24.831 file audio bebas royalti untuk "Tos"

This sound file belongs to me and I donated it to Wiki.

An evolving ambient sound that sounds like a countdown. I intend to play it to build suspense in games. Recorded with ableton live.

Perfect to troll people in vrchat.

Free to use.

Paper clips being clipped to paper.

Sampled from tsv, free to use.

Weirdness to guitar playing.

Lesson 02, for Piano

Set blasters to kill.

Audience waiting to a london musical.

Trying to see if something works.

Trying to test something in game.

Trying to see if something works.

Trying to see if something works.

Nice drums good to use.

Bass drum similar to tr-808.

Flipping of two fingers, to fingers flip.

I'm going to open a. . . 'case of nasty. '.

An evil laugh to contest nanakisan's!.

A gate has difficult to open.

Priming a toaster to pop.

Foley recording, man starts to run.

To knifes hitting each other.

Transformation from scratches to a folder.

Recorded under door to adjacent room.

Patting a horse to praise them.

Intro to video.

No need to explain ;).

Free to use.

Oh! How I Hate to Get Up in the Morning, a song by Irving Berlin produced on U.S. Army time for the Army benefit show, Yip Yip Yaphank (1918). This recording, by Irving Kaufman, is from about 1919 - the University of California Santa Barbara gives it as "191-", and it cannot, of course, predate the song. While the sound quality is somewhat poor, the lyrics used here are likely nearer that sung in Yip Yip Yaphank than the standard ones given in the sheet music, making it useful. This is Indestructible Record #1569.

Oh! How I Hate to Get Up in the Morning, a song by Irving Berlin produced on U.S. Army time for the Army benefit show, Yip Yip Yaphank (1918). I believe the version used in the show used the opening verse from the Irving Kaufman recording; the opening verse here was probably made for publication. This is Edison Blue Amberol #3639, which was created using Edison Diamond Disc matrix #6287.

H.M.S. Pinafore performed with the following cast: Willie Rouse (Sir Joseph Porter, K.C.B.) Harry Dearth (Captain Corcoran/Boatswain's Mate) Walter Hyde (Ralph Rackstraw) Harry Thornton (Dick Deadeye) Alfred Cunningham (Dick Deadeye/Boatswain's Mate) W. Anderson (Carpenter's Mate) Elsa Sinclair (Josephine/Cousin Hebe) Ada Florence (Mrs. Cripps, called "Little Buttercup") Miss Burnett (Cousin Hebe) There is some disagreement about who the performers are in various parts, as explained by Mark Shepherd. Not to be confused with the Russell Hunting/Sterling selections from Pinafore dating from the same year and using some of the same performers. The performance cuts the overture, the entr'acte, "A British Tar" and part of the Act I finale. Some portions are transposed from their original keys.

George Frideric Handel: Messiah

The Perfect Fool, Op. 39: "Dance of Spirits of Fire" performed by the Stellar Brass of the United States Air Force Academy Band. Track 2 from Fireworks for Brass and Organ (2007).

George Frideric Handel: Messiah

Country, four small dogs barking, heavy to sparse, medium close-up, reverberant, village, poland. Stereo mixdown of an ms recording, using sennheiser 416 (m) and some small diaphragm figure of 8 akg.

Any thursday, 12:00 am more or less. I was sitting down in a bench, looking to the buildings opposite me, with the road at my back. My handy recorder zoom h4n in my hands. Some people was chatting next to a car and then they got inside and they left (you can hear that on the left channel. Got it? "left" channel :d). You can hear people passing from one channel to another, cars and motorbikes. It was in c/ bravo murillo (madrid, spain). In that part, it is a one way street for vehicles, so all of them go from right to left channel.

In this sound i am leaving the office, opening a set of doors and walking outside to the sound of rush-hour traffic going by. You can hear the sound change from the reception area indoors to the loud outdoor sound of traffic. This was recorded in-person with a tascam dr-40 stereo recorder. Public domain: i have released this audio file into the public domain. It is free for anyone to download, modify, or use without my consent and without attribution - like all freesound audio files should be. Enjoy!.

