Washes of colored noise interspersed with splatters of tonal sound, created by processing some very basic synthesizer tones through granular synthesis program granulab.
Swishes for layering, transitions. Some swishes have a tonal character to it and every swish is different so you can use it for multiple situations in an edit or something. You are allowed to use these sounds in any way, no need to credit me. Greets, tapesome. If you want to support this free community give freesound a donation and give something back to this community to upload your own high-quality sounds.
Recording of an old saba w48 telephone which gets hit by a hand. The bell is vibrating. Recorded without the handset (no rattling). Feel free to use this sound; no attribution required. Feel free to write me in the comments what you used this sound for. Equipment:røde ntg2sound devices mixpre-3 ii. File:wavmono48 khz24-bit.
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.
A series of percussive and harsh stabs, distorted and with little tonality. I sampled these when i crashed a 303 softsynth and the buffer started to fxxk up.
A rubber band being struck with my thumb. Could be used as an instrument (i advise you to convert the sound to mono if you are planning to use the clip that way). Recorded with a zoom h1.
Hps model was used to transform a few notes from a flute. Frequency stretching was used without timbre preservation. Has an old analog cassette/lp vibe. Mono track at 44100 = fs.
Woman speaking, saying "o my good". This sound was taken from a conversation in whatsapp, passed wav and edited with audacity (normalization and alteration of tonality) of 05. 05. 16 at 20 pm in the united states.
This is a recording on an old italian violin of me improvising, exploring dynamic range, free rhythms, tonal variation, and glissandi. It was recorded in my living room with a zoom h4n recorder. I added a small amount of reverberation using audacity.
I have started to read a certain book written by allen strange, "electronic music: systems, techniques, and controls". It's about time i dig into it. Probably it will result in some sounds. . .
I have recently built a granular sampler in puredata and have been using various samples in it and creating cool patches with it. This is one of the more technical patches. Please let me know if you would like to review my pd patch.
Slightly shocking short white noise fade in (2 secs) with a little reverb at end. Generated from scratch using audacity (mac version) 16-bit aif version. A simple, atmospheric sudden ending or transition.
Example of a tonal answer in J.S. Bach's Fugue no. 16 in G minor, BWV 861, from the Well-Tempered Clavier, Book 1 Comienzo de ejemplo de una respuesta tonal en una exposición fugada. este fichero Midi corresponde a la exposición de la Fuga número 16 en Sol menor (BWV 861) extraído del libro 1 de la obra El clave bien temperado de Juan Sebastián Bach
Another sound that has been heavily edited to the point of being unrecognizable. This sound byte is an odd one that i made when i was pretty bored, it might be good for a drone or sound of a phantom or something. It could even be a warning or system message for a game. Either way, hope that this strange sound is useful to you somehow.
An ethereal-sounding digital woosh effect. Created using xfer serum, layered with various abstract samples. Perfect for transitions, motion, or hud/ui elements.
Silly speed and pitch manipulation of a standard car horn to create a siren effect. More like a drunken car horn than a siren. Multi-tonal electric siren increasing and decreasing in pitch. Steady, long whine. Sounds like a child's remote controlled radio.
I made a tonal quantussy recording. The bass always plays a low c. The 5 tracks are selected from one 15 min long recording. The synth creates defined tracks with different character.
This is a bass sound, not tuned but it is a perfect loop withouth clicks. It has no panning effect - i will do that on another sample. It is not tuned - use a program that tunes the samples to tonal. You must use it only in one octave from c5 to c6. In other octaves sounds not like a normal bass.
Tiny and resonant impacts with a tiny piece of metal on a tea cup (china like). Tonality: c-c#. Recorded with zoom h6 and clippy em184 from fel electronics. Light denoise with rx 7 spectral denoise.
Tiny and resonant impacts with a tiny piece of metal on a tea cup (china like). Tonality: b-c. Recorded with zoom h1 and clippy em184 from fel electronics. Light denoise with rx 7 spectral denoise.
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.
For this sound i used 4 differents kind of tonality :261,6 hz293,7 hz329,6 hz349,2 hzand then i used the effect low and high and i put an higher pitched sound to make a sound more like videogames style. This sound have a joyful purpose like when you finish a stage in a game.
A pulsating softly bass sound depicting a ufo-like sound with some echoing tonal sounds that have a wavering harmonic range. This sound was created from manipulated waveform generated sounds. However, if you decide to use this in a movie, video or podcast send me a note, thx.
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.
