are part of the group indicated before them (this happens 3 times). To extract all the sounds, use a sound editor like goldwave to break it up by the cue points. Since these are public domain, you are not required to give credit for any of the sounds (including this collection). For the sounds curated from freesound, you can thank the artist and/or tell them where you used it by copying and pasting the file number into freesound's search field and it will help you find the file page. Important:if you intend to register a copyright with the government for works you created using public domain sounds, you must indicate them in the application process (limit of claims section) because you cannot copyright public domain sounds.

Over 250 public domain sounds curated from freesound, the internet archive, and citizen dj. A grab bag of random sounds, could serve as a building block for your music or incidental sounds in a video. All sound info is in each cue point of the main file. Cues that do not have info are part of the group indicated before them (this happens 3 times). To extract all the sounds, use a sound editor like goldwave to break it up by the cue points. Since these are public domain, you are not required to give credit for any of the sounds (including this collection). For the sounds curated from freesound, you can thank the artist and/or tell them where you used it by copying and pasting the file number into freesound's search field and it will help you find the file page. Important:if you intend to register a copyright with the government for works you created using public domain sounds, you must indicate them in the application process (limit of claims section) because you cannot copyright public domain sounds.

This helicopter sound design was created at fl studio, in the sytrus synthesizer. The sound consists of four layers. 1. Sine wave frequency of 44 hz. Simulates the low frequency noise of propeller blades. 2. White noise passed through the svf filter. Simulates the noise of propeller blades. 3. Saw wave. Simulates the sound of an engine. 4. The sine wave. Imitates a high-frequency whistle of the engine. Various modulations are applied to all waves through the envelopes of the synthesizer. Next, the signal on the mixer channel is processed by a multi-band exciter and equalizer. Then a signal was sent to two channels with delay processing. One of them imitates reflections. In the lower-middle frequency range. On the second in the upper-middle frequency range. As you approach the sound source, the volume parameters of the direct and reflected signals are automated, low pass filter, pan width and equalization of direct sound. The helicopter performs strange maneuvers, as if making constant circles during the approach to the listener. I did not seek to create the veracity of these maneuvers.

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.

This recording is for people who hate the highlighted high frequencies. An old sabian aax small recorded with a røde m5 mic. I the created two copies of the original recording:1. On the first file i applied low pass at 2 khz and hard compression at -24 db without makeup gain. 2. On the second file i applied high pass at 2 khz and hard compression at -24 db without makeup gain. Then i lowered -2 db all the spectrum except for the band from 3. 5 khz to 9. 1 khz and i applied hard compression at -24 db without makeup gain. I merged the two files. The envelope was very flat due to the compression and thus i reshaped it on wavelab (process > level envelope. . . Or press the "v" keyboard button; draw a natural fade out in steps [non-linear]). The result is a warm crash for people who don't want them loud.

Using an analog "buttset" or test-set telephone, clipping the leads from an exfomaxtester device and hearing the tones from testing a line, at a terminal/crossbox location (roadside). Cut some low frequencies and added 2s, 5s, then 3s digital-delay effects automated and a reverb effect.

Nature, and man-made machines, wake up on a saturday in a small town in southern illinois. Even though getting "away from it all" and experiencing nature in the deep woods, or a quiet field is very enjoyable, let's not forget that nature often lives and thrives side-by-side with us. I recorded this in my back yard on saturday april 27th, 2013 at 6:45 am and you'll hear the low, but everpresent low rumble of a distant train throughout. But, over and above you hear the incredible variety of calls and sounds made by a family of starlings who seem oblivious to the iron horse and the occasional car. We had rain the night before, so every now and then you hear a loud "plop" as a breeze cuts loose fat rain-drop and it hits the foam wind-screen on my h4n. Starting at around 3:47 and running to 4:08 a cardinal makes a strong appearance. I made this recording using my zoom h4n recorder, using it's internal built-in stereo microphones, with the recording gain on 81, out of 100. Enjoy!.

I used audacity to synthesize the five-tone chime made by the montreal metro's jeumont train element 41. Backstory: the train itself was an mr-63 type train modified by canron circa 1971, adding a current chopper to the train's started system. The chopper produced an 'idle' tone at around 45 hz, and as the train departed, five tones at frequencies of 90, 120, 180, 240, and 360 hz. Originally there were 3 'elements' (a set of 2 motor cars and 1 trailer car) with the jeumont-schneider current chopper (element 40, made up of cars 81-579, 80-040, and 81-580; element 41, made up of cars 81-581, 80-041, and 81-582; and element 42, made up of cars 81-583, 80-042, and 81-584). During the early 2000s refurbishments, element 40 was retired from service to provide spare parts for the other elements, which were then connected with elements of 'normal' mr-63 trains. Only the 81-579 car remains from element 40. Element 41 and element 42 were then retired in 2018 when the other mr-63 trains were retired.