On a stopped train somewhere in central java, middle of the night, distant singing from a nearby village. March 1994.

Chewing: crunching hard food in closed mouth, slower pace. Crunching ice or other larger, harder food. Edited from the sound of a salt grinder intermittently crushing rock salt (tempo increased 15%, high cut eq applied to simulate closed mouth). Recorded using a tascam dr-40x and processed in audacity.

Another collection of carefully recorded sounds for the morphagene. 1. Crank2. Spray paint3. Alumunium can4. Reel ro reel(rewinding)5. Shower(interior recording)5. Squeaky metal door in an empty room6. Winding up an old clock.

I was looking for a smoke machine blast and a c02 gun blast for an after-movie sound design, but i couldn't find a proper sound on the internet, so with my sound design knowledge, i tried to replicate those noisemakers. Hereby is the first sound from my pack which is coming soon. You are allowed to use this in any festival/after-movie video you have, 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.

Ff chaos test conditions:cv in from nlc jerkoff. Square wave in from lfo, 1hz. 3 vcos tuned to 130,8hz and one "strange sound". Cv in on vcos are attenuated, about 50%. Gate 1 and cv 1 to vco pan leftgate 2 and cv 2 to vco pan rightgate 3 to vco pan centertrigger to "strange sound" pan center. Sound 1 - cv min and rate minsound 2 - cv max and rate minsound 3 - cv min and rate maxsound 4 - cv max and rate maxsound 5 - cv at 50% and rate at 50%sound 6 - jerkoff to cv in on lfo. Vco 3 gets cv from jerkoff - chaos.

This was recorded inside the blue mosque in istanbul during friday prayer in may 2005. To get in to the blue mosque with recording equipment we had to get a permission from the religious authorities. We also needed a muslim to operate the equipment since the friday prayers were forbidden for non-muslims. We set up the recording equipment and let our turkish guide hit the record button once the prayer started. The sound is recorded using an m/s rig straight to dat and processed afterwards with a hp filter in protools to remove microphone rumble. Recorded by asbjørn blokkum flø, kjetil bjørgan and the anonymous guide.

At cmu, there is a building with a really long hallway that has amazing acoustics. In this experiment, i set up a feedback loop. On one end of the hallway, there is a microphone connected to a laptop. On the other end, there is a speaker connected to another laptop. The two laptops are connected via skype calling. I play with my speaker's built in eq, and play my violin to stimulate the resonant frequencies of the hall. A better set up would be to use better equipment directly connected to each other, and have a stand-alone eq to independently control what resonant frequencies are playing.

I have many reasons to be motivated trying to give thanks to him. I happened to focus one day on the prohet ezekiel. The book starts with describe kinda dream hje had. He he ard a tremendous roar and he saw god's "spacecraft" landing somewhere in today's iran. He described a vehicle that god uses for importantr matters. My sound is maybe better to be connected with 500,000 ton oil tanker. However, i decided to make the feeling 0f a enormous powwer, coming from the lord himself. So, enjoy this several minutes long file. I could see a smile in god's face, b ut he said nothing.

This is actually an odd sound my thermos makes when i don't close the lid properly. I guess it could be used for all sorts of abstract things, like ants talking to each other, alien sounds, organic things in general. It's just air going through a thin space. Feel free to use, no need to attribute, but i'd love to know where it went.

Ambisonic b-format recording recorded with the coresound tetramic in pittsburgh, pa. *note: you will need to decode this b-format ambisonic file with a plug-in such as the (free)surroundzone2 which allows you to decode the file to a surround, stereo, or mono format. Also note that these are fuma bformat files (and opposed to ambix bformat).

Two sustained voice samples i subsequently pitch shifted and layered for an ambient work (to achieve an 80's choir pad effect). The key is almost in middle c, but slightly off. . . Because i can't sing. The second, lower voice sample was recorded extremely close to the mic to achieve clipping; i wanted to get a buzzy, boomy sound out of it.