120 file audio bebas royalti untuk "Image To Audio"

*Acute minor sixth on C = A♭+. Just: 81/50 = 835.19 cents. Limit: 5-limit. MIDI pitch bend: 33,75

*Classic augmented eleventh on C = F♯'. 25/18 = 1768.72 cents. Limit: 5-limit. MIDI pitch bend: 127,53 MIDI.

Sequence "Victimae Paschali Laudes", traditionally attributed to Wipo of Burgundy. For text, see Victimae Paschali Laudes. For an image of a score (not the one I performed from) see this gif. Recorded using GarageBand with some reverb added. Normalised using Audacity. It is a single continuous take. Time: 1:49.

*Acute minor third on C = Eb+. Equal-tempered: 2243/200:1 = 337.15 cents. Limit: 5-limit. MIDI pitch bend: 114,75

The University of Greenwich Choir sings In the Bleak Midwinter inside the chapel of the Old Royal Naval College in preparation for the annual carol concert. Also shows images of our snow-covered campuses.Discover more about the University of Greenwich Choir.https://www.gre.ac.uk/about-us/music/choir

Recording of a dslr camera using auto focus several times. The camera used was canon eos rebel t5 dslr and was recorded in a lab learning audio booth using blue microphones yeti usb mic. Edits made were removing background noise and amplifying the audio. Http://www. Imaging-resource. Com/prods/canon-t5/zurfrontleft-l. Jpg.

Sound effect (logo, bumper, sweeper) to be used in radio jingle production. Separate elements also included in the file. 16bit wave file, normalized to (around) -20db rms. Still plenty of headroom for voice.

Elaboration of the tonic arpeggio as prolongation in Bach, BWV 801, measures 3-4, per Forte, Allen (1979). Tonal Harmony in Concept and Practice, p.426. Holt, Rinehart, and Winston. ISBN 0-03-020756-8; image/audio made from score at the IMSLP.

*Perfect octave on C = C'. Just: 2:1 = 1200 cents. Equal-tempered: 212/12:1 = 1200 cents. Limit: 3-limit. MIDI pitch bend: none MIDI.

Elaboration of the tonic arpeggio as prolongation in Chopin, Op. 48, measures 1-4, per Forte, Allen (1979). Tonal Harmony in Concept and Practice, p.426. Holt, Rinehart, and Winston. ISBN 0-03-020756-8; image/audio made from score at the IMSLP.

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.

The Gnostic Bible* (eds. Willis Barnstone and Marvin Meyer) From chapter "Early Wisdom Gospels", section "The Gospel of Thomas" "Yeshua said to them, When you make the two into one, and when you make the inner like the outer and the outer like the inner and the upper like the lower, and when you make male and female into a single one, so that the male will not be male nor the female be female, when you make eyes in place of an eye, a hand in place of a hand, a foot in place of a foot, an image in place of an image, then you will enter the kingdom." The Gospel of Thomas is a Coptic text with many different variations. This version (from the Gnostic Bible) is the most likely source for these two titles, based on what we know of BoH's interest in religion and how exactly the phrases match.

*Minor sixth on C = A♭ (G↑ Easley Blackwood's notation). Equal-tempered: 28/12=10/15=6/9=48/72:1 = 800 cents. MIDI pitch bend: 0,64 MIDI.

16-tet scale on C (75 cent steps). Easley Blackwood, Jr.'s notation for 16 equal temperament. Intervals are notated similarly to those they approximate and there are fewer enharmonic equivalents. MIDI pitch bend appears to match intervals (0,56, etc.).

Diatonic scale on C in 15 equal temperament. C, D, E↓, F, G, A↓, B↓, C. If C=0: 0, 3, 5, 7, 9, 11, 14, 0. MIDI pitch bend matches intervals.

Recording of a dslr camera taking several photographs. The camera used was a canon eos rebel t5 dslr and was recorded in a lab learning audio booth using blue microphones yeti usb mic. Only edits made was trimming away beginning and ending silence. Http://www. Imaging-resource. Com/prods/canon-t5/zurfrontleft-l. Jpg.

21-tet scale on C (57.14 cent steps). Easley Blackwood, Jr.'s notation for 21 equal temperament. Intervals are notated similarly to those they approximate and there are distinct enharmonic equivalents (E-sharp-down = F-down). MIDI pitch bend matches intervals.

Files labeled "ms" correspond to mid/side recordings. This allows for adjustment and separation of the stereo image. To makes the most of these samples, i suggest you do, or the stereoness could sound exaggerated. Most daws and audio editors have this capability, or you can use any of several free applications, such as voxengo's msed (set to "inline" mode). The pack variations correspond to different recording techniques and microphone combinations.

Noise created by individual oscillators, using audio paint, with different height images, to demonstrate what happens with too few oscillators vs. Plenty. In the end, the result is not random enough to be noise. The first 2-second burst is pure white noise for comparison. Then we have multiple 1-second bursts from audio-paint in a sequence of different image sizes: 50,100,150,200,250,350, 500, 700, 1000, 1350, 1750, 2200, 2700, 3250, 3850, 4500, and 9999 (this corresponds to the number of oscillators). The last burst is longer, and there is 1/2 second gap of silence after the first (reference) burst and before that last (9999) burst. The images other dimension was 20. The spacing of frequencies was exponential, between 40 hz and 18 khz. This is not intended to be useful, just an illustration during a discussion in a forum (http://www. Freesound. Org/forum/sample-requests/35199/?page=2#post75605). As mentioned there, i realized only afterward that exponential spacing would be giving me an approximation to pink noise instead of white noise, so the reference burst at the start is not really a fair comparison. Ideally, i would go back and re-do all this using linear spacing, but that's a lot of trouble. :-) i did, however, change to linear to get a white approximation, but that's a different sound i'll upload separately (c. F. Http://www. Freesound. Org/people/zimbot/sounds/242053/). I don't believe you can get true white noise without at least something being random in your synthesis method.

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