As with my other sounds, i prefer quality over quantity. Here is another sound file that i developed over a couple of days. Similar to ss's pulse cannons, this one features a military battle featuring tanks, helicopters, jets, and strafing runs using high caliber chainguns. A lot of explosions and rocket fire is heard as well, and the audio is a bit loud. Sounds edited in audacity, some sounds recorded irl using my dslr camera system, the mixing was done using filmora9. The freesound files used is listed in the sound sources, rest is what i used online and irl. I did this out of boredom while playing shooter games, since i'm working with 3d modeling i'm getting back into making my own sounds for my games. This one is free to use with credit, and with the right editing software you can change the volume if needed. Feel free to let me know if anything needs changing, or if you want a audio commission!. <3. [the quality in freesound's website player doesn't fully show the amount of audio details. It'll clear up and have much more depth when downloaded. ].

echoes from an age of misery is made in garageband for a thing called victors crypt. I wanted something massive and huge sounding with a certain groove and swag to it. But instead of going straight to the fat bass / big drums-part i made a quiet little intro before it kicks off. I made the drums with both sampled drums and a drum-machine to make it big. And i use 3 different basses. For a little extra spice i put some strings and stuff on it. Would fit anything big, dramatic and scary!!!. Could be perfect for an intro, outro, something spooky and cool, mysterious or whatever you feel like. . . . Let the imagination run wild. Feel free to use it as you like as long as you subscribe to and watch my channel! if you wanna use it in your music and gonna release it, ask me first. Don't wanna see my music copyrighted by someone else of course. Be cool watch and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

From 1:00-2:00in the sky a long way behind me and to the left, but somewhat far in the air, a group of birds are fighting above a large group of trees that are shaped like a ball of veins. Most of the birds are crows, or just black birds; each noise they make is a series of “caws” no different from each other in pitch, tone, or frequency. There's also the sound of 3 small birds directly to my right around 5 meters away from me, making loud but shrill chirping sounds. The birds are each the same size but and are hopping around the perimeter of a cactus right behind them. The wind blows onto the right side of my body and the front of my body. Waves from the ocean are crashing directly behind me, each in long sessions. The way they sound is consistent, like the sound of rain. Occasionally one of the waves will crash, increasing in volume but not in pitch or tone.

August, 2nd 2013. About eight and a half minutes worth of summer evening ambience, with crickets and cicadas leading the evening songs. Nothing too eventful, but a nice finish to a great day. Recorded at 48khz, 24 bit. Stereo pair of behringer c-2s (cardioid). The mics have an on-board 3-position switch, with labels "flat," "low-cut," and "-10db. " the switch was set in the -10db position (whoops!). It is unclear if this position also activates the low-cut. Additionally, a 24db/oct low-cut applied in pro-tools at 80hz to clean up a slight wind ruffle. Since it was late at night, and the rest of the family was in bed, i opened my window and placed the microphones (almost) right up against the screen. The a/c unit you can hear is directly below the window. Around the 4:45 mark, the digital thermostat hit a programming mark and kicked the air conditioner back on. Roughly one minute later, i adjusted the thermostat to turn the unit back off. Location: suburbs of atlanta. Free to use whenever and wherever! i'd be interested to hear/see where you use it!.

Circle of 5ths loop compiled on a 2015 macbook pro using field recordings. Tempo / time sig:24 bars of 3/4 timing with each bar lasting 2. 5s. Or 12 sets of 6/8 at 5s per bar with a total length of 60s. Filters:hipass pumped at 60hz, -5db. Lopass pumped at 1200hz at -6db. Delay set to 0. 05s at 600hz with a 60% wet mix. Arranged with the tonic 5th as a constant with the last (fifth) 5th in the circle, starting and ending with the tonic. Second 5th enters in 5s, third in 15s and the fourth in 25s as the fifth stops. The fifth 5th begins to fade back in after 10s of silence, which begins the process of the second, third and fourth fading out in that order. The fifth 5th is at full volume as the loop turns, as is the tonic. The mood changes noticeably as each consecutive 5th begins, and changes again as the following 5th joins the loop.

One of my favorite sounds of spring and summer is the beautiful night-hawk. Around dusk they patrol the skies over generally open areas searching for insects. They actually seem to prefer areas where there are man-made structures; that's why you will hear them often in town, especially near baseball/softball fields where the big banks of lights attract their food source. They really do seem fond of and are quite common around towns and cities. Plus, another amazing fact that i read on the cornell ornithology website is that these birds do not build a nest, rather the female simply lays her eggs directly on the ground, and lets camouflage do the rest!. This recording was captured by my h4n using my rode nt4 microphone mounted inside a parabolic dish. Other than simply boosting the level by about 10 db using adobe audition 3. 0, i did no other processing to this file. That is why you hear distant traffic, and the occasional wind through the trees, as this recording was made on a breezy evening. Date of record: thursday may 9th, 2013 between 7:30pm and 8:00pm.

I recently contributed a track to a triple lp set of krautrock cover versions ("head music 2", released by fruits de mer records, december 2020). The song i chose to cover was kraftwerk's "autobahn". If you know the track, you'll know that it uses synthesised traffic sounds alongside recordings of the same. On my version, i achieved these in three ways:. 1) i downloaded some public domain traffic sound effects from elsewhere here on freesound. Org (thanks, guys!). 2) i got in my car with my zoom recorder and made my own recordings of the engine starting, stopping, etc. 3) i made my own sound effects using virtual synths and effects in ableton live 10. This particular sound falls into the third category. Let me stress that while the song "autobahn" is copyrighted, these are isolated sound effects and are not covered by copyright. I'm making them available here under a public domain licence. If you download and use any of these samples, please let me know in the comments what you did with them. It's not compulsory but it would be interesting to know what people did with these sounds.