Strega processed o-coast generated o-ctrl sequenced rhythm modulated in and out of synchopy with "the witch". Rendered in reaper @48khz 32 bit with markers for all you morphagene fans out there. Enjoy!.
For this sound i used 4 differents kind of tonality :440 hz392 hz349,2 hz329,6 hzand then i used the effect low and high and i put an higher pitched sound to make a sound more like videogames style, just like my other sound named stagecleared. This sound have a sad purpose like when lose at a game.
Created with granular synthesis. Something related to a spaceship, engine room, another drone sound; could be a distant low end for a pad, as it is tonal (a note). Will loop if you crossfade between start and end. Enjoy. Https://soundcloud. Com/vospi.
File contains a second collection of 4 or 5 creepy, clichéd "hypno-tones" in the theremin's lowest ranges, each separated with 5 seconds of silence. Each hypnotone in the file uses a different waveform/tonal setting to give you various textural choices. As always, these sounds are recorded "dry" so that you can tweak and tweeze, add effects, overdub and mangle them any way you like.
Real recording of an ar15 layered minimally with a kick drum for sub-bass region and trigger sound and processed with some plugins like transient designers, multiband compression and clipping. Eq was used for tonal shaping and frequency cutting here and there for a more polished sound. Single shot recording assembled into a burst fire loop. Made in ableton live. Enjoy.
Great for background music in film or video games. Use it as a riser or to create an ambient dreamy feel. Left channel is rode nt1aright channel is sm57recorded out of a fender amp. Use this for whatever you want, for free. Feel free to credit me if you feel compelled to. Find me here:https://geoffreybremner. Wixsite. Com/gbaudio.
A reel for the makenoise morphagene with each splice having two separate sounds with radical or subtle differences on the left and right channels. Great for stereo/split processing, a mix of tonal and atonal sounds made in ableton live with heavy use of madrona labs aalto and kaivo plugins. Additional plugins used:labs soft pianonasty dlasoundhack pitch delay and spectral compandtd tapewormu-he protoverb.
This jump scare sound was created by playing 2 dissonant chords on a single coil telecaster mic'd up w/ a vox ac 10 amp. The two guitar tracks are panned left and right- reverb and delay are added. Additionally, frequency enhancers were added between 4khz - 6khz which adds a higher tonal energy in the upper range of the guitar. Gain is added which can be heard as signal noise mostly at the end of the clip. Enjoy. Bainmack.
This jump scare sound was created by playing 2 dissonant chords on a single coil telecaster mic'd up w/ a vox ac 10 amp. The two guitar tracks are panned left and right- reverb and delay are added. The delay tail you can hear oscillates between left and right speaker as it fades. Additionally, frequency enhancers were added between 4khz - 6khz which adds a higher tonal energy in the upper range of the guitar. Gain is added which can be heard as signal noise mostly at the end of the clip. Enjoy. Bainmack.
Composed on the sigil scale c, c♯, e, f, g♯, a at 130 bpm. Wav. The sigil scale has 4 transpositions:. 1. C, c♯, e, f, g♯, a2. C♯, d, f, f♯, a, a♯3. D, d♯, f♯, g, a♯, b4. D♯, e, g, g♯, b, c. Left delay (phased) 25 ms.
library of congress recording, and before 1911 -- public domain traditional Omaha Indian song. From here Notes This song was collected by Alice Cunningham Fletcher and Francis La Flesche. It is included on Omaha Indian Music: Historical Recordings from the Fletcher/La Flesche Collection (AFC L71). From the liner notes of the Omaha Indian Music album: Composers of love songs used melody and vocables to convey emotion (1893, pp. 53-54, 146-150; 1911, pp. 319-321). The true love-song, called by the Omaha Bethae waan, an old designation and not a descriptive name, is sung generally in the early morning, when the lover is keeping his tryst and watching for the maiden to emerge from the tent and go to the spring. They belong to the secret courtship and are sometimes called Me-the-g'thun wa-an - courting songs. . . . They were sung without drum, bell or rattle, to accent the rhythm, in which these songs is subordinated to tonality and is felt only in the musical phrases. . . . Vibrations for the purpose of giving greater expression were not only affected by the tremolo of the voice, but they were enhanced by waving the hand, or a spray of artemesia before the lips, while the body often swayed gently to the rhythm of the song (Fletcher, 1894, p. 156). George Miller's probable year of birth is 1852.
Penulis: Performed by Miller, George (Inke'tonga) (Big Shoulder), Recorded by Alice Cunningham Fletcher and Francis La Flesche.
