1.767 file audio bebas royalti untuk "Las"

This sound is a mix of analog sound and digitally created sound. I recorded the sound of a coffee machine. Then on audacity, i generated a tone and modified its envelope. I changed the levels, added effects as reverberation and echo. I put melted at opening and closing in purpose to pretend something was taking off and landing. At first i wanted to create the atmosphere of a spaceship. But after that it looked more like a vacuum noise. I tried to modify amplification and added again echo and reverberation to make it sound more like a weird ufo. Code selon la typologie de schaeffer : vprécisions morphologie :masse : son canneléstimbre : ternegrain : rugueuxallure : chevrotementdynamique : l’attaque du son est graduelleprofil mélodique : variations serpentinesprofil de masse : site.

Binaural recording of the traditional celebration of correfoc during the festival of "la mercè 2016" in barcelona. From wikipedia:. "correfocs (catalan pronunciation: [ˌkorəˈfɔks], western catalan: [ˌkoreˈfɔks]); literally in english "fire-runs") are among the most striking features present in catalan festivals. In the correfoc, a group of individuals will dress as devils and light fireworks - fixed on devil's pitchforks or strung above the route. Dancing to the sound of a rhythmic drum group, they set off their fireworks among crowds of spectators. The spectators that participate dress to protect themselves against small burns and attempt to get as close as possible to the devils. . . Running with the fire. Other spectators will watch from 'safe' distances, rapidly retreating as necessary. ".

Eng:this audio recording is a " genòfon "the "genòfon" (genophone) is an intercom device that was used in the mine in the mid- twentieth century. The device used in the company carbones de berga sa and now you can find the mine museum: "museu de les mines de cercs" (berguedà-catalunya). To visit the museum: http://www. Mmcercs. Cat/museu_nou/inici. Phpcat:aquest audio es tracte de l'enregistrament d'un genòfonel genòfon és un aparell intercomunicador que s'utilitzava a la mina a mitjans del segle xx. L'aparell enregistrat el va utilitzar l'empresa carbones de berga s. A. I actualment es pot trobar al museu de les mines de cercs al berguedà. Per vistar el museu: http://www. Mmcercs. Cat/museu_nou/inici. Php.

Registro de baja fidelidad, realizado a medio camino entre el cuarto de máquinas de un conjunto residencial ubicado en el norte de la ciudad de cali, colombia y el cuarto de descanso de trabajadores de oficios varios del mencionado conjunto, el día martes 28 de abril entre 6:30 y 7:00 a. M. Dispositivo y programa de grabación: celular huawei p20 lite + lexis audio editor. Low-fidelity recording, captured halfway between the boiler room and the workers rest area of a residential complex located in cali, colombia, on tuesday, april 28th, between 7:20 and 7:25 a. M. Device and software: huawey p20 lite + lexis audio editor.

The national anthem of China, the "March of the Volunteers", performed by the United States Navy Band and uploaded to the Wikimedia Commons by Keith Lehwald. Italiano: L'inno nazionale della Repubblica popolare cinese: la "Marcia dei Volontari", suonata dalla banda della marina statunitense. 中文（简体）：中华人民共和国国歌《义勇军进行曲》，美国海军乐团演奏 中文（繁體）：中華人民共和國國歌《義勇軍進行曲》，美國海軍樂團演奏

This sound is completely analog. I recorded the sound of a person who was walking on the street. I chose to leave the noise of the street so that we understand that the person walks outside. I used the effect "amplification" to reduce the noise of the street and increase the sound of step. I made a fade in opening and closing, so that we have the impression that the steps are moving towards us then moves away. At the same time, i played with the pitch of the sound to accentuate this effect. Descriptif selon la typologie de schaeffer :code : x''précisions morphologie :- masse : groupe nodal / complexe- timbre harmonique : terne- grain : rugeux- allure : ne comporte pas de vibrato- dynamique : l’attaque est douce et graduelle- profil mélodique : scalaire- profil de masse : le son paraît plus calibré.