Non-functional tube radio warming up, making a loud 60hz hum with lots of harmonics. As a bonus it clicks off at the end. Zenith consoltone. Only because the faq says so: electro voice n/d 257a through impedance transformer into crappy gigabyte motherboard realtek high definition audio. 16bits, processed at 32bits. Audacity sound editor and/or driver wouldn't record mic level so it was very noisy after amplification. Filtered with a (mathematically equivalent) fft constructed whopping 64k length zero phase filter (blackman window) with 5 wavelength width bandpass at each harmonic from 60hz to 5,520hz. For some reason a fraction of some of the harmonics didn't get through so did another pass on the residual noise and mixed that in. Near the beginning there was a sort of brief duplicate signal that descended in pitch so it didn't make it through the filter. I added that bit in. Attenuated frequencies above 3. 6khz because they are pretty much noise, but removing them didn't sound right. Cleaned up the beginning a bit in various ways, cut it down to 15 sec and carefully appended the unfiltered "click" onto the end, which i denoised 12db with audacity's noise reduction.

The sound is coming from the fans of a server. By pulling out one of the fans, all other fans turn up to 100%. The microphone is located above the air duct exactly in the middle of the case and thus between two fan fronts. The soundfile starts with the fans on standard speed. After a few seconds the fans turn up to 100%. I left them there for a few seconds and then quietly plugged the removed fan back in. This fan now also switches to 100% - this is the single, delayed "speed up" that can be heard from second 35. About 10 seconds later, all fans return to normal speed. Unfortunately, a colleague came in at that time and ended up talking into the recording. Due to lack of time, i was unfortunately unable to repeat the audio that day, but will certainly do another re-recording in the future. Feel free to use the sound; no attribution required. Feel free to write me in the comments what you used the sound for. Equipment:røde lavalier microphonesound devices mixpre-3 ii. File:wavmono96 khz32-bit float.

A stockholm, sweden commuter rail x60 train (alstom coradia nordic) on the then j35 (bålsta - nynäshamn) line arriving at and leaving from the älvsjö station. It was a cold day, if i recall correctly between -10 to -20°c (-5 to 15°f) and there was about 1 or 2 centimeters (1/4 to 1/2 inch) of powdery snow. 00:00 warning signal at crossing (for commuter train employees only) with train arriving in background. 00:21 footsteps in cold thin snow layer00:25 squealing as the train comes to a stop00:36 doors opening00:41 driver announcing that the train will depart for stockholm central station and bålsta station00:55 warning sound before doors are closing and more footsteps00:58 doors closing01:11 squealing as the train start to roll. Recorded friday december 18, 2009, 10:01 am (utc + 1 h), with the built in mic of a canon digital ixus 950 is camera (which could be used to record audio only). File straight off from the camera with the exception of id3 tags added with foobar2000 v1. 3. 4.

The different creation steps. - creation of a square sound of 3s, with a frequency of 261,6hz- phaser effect with the following parameters :phases - 3original/modified - 130lfo frequency - 0,5hzstartup phase - 0 degdepth - 100return - 30%- fade-in effect between 0 and 0,40s- fade-out between 2,40 and 3,00s- modification of the sound's envelope to have a resonant effect.

O Canada English Weir 1928 Amicus No.: 31400413 Performer Heading: Johnson, Edward, 1878-1959 Performer: Edward Johnson, Tenor with Orchestra assisted by Male Quartet Title: O Canada [sound recording] / Weir, lyrics ; Lavallée, music Composer Heading: Weir, Robert Stanley, 1856-1926; Lavallée, Calixa Generic Label: Victor Transcribed Label: Victor Numbers: Issue no.: 24005 Matrix no.: [BVE45612] Take no.: 3 Side no.: B Notes: Distributor: RCA Victor Company Limited., Montreal Manufacturer: RCA Victor Company Limited, Québec (Province) Recorded: [7 Jun 1928], New York, Victor Talking Machine Co Released: [ca Sep 1928] Issue Type: primary label Comments: Text transcribed from label/Texte transcrit de l'étiquette: Licensed under Canadian patent no 160997 for sale at current catalog price by authorized dealers. No other person shall sell, expose or offer this record for sale or exchange; Not licensed for Radio Broadcast. Additional information/information additionnelle: BVE preceding the matrix no. indicates a 10" electric recording. Discographical reference: The Tenor of his Time : Edward Johnson of the Met, matrix, number, recording date Physical Description: 1 sound disc : 78 rpm, monaural ; 10 inch Genre: Songs ; National songs--Canada; Chansons nationales--Canada Location: 78/10 16010 Web source: http://amicus.collectionscanada.ca/gramophone-bin/Main/ItemDisplay?l=0&l_ef_l=-1&v=1&lvl=1&coll=24&itm=31400413

I made this sound in september 2003 - i used a fairlight mfx 3 - a direct descendant of the first sampler ever made - and the best ever to this day editing software for ground breaking features and functions. Clip based eq and level which you could cross fade between made the use of automation almost redundant in precise to picture editing. It also had a unique alternative jog function. You could loop 1 frame or so as you chose of sound at the orginal pitch which made it easy to find transient points. I then 'grind' the play head over a solo'd sound and play this into a reverb unit. I have many of these accidental experiments and one day i shall make the fairlight pack!. Until then enjoy this alien - from mars with love :). Ps - you can do this experiment today! i found that i can use sound flower as an out put in audio finder. If you open a sample in the sample editor - you can recreate the fairlight jpg by grabbing the playback head in play. You may then route sound flower thru an input channel and get some unusual effects that are difficult to achieve. . If you can improve on this method let me know!.

