14 file audio bebas royalti untuk "Tong"

Clicking plastic tongs repeatedly.

Recorded using iphone 12.

Recorded in 2008 on edirol rc09 - kwun tong hospital waiting room ambience.

Samples created with spaghetti noodle kitchen clamp recorded with tascam dr-05, routed to effect box assembled with arduino system, edited in audacity; =).

Imitating the sound of sliding open a telescope by sliding the metal ring up and down a set of tongs.

Metal tongs taped against large glass jar. Audio technica pro 37's 16bit 44. 1 stereo.

Handling an alligator, monkey or pipe wrench. See picture. Http://static. Panoramio. Com/photos/medium/95491471. Jpg.

Long session of playing with a set of fancy teaware (teapot, jar, cups, tongs) in classy hotel. Recorder: sony pcm-d100.

Wushu sword chinese kung-fu. Thin ribbon sword - a gymnastic display rather than actual combat. This recording was made when we were working on this movie. Https://www. Youtube. Com/watch?v=stzvjjogouq. Prob recorded on neuman u87 and motu 828 - in kwun tong kowloon.

Setting down a nearly empty cornelius keg.

Pouring home brew beer into a glass.

Moving a large metal object. Can't remember what it was, think it was an oil drum.

China’s first official anthem was used in the last months of the Qing dynasty. The anthem was by Bo Tong, a high-ranking officer of the Imperial Guard and Yan Fu, commander of the Qing Navy. Guo Cengxin, Master of Ceremonies, made some minor adjustments and arranged the music. The primary purpose of the anthem was to advocate the Qing Dynasty and create a sense of well-being among the Chinese. The anthem was officially adopted on October 4, 1911, but was used for centuries beforehand in official Qing dynasty functions, going back to when Emperor Kang Xi was crowned in 1675. It’s official use as China’s royal anthem was short-lived, as the Wuchang Uprising, meant to end China’s imperial era, started six days after the anthem was officially adopted. The Republic of China was created on January 1, 1912 and the emperor abdicated on February 12. As such, the anthem did not gain much notoriety in China. “Gong Jin’ou” was made the anthem again in 1917 for 12 days when a former Qing general started a coup and reinstated the Qing Dynasty. Since this was used as a praise to the emperor, this is also a royal anthem. This song was banned in Communist China after 1949, but the ban is now lifted (probably after 1978).

Recording of "Hostias Et Preces" by Eugenio Terziani (1824-1889), sung by the last surviving castrato of the Pope's choir, Alessandro Moreschi (1858-1922). Duration of recording: 2 minutes 9 seconds Català: Una gravació de "Hostias Et Preces" d'Eugenio Terziani (1824-1889), cantada per un dels últims castrato del Cor de la Capella Sixtina, Alessandro Moreschi (1858-1922). La gravació de Moreschi, és la única existent d'un cantant castrato, sent un testimoni sonor únic d'aquesta tradició musical. Una grabación de "Hostias Et Preces" de Eugenio Terziani (1824-1889), cantada por uno de los ultimos castrati de la historia, Alessandro Moreschi (1858-1922) del Coro de la Capilla Sixtina. La grabación de Moreschi, es la única existente de un cantante castrato, siendo un testimonio sonoro único de esta tradición musical Suomi: Eugenio Terzianin (1824-1889) tallenne viimeisen paavin kastraattikuoron jäsenen Alessandro Moreschin (1858-1922) laulamasta kappaleesta "Hostias Et Preces". Enregistrement de Hostias Et Preces par Eugenio Terziani (1824-1889), interprété par Alessandro Moreschi (1858-1922). Italiano: Una registrazione di "Hostias Et Preces" di Eugenio Terziani (1824-1889), cantata da uno degli ultimi castrati della storia, Alessandro Moreschi (1858-1922) del coro del Cappella Sistina. Le registrazioni di Moreschi, essendo le uniche esistenti di un cantante castrato, forniscono una testimonianza sonora unica di questa tradizione musicale Македонски: „Нафора и молитви“ (Hostias Et Preces) од Еугенио Терцијани (1824-1889), во изведба на кастрат на папскиот хор, Алесандро Морески (1858-1922). Морески е единствениот кастрат од кого постои снимка, и претставува единствен увид во оваа некогашна музичка традиција. Запись песни "Hostias Et Preces" Евгенио Терзиани (1824-1889), в исполнении последнего оставшихся в живых кастрата хора Папы, Алессандро Морески (1858-1922). Морески, как единственный записанный кастрат, воспитанный в старой традиции, даёт нам представлене о том, на что была похожа утерянная музыкальная традиция. Tiếng Việt: Một bản thu "Hostias Et Preces" của Eugenio Terziani (1824-1889), được hát bởi castrato cuối cùng trong ca đoàn của Giáo hoàng, Alessandro Moreschi (1858-1922). Moreschi, là castrato được huấn luyện duy nhất được thu âm lại, cho chúng ta một cái nhìn tổng quan về một truyền thống âm nhạc nay đã không còn.