Songː "Pato cua cua". Authorː Juan Rodríguez (1895-1928). Played byː Julio De Caro y su Orquesta Típica. Recorded in Nov 15th 1926. At 1926 the orquestra (sextet) had the following integrationː Bandoneons: Pedro Laurenz & Armando Blasco. Violins. Julio De Caro & Emilio De Caro. Piano: Francisco De Caro. Bass: Enrique Kraus. Temaː "Pato cua cua" (tango). Autorː Juan Rodríguez (1895-1928). Interpretado porː Julio De Caro y su Orquesta Típica Grabado el 15 de noviembre de 1926. La Orquesta en 1926 estaba integrada por Bandoneones: Pedro Laurenz y Armando Blasco. Violines. Julio De Caro y Emilio De Caro. Piano: Francisco De Caro. Contrabajo: Enrique Kraus. Pedro Laurenz (1er bandoneón), Armando Blasco (2do bandoneón), Julio De Caro (1er violín), Emilio De Caro (2do violín), Francisco De Caro (piano), Enrique Krauss (contrabajo).

Sound of a hybrid car, on a road in south of france. For your information, the car is a porsche cayenne s hybrid. Sound recorded with a zoom h4n pro. Sound recorded with a zoom h4n pro and a rycote mini wind screen. Son d’une voiture hybride sur une route du sud de la france (vaucluse). Pour votre information, il s’agit d’une porsche cayenne s hybird. Son enregistré avec un zoom h4n pro et une bonnette rycote mini wind screen. My sounds are licensed under the creative commons 0 license but it would be a pleasure for me to hear your work so doesn’t hesitate to comment or to send me a message with your work :).

Este audio es un trabajo de clase en el cual tenemos que producir y editar un sonido con un objeto común. Para este caso, se ha utilizado una moneda. En este segundo audio, el sonido es de una moneda que está arañando la mesa. Después, el audio se editó con audacity. En este programa edité el sonido con efectos como cambio de tono, wahwah y reverberación. This audio is a class´s homework where we have to produce and edit a sound with a common object. In this case, it has used a coin. In this second audio, the sound is a coin that it was scratching the table. After, the audio edited it with audacity. In this programme, i edited this sound with a lot of effects like modulate, wahwah and reverb.

Registro de biofonía realizado en uno de los costados de un conjunto residencial ubicado en el norte de la ciudad de cali, colombia, que da a un área no habitada, cubierta de vegetación y vida silvestre, el día martes 28 de abril entre 6:00 y 6:10 a. M. En él, se percibe sobre todo el trinar de unos pájaros. Dispositivo y programa de grabación: celular huawei p20 lite + lexis audio editor. Biophony recording, captured on one of the sides of a residential complex at the north area of cali, colombia. This is next to an empty and inhabited space, covered with vegetation and the presence of wildlife. This was made on april 28th, between 6:00 and 6:10 p. M. In this recording we can clearly perceive the chirping from birds. Device and software: huawey p20 lite + lexis audio editor.

The story begins by a music that i found. A open door, heels, then silence, a chair, computer sounds with mouse, retake of music and close of the door. , who is the ending of music too. To produce that, i choose audacity; i take recorded moments of life. For the technique, i choose a fade in and fade out for the music and the recorded sounds fit well together. For the moments of silence, when the work begins, i only let the recorded sound talk without music. I choose to work with two mono audio tracks: on for the music and the other for the daily sounds. Descriptif selon la typologie de schaeffer. 1. Masse : son dit “cannelés”2. Timbre harmonique :3. Grain : rugueux4. Allure : non vibrato5. Dynamique : abrupte6. Profil mélodique : tentatives de variations glissantes7. Profil de masse : son cyclique avec des moments doux puis un peu plus fort.