This audio contains a guitar performance of lily was here song. It was recorded using a fender player telecaster guitar and yamaha audio gram 6 audio interface as recording set up. Tempo: 108. The setup to record this performance and the other ones in the same dataset (five guitar dataset) is explained here: the setup used a yamaha audio gram 6 audio interface and reaper 10 to record guitar from direct input (di), a huawei p30 lite model mar-lx1a to record guitar from a mobile and a dell inspiron 13 5000 to record guitar from a computer. To record acoustic guitar in di, i used a fishman neo d single coin on larrivée and seymour duncan seth love on the eastman connected to a nap-5 stageman floor acoustic preamp going then to the audio interface. The computer and mobile were positioned approximately 3. 8 cm from the player position (measured from the twelve fret of the guitars). The electric guitars were plugged into a dv mark little jazz guitar amp which has a di output, that was connected to the audio interface. The amp was located at a distance of 114. 5 cm from the mobile and the computer.

A peaceful ambiance of some pine trees in early, early spring. The predominant, lower-pitched background is the strong south wind blowing through the tops of healthy pine trees. . . An unwavering "swooshing" that cuddles and curls around the flexible, thick-resin-filled pine needles. Also, from time to time, you hear the sound of the wind rattling some dead and brown oak leaves; oak leaves which are still stubbornly hanging on to their parent tree. I purposely did only a very bare minimum of post-processing on this sound so as to keep it as realistic as possible. Yes, there are quite a few wind rumbles that i toned down just a little bit. I did not totally get rid of the wind rumbles. I did this on purpose so you the true feeling of " being there " on that mild, but still raw cold day of spring could still be felt. At 4:35 into the soundscape the trilling of a pine warbler is heard---a warble of warm-sounding notes fighting back stubborn winter. At 9:33 that hardy year-round resident, black-capped chickadee starts tweeting about. Recording made on saturday march 25, 2023 using a sound devices mixpre-3 series ii and only one microphone. I used a sennheiser mkh 8070. Enjoy this soundscape of winter slowly losing its grip, as told by pine trees and brown, crackly oak leaves.

Please comment and rate!. I used audacity to put this together for a school project. I did use other sounds from this site and i will give credit where credit is due. This piece is a little lengthy and the last minute to minute and a half are not really needed, just for a transition. -thunderstorm: rhumphries at http://www. Freesound. Org/people/rhumphries/sounds/2523/. -alarm warning: guitarguy1985 at http://www. Freesound. Org/people/guitarguy1985/sounds/59864/. -shooting(1): alienbomb at http://www. Freesound. Org/people/alienbomb/sounds/39065/. -shooting(2): omar alvarado at http://www. Freesound. Org/people/omar%20alvarado/sounds/96533/. -shooting(3): cam. Dudes at http://www. Freesound. Org/people/cam. Dudes/sounds/113360/. -airplane: bram at http://www. Freesound. Org/people/bram/sounds/11687/. -airstrike explosion: omar alvarado at http://www. Freesound. Org/people/omar%20alvarado/sounds/93741/. -editing program: audacity at http://web. Audacityteam. Org/. I would like to give thanks for all the people who uploaded their great sounds, i hope people find my battlefield sounds useful in many ways. Special thanks to: rhumphries, guitarguy1985, alienbomb, bram, cam. Dudes and omar alvarado especially. Please message me if you are to use this in a video or presentation. Thanks. -2school4kool.

Three partsfirst part 11 tones and 4ssecond part 4 tones and 3s (a little unstable sequence. . . )third part 8 tones and 12s. Question. Do i need a modular synth for making meanless things as this. . . Well, yes and no. The parts are related in different ways and theunstableness is nice. Or?all three sequences are made in different ways.

I recorded these spring peepers in upstate ny on march 18, 2022 in a wetland area. Spring peepers are small tree frogs. They are rarely seen, but during mating season in the spring, they are often heard. They are generally about one inch (2. 5 centimeters) in length, or about the length of a paper clip, and their weight averages from 0. 11 to 0. 18 ounces (3 to 5 grams). Spring peepers are known for the males’ mating call—a high-pitched whistling or peeping sound repeated about 20 times a minute. However, the faster and louder they sing, the greater the chances of attracting a mate. They often congregate near water and sing in trios, with the deepest-voiced frog starting the call. They begin breeding early in the spring and call on warm spring nights and during the day in rainy or cloudy weather. Females lay their eggs in vernal pools, ponds, and other wetlands where fish are not present. A female may lay anywhere from 750 to 1,200 eggs, which attach to submerged aquatic vegetation. Males fertilize the eggs as they are laid. Depending on the temperature, eggs can hatch within two days to two weeks. The tadpoles have gills to breathe underwater and tails to help them swim. Tadpoles transform into frogs over the course of 6 to 12 weeks. Spring peepers are said to have short lives, living three to four years at most.

#!/bin/bash## create dtmf wav file with sox# create a file of the digit "7" dtmf tone# sox -n 7. Wav synth 0. 5 sine 852 sine 1209 channels 1# from http://notes. Writtenby. Tc/sox## synth 0. 2 = 0. 2 seconds# ialexs - for learning sox purpose# mon aug 27 20:52:19 wit 2012. Sox -n dtmf-1. Wav synth 0. 1 sine 697 sine 1209 channels 1sox -n dtmf-2. Wav synth 0. 1 sine 697 sine 1336 channels 1sox -n dtmf-3. Wav synth 0. 1 sine 697 sine 1477 channels 1. Sox -n dtmf-4. Wav synth 0. 1 sine 770 sine 1209 channels 1sox -n dtmf-5. Wav synth 0. 1 sine 770 sine 1336 channels 1sox -n dtmf-6. Wav synth 0. 1 sine 770 sine 1477 channels 1. Sox -n dtmf-7. Wav synth 0. 1 sine 852 sine 1209 channels 1sox -n dtmf-8. Wav synth 0. 1 sine 852 sine 1336 channels 1sox -n dtmf-9. Wav synth 0. 1 sine 852 sine 1477 channels 1. Sox -n dtmf-0. Wav synth 0. 1 sine 941 sine 1209 channels 1sox -n dtmf-star. Wav synth 0. 1 sine 941 sine 1336 channels 1sox -n dtmf-pound. Wav synth 0. 1 sine 941 sine 1477 channels 1. Sox -n dtmf-busy. Wav synth 0. 1 sine 480 sine 620 channels 1sox -n dtmf-dialtone. Wav synth 0. 1 sine 350 sine 440 channels 1sox -n dtmf-rbt-us. Wav synth 0. 1 sine 440 sine 480 channels 1.

Władysław Tarnowski ps. Ernest Buława (1836-1878) opera "Achmed oder der Pilger der Liebe", „Ballet” z II Aktu, składający się z 3 cześci przeplecionych ze sobą: Khelas (taniec arabski) z Królem i [jego córką] Dolorez na tronach oraz świtą dworską, Gitana (taniec solo z kastanietami), Eros i Psyche (Oto są dwa posągi ogrodowe, budzi się najpierw Eros, opuszcza swój cokół. Budzi Psyche jednym pocałunkiem – pieszczą się w ogrodzie[;] gonitwa za motylem. Wreszcie człowiek zjawia się w ogrodzie, oni biegną szybko do cokołów i na powrót kamienieją.) [Warto tu zwrócić uwagę na obraz Artura Grottgera „Rozmowa posagów” z roku 1865, namalowany w Śniatynce – posiadłości Stanisława Tarnowskiego zwanego „Białym” przyjaciela, mecenasa i modela Artura Grottgera a rodzonego brata kompozytora Władysława Tarnowskiego, obraz wydaje się stanowić inspiracje do tej części Baletu. Stąd zilustrowanie muzyki do ostatniej części Baletu fragmentami obrazu Artura Grottgera.] Kolejność ma być wedle partytury następująca: Khelas, Gitana, (Khelas ze śpiewem tu pominietym), Gitana, Eros i Psyche – część A, Gitana, Eros i Psyche – cześć B z gonitwą za motylem. Opera ta jest oparta na opowiadaniu Washingtona Irvinga opublikowanym w "Tales of the Alhambra', autorem libretta był Wladysław Tarnowski, który także przetłumaczył opowiadanie (Powieść o księciu Ahmedzie al Kamel albo o pielgrzymie miłości.) Akcja opery dzieje się na terenie dzisiejszej Hiszpanii a głównym bohaterem jest syn władcy Grenady. Partytura: Władysław Tarnowski ps. Ernest Buława, Hofmeister podaje jako czas publikacji październik 1877, str. 306. Wykonanie: Marcin Tarnowski, (M.Tarnowski (talk) 13:45, 21 January 2017 (UTC)) styczeń 2017.

Autumn is a time for slowing down and allowing yourself time for reflection and contemplation. The accomplishments and mistakes from the previous year. Especially if you make it a habit of getting out all year long and exploring nature, autumn can be a much-needed change in sensory soundscape. . . . After a busy spring listening to the many different warblers which come to visit and a busy summer immersed in the busy sounds of life----both human and natural----autumn's subtle, quiet muted soundscape can be almost like a re-birth for the ears and the soul. The insects, which had taken over center stage since august, are still singing---though now with a quieter volume and a more even sleep and though-inducing tempo. . . . . . . . Brisk winds from the north can be heard more clearly now----swishing, rustling the weedy, tan edges of fields. . . . . Hinting at the bite of much colder masses of canadian air waiting on deck for their turn in the months of november, december and january. . . I made this recording on the evening of october 4th 2014 at the edge of a field which was bordered by thick stands of oaks and pines of a major national forest. . . . . I couldn't help but pretend i was linus waiting in the pumpkin patch for the great pumpkin to arrive!. Recording made with my marantz pmd661 and a rode ntg-2 shotgun microphone on a tripod about 3 feet above the ground. My input volume was 6. I hope you enjoy this soundscape as much as i do.