Brindisi from La Traviata performed by the Singing Sergeants and Concert Band of the United States Air Force Band. Track 7 from Fire Dance (2012). Recorded October 24-27, 2011 at Holland Performing Arts Center, Peter Kiewit Concert Hall, Omaha, NE. Credits: Alto Saxophone – MSgt Jeremy Koch*, CMSgt William Marr* Alto Vocals – SMSgt Angela L. Burns*, TSgt Emily Lewis*, TSgt Julia Brundage*, SMSgt Linda C. Waring* Baritone Saxophone – TSgt Ricky Parrell* Bass Clarinet – MSgt John Romano* Bass Trombone – MSgt Jay Heltzer* Bass Vocals – TSgt Benjamin Park*, MSgt Eric Sullivan*, MSgt Matthew Irish*, SMSgt Robert S. Harrelson*, MSgt Ryan Dolan* Bassoon – TSgt Eddie Sanders III*, TSgt Sandy Sisk* Cello – Erin Espinoza, Justin Lewis (7) Choir – Singing Sergeants (tracks: 6-12) Clarinet – TSgt Ani Berberian*, TSgt Benjamin Bowers*, MSgt Brian McCurdy*, TSgt Brian Wahrlich*, SMSgt David Stump*, MSgt Julianna Evans Arnold*, TSgt Laura Henry*, MSgt Melinda Burts*, TSgt Sara Wollmacher* Clarinet [Eb] – TSgt J. Blake Arrington* Conductor – Col A. Phillip Waite*, Colonel Larry H. Lang* Cornet, Trumpet – TSgt Blakely Carroll*, MSgt Christian Pagnard*, SMSgt Curt Christensen*, TSgt Kristopher Westrich*, SMSgt Robert McConnell*, TSgt Valentin Lukashuk* Double Bass [String Bass] – SMSgt Chris Kosky*, MSgt Matthew Murray* English Horn – TSgt Kevin Darrow* Ensemble – The United States Air Force Concert Band* Euphonium – MSgt Jennifer Dayton Cox*, TSgt John Cox* Flute – MSgt Jennifer Moore*, SMSgt Stacy Newbrough Ascione* French Horn – TSgt Joel Wealer*, SMSgt Kent Wyatt*, MSgt Philip Krzywicki*, SSgt S. Renee Parcell*, MSgt Tara Islas* Harp – SMSgt Eric Sabatino* Keyboards – SMSgt Mitchell Morton* Oboe – TSgt Kevin Darrow*, MSgt Tracey MacDonald* Percussion – TSgt Adam Green*, MSgt (Ret) Aubrey Adams*, MSgt Joe Reynolds*, MSgt Marc Dinitz*, TSgt Randy Gorman* Piccolo Flute – TSgt Megan Neal* Soprano Vocals – MSgt Anne Seaton Baker*, CMSgt Carol Hawkins Wiley*, SMSgt Christine Adamick Germain*, TSgt Mandi Harper*, SMSgt Robin Askew McConnell* Tenor Saxophone – MSgt Jake McCray* Tenor Vocals – MSgt Bradley S. Bennett*, TSgt Joseph Haughton*, TSgt Taylor Armstrong* Timpani – SMSgt Erica Montgomery* Trombone – TSgt David Rosengaft*, TSgt Matthew Nudell*, SMSgt Michael Piersol* Tuba – MSgt Brian Sands*, CMSgt Jan Duga*

A recording of flushing the toilet’s water, followed by a groaning door closing sound. Production stages : this sound was originally recorded by a group of students at university lyon 3. Then it was imported to audacity where few modifications were made. First of all, the record was precisely cut so there are no human voices in the background. Then, the sound was normalized and slightly compressed before applying the noise reduction effect. Last, but not least a constant gain was added at the beginning and lightly fading effect took his place at the end. Son du type x (continu complexe)c’est un groupe nodal des sons saturés avec une hauteur variée, suivis d’un bruit d’une haute hauteur. Le son est cannelé et constant et finisse par le son de la porte qui est métallique et aigul’attaque du son est rapide et forte, plutôt abrupte. Le grain est frémissement et rugueuxet l’allure est naturelle, désordonnée et aléatoire.