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'm attempting to create a controllable thunderstorm for a film, and this is my first legitimate attempt. This recording consists of 4 samples of rain, and another 3 samples of rain+thunder that i recorded one afternoon. Equipment used was the inbuilt mics on a roland r-26, and a sennheiser me66 into a sound devices 702. The clips were recorded at 96khz/24-bit, and they were processed at 48khz/24-bit. For processing, i put the samples into kyma, and crossfaded for texture. The howling wind sound is an analog-style low pass filter's frequency, level, and resonance being controlled by a wacom intuos4 pen/tablet. The rain slowly swells, which was done by changing parameters of a granular reverb. The thunder was also controlled by the wacom tablet, with x, y, and z (pressure) dimensions mapped to making the thunder swell in level, density, and texture. This could have been output in surround, but i don't have that many monitors ;). This style of "rain-synthesis" can also go on indefinitely. Please let me know what you think of the quality of this track; eg, if it sounds real, if the wind sounds ridiculous, too much thunder, etc. Use this sound (wherever) if you want to, or let me know if you'd like an mp3 of this, or for it to last longer. I'd like some credit if you do use it, but it's no big deal. A blog is up explaining the method of creation here:http://www. Kylehughesaudio. Com/2/post/2013/02/tempest. Html.

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.

A very peaceful, melancholy soundscape i recorded on labor day weekend in some woods, about 20 feet from a popular lake in the midwest. There was a small cove in between my setup and several campers across the way. . . They undoubtedly were enjoying one last time with nature starting to change from summer to autumn. The main sound is that of insects, not sure what the species is, but, they have a beautiful, drowsy "tick-tick-tick" sound that repeats. . . To me, this sound signals the very subtle, almost imperceptible march towards the autumn equinox. I swear, the longer you listen to this captivating insect, you're drawn into, almost like a hypnosis state of reflection. . . A couple things to listen for:(1) around 1:13 a very low splash. (2) at 1:38 a lone goose honks. (3) starting at 2:30 some very low volume, muted camper conversations. (4) at 2:36 a louder splash. (5) 2:41 more beautiful, un-hurried muted camper conversations. No doubt talking about how they need to break camp and return to the real world, but the "tick-tick-tick" of the insects have a strong hold on them. No, stay a little while longer; have another cup of coffee, talk about your accomplishments over the past summer,. This was recorded around 10am on sunday morning, september 6th, 2020 in illinois. Mixpre-6 audio recorder and the sennheiser mkh 416 microphone. Enjoy this audio snap-shot of the natural world winding down summer!.

Władysław Tarnowski ps. Ernest Buława (1836-1878) opera "Achmed oder der Pilger der Liebe", „Ballet” z II Aktu, składający się z 3 cześci przeplecionych ze sobą: Khelas (taniec arabski) z Królem i [jego córką] Dolorez na tronach oraz świtą dworską, Gitana (taniec solo z kastanietami), Eros i Psyche (Oto są dwa posągi ogrodowe, budzi się najpierw Eros, opuszcza swój cokół. Budzi Psyche jednym pocałunkiem – pieszczą się w ogrodzie[;] gonitwa za motylem. Wreszcie człowiek zjawia się w ogrodzie, oni biegną szybko do cokołów i na powrót kamienieją.) [Warto tu zwrócić uwagę na obraz Artura Grottgera „Rozmowa posagów” z roku 1865, namalowany w Śniatynce – posiadłości Stanisława Tarnowskiego zwanego „Białym” przyjaciela, mecenasa i modela Artura Grottgera a rodzonego brata kompozytora Władysława Tarnowskiego, obraz wydaje się stanowić inspiracje do tej części Baletu. Stąd zilustrowanie muzyki do ostatniej części Baletu fragmentami obrazu Artura Grottgera.] Kolejność ma być wedle partytury następująca: Khelas, Gitana, (Khelas ze śpiewem tu pominietym), Gitana, Eros i Psyche – część A, Gitana, Eros i Psyche – cześć B z gonitwą za motylem. Opera ta jest oparta na opowiadaniu Washingtona Irvinga opublikowanym w "Tales of the Alhambra', autorem libretta był Wladysław Tarnowski, który także przetłumaczył opowiadanie (Powieść o księciu Ahmedzie al Kamel albo o pielgrzymie miłości.) Akcja opery dzieje się na terenie dzisiejszej Hiszpanii a głównym bohaterem jest syn władcy Grenady. Partytura: Władysław Tarnowski ps. Ernest Buława, Hofmeister podaje jako czas publikacji październik 1877, str. 306. Wykonanie: Marcin Tarnowski, (M.Tarnowski (talk) 13:39, 21 January 2017 (UTC)) styczeń 2017.

Władysław Tarnowski ps. Ernest Buława (1836-1878) opera "Achmed oder der Pilger der Liebe", „Ballet” z II Aktu, składający się z 3 cześci przeplecionych ze sobą: Khelas (taniec arabski) z Królem i [jego córką] Dolorez na tronach oraz świtą dworską, Gitana (taniec solo z kastanietami), Eros i Psyche (Oto są dwa posągi ogrodowe, budzi się najpierw Eros, opuszcza swój cokół. Budzi Psyche jednym pocałunkiem – pieszczą się w ogrodzie[;] gonitwa za motylem. Wreszcie człowiek zjawia się w ogrodzie, oni biegną szybko do cokołów i na powrót kamienieją.) [Warto tu zwrócić uwagę na obraz Artura Grottgera „Rozmowa posagów” z roku 1865, namalowany w Śniatynce – posiadłości Stanisława Tarnowskiego zwanego „Białym” przyjaciela, mecenasa i modela Artura Grottgera a rodzonego brata kompozytora Władysława Tarnowskiego, obraz wydaje się stanowić inspiracje do tej części Baletu. Stąd zilustrowanie muzyki do ostatniej części Baletu fragmentami obrazu Artura Grottgera.] Kolejność ma być wedle partytury następująca: Khelas, Gitana, (Khelas ze śpiewem tu pominietym), Gitana, Eros i Psyche – część A, Gitana, Eros i Psyche – cześć B z gonitwą za motylem. Opera ta jest oparta na opowiadaniu Washingtona Irvinga opublikowanym w "Tales of the Alhambra', autorem libretta był Wladysław Tarnowski, który także przetłumaczył opowiadanie (Powieść o księciu Ahmedzie al Kamel albo o pielgrzymie miłości.) Akcja opery dzieje się na terenie dzisiejszej Hiszpanii a głównym bohaterem jest syn władcy Grenady. Partytura: Władysław Tarnowski ps. Ernest Buława, Hofmeister podaje jako czas publikacji październik 1877, str. 306. Wykonanie: Marcin Tarnowski, (M.Tarnowski (talk) 13:21, 21 January 2017 (UTC)) styczeń 2017.

This replica of my tinnitus was created using the free program called audacity. Http://audacityteam. Org/i had to generate 3 different 'tones' and combine them before i felt the high-ish noise was close to what i hear. I then had to search freesound for something that i only hear beneath the high pitch noise when my house is very quiet, which is something like the sound of strong wind outside a closed window or a power station a mile away. It took me a few hours, and even then i had to manipulate the sound considerably. Thanks to felix. Blume forhttp://freesound. Org/people/felix. Blume/sounds/167684/#commentsthis natural wind sound file was equalized and leveled several times, then the sound level was reduced to blend with the high pitch. But it still wasn't right. So, not being an expert with audacity, i just went down the list of 'effects', trying each one, until i found "paulstretch", which somehow increases the time length of your sound file, without stretching as in 'elastic', which would deepen the existing tones, and apparently, without copying and pasting. The sound does change somewhat, becoming just slightly ragged, but it's a very interesting effect for this application and actually got used on both elements to produce the final sound. . I hope no one enjoys this sound and can't imagine that anyone will. It makes me feel slightly sick. . Info edited 28 oct 2021: with my tinnitus at it's current level, i will never, now, be able to reproduce it again, primarily because i can't hear any sounds i create in a detailed way. And secondly, because hearing this version of the sound these days is just too uncomfortable. 🥲.

An excerpt from the song “Au clair de la lune”, originally recorded as a phonautogram on paper. As of May 2009, this is believed to be the oldest recognizable recording of a human voice in existence. According to the remasterers, the lyrics sung are the first lines of the second stanza "Au clair de la lune, Pierrot répondit" (Under the moonlight, Pierrot replied).[1] It has also been reported that the recording contains the beginning of the song, "Au clair de la lune, mon ami Pierrot..." (Under the moonlight, my friend Pierrot...).[2] This is an edited version: speed and pitch have been corrected to reflect Édouard-Léon's voice, noise was removed. Ausschnitt aus dem Lied “Au clair de la lune”, ursprünglich als Phonautogramm auf Papier aufgezeichnet. Per 2008 gilt diese Aufzeichnung als die älteste bekannte Tonaufnahme. Die gesungenen Worte lauten: "Au clair de la lune, Pierrot répondit" (Bei des Mondes Scheine, antwortet Pierrot), oder "Au clair de la lune, mon ami Pierrot..." (Bei des Mondes Scheine, mein Freund Pierrot...). Un extrait de la chanson “Au clair de la lune”, telle qu'enregistrée sur papier sous forme de phonautogramme. À la date de mai 2009, on le considère comme le plus ancien enregistrement d'une voix humaine reconnaissable. D'après les restaurateurs, les paroles correspondent aux premières lignes de la seconde strophe : « Au clair de la lune, Pierrot répondit ».[3] D'autres estiment qu'il s'agit plutôt du début de la chanson : « Au clair de la lune, mon ami Pierrot ».[4] Cette version a été éditée de manière à mieux refléter la voix de Scott de Martinville : la vitesse a été réduite, la tonalité a été baissée et le bruit a été réduit

The different creation steps. - creation of a sinusoidal sound of 3s with a frequency of 440hz (la)- creation of an other sinusoidal sound of 1s at the end of the first one, with a frequency of 493,9hz (si)- fade-out effect to gradually decrease the sound volume between 3,80 and 4,00s- modification of the envelope at the end of the sound- wahwah effect with the following parameters :lfo frequency - 1,5hzstart-up phase - 0 degdepth - 30%resonance - 4. 0wha frequency lag - 30%- modification of the sound's envelope to obtain a crescendo effect.