A recording of ringing a bicycle bell, slowed by 64%. Production stages- first of all we recorded the sound of a bicycle bell, then i imported it to audacity. I cut the beginning as well as the end, adding a constant gain at the beginning and a constant fade at the end so that the sound would be even more harmonic. Then i slightly compressed the sound, and normalized it. Then i used a “noise reduction” in order to get rid of the sound in the background and a slight equalizer. Ce son est de type v- continu varié. Dès le début il augmente avec les vibrations de la sonnette. C’est un son cannelé. Il est harmonique et résonant et ressemble à une cloche, mais est en fait une sonnette d’un bicyclette ralenti à 64%. Il est lisse et comporte des vibrations (vibrato). L’attaque au début est graduelle, douce, clair, riche et saturé. Il y a des variations scalaires qui nous ammenent à un pic clairement montré. C’est un son énergique et joyeux.

Street noises recorded while walking through the most touristy area of montmartre, in paris, france. Streets visited include rue des saules, rue norvins, rue du mont cenis, rue du chevalier de la barre, rue du cardinal guibert, rue azais, rue saint eleuthere, in that order. Highlights include:. 00:00-00:30-> walking south along the relatively quiet saules ("willow") street in montmartre; footsteps and squeaking boots. 00:42-01:02-> street-cleaning truck passing on the same street. 01:02-01:30-> piano playing inside a restaurant on norvins street. 01:30-01:36-> rock music in some other shop. 01:44-01:46-> kids running past. 01:56-01:58-> barely audible music somewhere, under heavy crowd sounds. 01:56-02:59-> crowd noises, clinking silverware and plates in the restuarants i'm passing, increasingly heavy crowd. 03:00-03:21-> passing van, followed by another bus. 03:21-04:06-> ill-behaved young males ruining my take with strange ape-like cries. 04:06-04:17-> i think this was a passing taxi. 04:20-05:08-> someone playing a steel drum on the ground in mont cenis street. 04:43-------> someone closing a gate, i think. 05:16-05:18-> american tourist exclaiming at close range in chevalier de la barre street. 05:53-06:18-> street portrait artists talking and joking with each other. 06:30-07:25-> someone playing the harp on cardinal guibert street next to the basilica, partially drowned out by a passing car. 07:25-08:23-> someone singing on the steps in front of sacré-coeur. He had a powerful but distorted amplifier--the bad sound quality was like that in real life. I turned around in front of the basilica on this dead-end street and that's why the music switches sides. 08:23-08:40-> yes, that's a chainsaw. The city was trimming some large trees. 09:33-09:47-> more chainsaw noise as i walked past the workers on azais street. 10:00-11:00-> increasing crowd noise as i walk back north to the busiest part of montmartre along saint eleuthere street. Recorded with a hand-held h4n at 96 khz / 24-bits, stereo, compressed into 160 kbps / 44. 1 khz / 16 bits mp3. Recording date march 16, 2012, in the early afternoon.