88 piano keys, long natural reverb: up to 13 seconds per note. This is me giving back. I love freesound. You guys saved my bacon back in the day. Recently i searched for free piano notes for a game i'm making, but the only ones i could find ended too quickly. I need long reverb! luckily i have an old piano, so i made my own. So this is me giving back. This is an old piano!!!. We had the piano tuned a year ago, but it is well over 60 years old, so be warned! these notes have character! if you want perfect tone, either edit them individually, generate something artificially, or buy a professional set. But if you want a piano with personality, this is for you. Being an old piano, it only has 85 keys. So i created the highest 3 notes by speeding up previous notes, to make the modern standard 88 keys. How the notes were created. The notes are created on an old (well over 50 years) steinhoff upright piano. It only has 85 keys, so i faked the highest 3 keys by taking previous keys and changing their pitch. I opened the top, balanced my trusty everesta bm-800 condenser microphone across the top near the high note end, and held down the "loud" pedal. Each note was then hit and kept pressed down until i could no longer hear any reverb. Notes were saved as mp3 using my laptop, using free sound recorder on the highest quality settings. Yeah, i know it isn't flac, but i am strictly amateur with budget to match, and that was the best i could do. After that, all editing was of course uncomopressed until the final save. How the notes were edited. Editing was kept to a minimum, mainly to enhance the reverberation. All editing took place on audacity on linux mint. First i cropped any silence from the start. Next, used the envelope function to gradually increae volume to 200% over a couple of seconds. That is, the quietest part of the reverb is twice as loud as you might expect. Because for my game i sometimes need a single piano key to last ten seconds. Next i maximised the volume. If there was just a single stray waveform that stuck out then i reduced that by 2db or so then maximised again. Because like i said, i want to hear that reverb! i then found the part where background noise starts to be noticeable, and faded out over 1 second or so. This meant that the lowest notes had as much as 13 seconds of reverb, whereas the highest notes might only have 2 or so. Finally i checked the result, and edited three or four notes that i felt were just too ugly (badly tuned, or for some reason the software suddenly got hissy when the note became too quiet. Weird. ) i also slightly changed the pitch of a couple of notes that were slightly out of tune but otherwise ok. No doubt a better ear than mine could teak all of the notes. But as i said, it's an old piano and we're keeping it real. Finally, files were compressed to ogg at the highest quality setting, using soundkonverter. Why not flac?. I live in the countryside with very slow broadband, so i apologise for including more of the original files. But as it was, uploading this zip file took about an hour. Enjoy. Legal. Use this for anything you want, commercial or not, credit me or not. Consider it public domain. My main concern is that i had completely legal sound for my game, with nice long reverb and character. Uploading it here provides proof that i created it first, just in case anybody comes back and says "those are mine" (it happens).

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

It's a 15-minute long drum improvisation. It contails a lot of different beats and rhythms played so you might cut-out some loops for your needs. The kit has:- single kick- snare- hihat- 3 toms- broken crash that sounds really short- ride. The kit was old and not in perfect condition. I also used my sticks to play on some other part of the drumkit, like metal stand for the crash etc. I also got up and stated running around in a circle hitting sticks together and afterwards hitting drums and cymbals while running around the drumkit. I took my shoes off before i started so you can't hear my footsteps. I didn't use a metronome and i know i don't hold the tempo and it's a bit wiggly sometimes. I think this performace was inspired by band mr. Bungle. I recorded this with zoom h2 handy recorder's front stereo xy mics. It was standing on a table about one meter above the floor. Facing the drumkit and me. It was captured into a 48khz/24-bit wav file, then i trimmed the ends and converted this to flac using audacity. No processing applied, though i think it sounds nicer when you put these effects:. 1. A compressor:-attack: 10ms-release: 50ms-ratio: 2. 5:1-treshold: around -24db2. A reverb:-decay: 1. 5 to 2 seconds-dry: 0db-wet: around -15 db. It amazes me how much energy compression actually adds to drums!. I made this with my podcast (http://unfamusic. Com/fnr/) in mind. I want to overdub guitars, vocals and make it one big schizophrenic song. If you're interested to hear it, leave me a comment so i can find you, or just subscribe to my podcast's rss (http://feeds. Feedburner. Com/unfa-fnr/).

This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 70 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.

The same as my other fire whoosh sound, but i used a hi-pass eq at the 50hz mark to take out some of the "mud. ". --. This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 165 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.

This is the audible annunciation found at all intersections with traffic lights in paris, france. It announces the condition of the traffic lights for pedestrians who are blind or with impaired vision. The annunciation is turned on by pressing a button on the traffic light pole. When the crosswalk sign is red (do not cross), the recorded annunciation is always "rouge piéton" ("red light, pedestrian"), followed by the name of the street that the crosswalk crosses (in this case "rue d'antin," the quiet side street where i recorded this). This repeats over and over until the crosswalk changes to green, at which point there is a two-second trill tone followed by a repeating bell tone. The bell tone is one bell, followed by two bells, repeated four times, followed by a very brief pause, and then the sequence is repeated again. This continues until the crosswalk changes back to red, at which point the "rouge piéton" message resumes. The annunciation continues for at least one cycle of the traffic lights and then stops, unless the button is pressed again. The audio quality of the annunciation is very poor even in real life (it sounds like a wax cylinder recording or something), and can be difficult to understand. This recording accurately captures the poor quality of the annunciation. The volume of the annunciation is also adjusted dynamically based on ambient noise, so there is a slight change in volume on this recording as the system apparently reacts to noise from traffic or something. There is a weak background noise that sounds like some sort of machine, but it wasn't coming from the traffic light and i don't know the source. The recording starts with the crosswalk red, then at about 18. 3 seconds it changes to green, then it changes back to red at about 53 seconds. A car passes at around 48 seconds. Recorded with a zoom h4n, stereo 96 khz / 24 bits, built-in mics, from about ten inches below the tiny speaker in the crosswalk sign housing.