Euskara: 2010. urtean konposatu zuten Mikel eta Poti Rekartek, hitzak Txomin eta David Mindegiak, Mikel Rekartek; Armonizazioa eta partitura Ainhoa Sanz eta Cecilia Otaegik; ahots nagusia Alberto Zunzarren, koruak Xabier Bañares, Pascual Bertiz, Joxe Irigoien, Juan Telletxea, Javiertxo eta Lorena Almandoz, Pablo Elizondo, Ibai Marizkurrena, Mikel Rekarte, Izaro Martín, Maite Urreaga, Maialen Zamorano, Ainhoa San Miguel eta Maitane Larretxea. Perkusioan Mikel Rekarte, bibolina Cecilia Otaegi, pianoan Ainhoa Sanz. Hitzak: Doneztebe aldean sortu zen lainopean, kirola du helburu, guztiok elkarlanean. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Kirola du helburu, guztiok elkarlanean. Himno compuesto en 2010 por Mikel y Poti Rekarte, letra de Txomin y David Mindegia, Mikel Rekarte; Arreglo y partitura Ainhoa Sanz y Cecilia Otaegi; voz principal Alberto Zunzarren, coros Xabier Bañares, Pascual Bertiz, Joxe Irigoien, Juan Telletxea, Javiertxo y Lorena Almandoz, Pablo Elizondo, Ibai Marizkurrena, Mikel Rekarte, Izaro Martín, Maite Urreaga, Maialen Zamorano, Ainhoa San Miguel y Maitane Larretxea. A la percusión Mikel Rekarte, violinista Cecilia Otaegi, pianista Ainhoa Sanz. Letra: Doneztebe aldean sortu zen lainopean, kirola du helburu, guztiok elkarlanean. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Erreka dugu gorputza, jendea berriz arima. Sasoia da gure hitza, indarra eta kemena. Erreka izen ederra zabaltzen ari garena, bihotzean daramaguna mundu guztian barrena. Lainoaren umeak, zeruaren koloreak. Kirola du helburu, guztiok elkarlanean.

If there is one man, white western historyhas neglected, it must be james baldwin (1924 - 1987)known to many as writer, novellist, essayistplaywright, poet. . . Surely unknown to all asactivist, as frontfighter, as luchador of theanti-xenophobic anti-discrimination discoursin general & more specific of the north-american'negro'. His father was a slave & as a childat the tender age of 10, he was teased and abusedby 2 new york police officers, an instance of the racistharassment by the nypd that he would experience againas a teenager and document in his essays. Why isn't his history & discours teached at school ?. Anno 2020, i learn to know him & his eloquent rhetoricalcapabilities through the also fenomenal moving & breath-takingperformance of tawiah + myrrh for the refraction festival, takingplace online of course, due to the ever infamous covid-19. . . An audiovisual délice, in which visual artist myrrh, places tawiahin subtle superposition with james baldwin & his 1965 debate with mr. Buckley ! in the cambridge union ! !! ! ! ! while performinglive one of the most delicate concerts i have seen during corona. . . A must see+hear _ _ _ https://www. Youtube. Com/watch?v=h5l2lssdzro. Being totally absorbed by this performance, i discover as an artist myselfone of the reasons i bind so much with this piece of music is that i myselflike to use the same harmonies, apparently, which i did indeed in 2015https://soundcloud. Com/torturado/eternal-void-the-fall-back& in the mid nineties, that is 1990's. . . A long forgotten piece of me, performed that time during my ritcs studies, as my band torturado, no recordings from then helas online, but gracias a la discovery of tawiah+myrrh & james baldwin picked up again what i remembered from that time & made a 2020 version of it. . . A small visual document of this: https://vimeo. Com/450004585. As from the moment, i discovered james baldwin, i integrated also his powerful 1965 debate in my performances during covid times. . . To spread his word ! to inspire others, to confront others. . . I told myself covid or corona is not going to stop me playing & performing music, which comes natural to me, so i looked for ways to perform outside, in plain nature, with batteries. . . Guitars, 9v fx, fx without 9v compartment, battery based amplifiers, battery based kassette walkmans. . . & it is on kassette that i put an edited full version of the james baldwin vs buckley debate of 1965. . . For this exercice of the sound design formation, we had to upload a sound that intrigues, well, james baldwin eloquent voice, litteral & metaphorically inspired & triggered me. . . Also the sound of electro-magnetic technology called tape is something i have always been fond of. . . So i made an edit of an edit of the james baldwin debate of +- 10 minutes !. Spread the word !a+. Actually this could also serve the exercice of recording a sound that comes from a certain place, or is part of a bigger thing , or personificates a certain place. . .