29 tracce audio royalty-free per "Varie"

Uncertain origin. Used for picking a lock with a thin knife in my game the life and times of daniel vastberaden.

Jingling a bag with a lot of keychains in a footsteps-like pattern.

Miscellaneous jingling noises of a keychain.

A miscellaneous whish-like noise.

The sound of me lightly scratching the armrests of my chair.

A sample pack of various popping noises made with my thumb and the foot of a table.

Feedback from the open a (5th) string.

Just a weird sound so i can tell everyone about my comeback.

A metallic tink.

A sample pack consisting of clapping, and various sounds made by a plastic cup on a carpet. Inspired by the composition "cups" by dancers, drummers, and dreamers.

This was made using a regular sound recorder. Recording of me using the kitchen sink.

A dripping sound made by a human being.

A particularly musical stainless steel fork plucked in front of a microphone.

Opening and closing wallet in varies paces.

This sound was created using audacity. First of all i chose a frequency of 432 hz ( a number which includes the golden rule/proportion), then i created a gradual rise in the first 4 seconds, leading into a peak which descends so it can go up again, creating an effect of confusion. At the end, the sound raises gradually and rapidly to reach its peak once again. This sound recreates, for me, a fast- moving ufo (unidentified flying object) and includes the notion of conspiracy in our society- the changing of the frequency of the tone “la “ from 432 hz to 440 hz in 1953 by the nazis. La règle d’or- 432 hertz. Le ton « la » est une pointe centrale dans le réglage des instruments musicaux. Le ministre de la propagande en allemagne pendant l’époque des nazis a fait un décret général avec lequel il a changé la tonalité « la »de 432 hz en 440 hz. On utilise cette hauteur à partir de 1939 jusqu’à nos jours. Il y a eu des protestes de la part de professeur dussault de la conservatoire parisienne qui a fait une pétition signé par 23 000 artistes françaises mais sans aucun résultat. L’organisation internationale de standardisation(iso) a accepté en 1953 les changements et on utilise la valeur de 440 hz depuis. Des recherches montrent que ce changement a des effets incontournables sur le corps et le cerveau humain- les gens entrent dans un chaos. Ce changement a été caché du monde entier parce que c’est le point de la balance dans la nature. 432 hz est la vibration qui inclue aussi le règle d’or (ou la proportion de dieu). Quand on écoute de la musique en 440 hz la première chose qu’on remarque c’est une fatigue, aucun envie de faire n’importe quoi et beaucoup d’autres ( y inclus le mouvement de notre adn) une étude récent montre que l’utilisation de 440 hz crée des mouvais effets dans la nature et dans toutes les êtres vivantes. Cette article m’a inspirée à recréer un son avec une fréquence de 432 hz qui monte et baisse graduellement. C’est un son seul de type complexe(nodal). Il est de type v( continu varié), il est éclatant,clair et lisse. L’attaque du début est graduelle et violente. Le son varie en « hauteur » de plus fort au moins fort et l’inverse, recréant un effet d’un ovni qui passe à côté de vous.

Varies paces of opening a plastic bottle.

Real sound recording of raising and lowering a metal chain onto concrete. Speed of movement varies.

Sort of a radio interference sound, or sci-fi sound that varies in volume.

A metallic disc is spun on a wooden surface. Duration varies on each spin.

Bass speaker plugged to a pc that manages to capture the static produced by an lcd monitor. Noise varies according to what is shown in the screen.

A wasp stuck in a room, trying to escape a closed window. The distance between the wasp and the microphone varies during the track. Year: 2020location: aalsmeer, the netherlandschannels: 1 (mono)microphone: unknownmic polar pattern: cardioid.

Territorial carpenter bee (also referred to as a bumble bee) busy working away at wood. The buzz varies from the gnawing worker sound to the aggressive flying buzz used when trying to intimidate invaders into the bee's space. Background urban sounds: traffic hum and songbirds.

Dove: the cooing of a dove is achieved through foley. Vibrato is added to an almost owl-like sound created by blowing air into ones crossed-over hands. It is a subtle cooing and varies in tone, tempo and amplitude. Recorded with the zoom h6, rode ntg.

This is several swings of a huge rusty dumpster door - it varies in pitch and volume, and there is a little bit of background noise. Good for sound effects work. It's particularly good if you happen to be looking for the sound of a particularly deranged tuba!.

Rain in the city. Field recording of urban rain under an umbrella,some distant cars and city rumble. The rain varies in intensity. Cf amb_rain_umbrella_close_urban_cycle. Wav for an alternative take. 44. 1k/16 bitrecorded with a pair of neumann km 184 into aeta mixy/mboxrecorded in 2008.

Coming hair: you can hear the typical crunch of tangled hair being combed out. You can hear the hairbrush gliding through the hair. It varies in tempo and rhythm to add realism to this sound. As she struggles with the knots it is slow but picks up tempo as her hair becomes less tangled. Recorded with the zoom h6, rode ntg in a recording studio. Great for any make-over montage or scene.

Br class 319 with gec g315bz (gto thyristor) traction motor departing from a standstill, recorded from the centre of the pantograph car. The clip starts with an idle hum, followed by muffled closing doors and power being applied. The hum grows and varies in tone on initial departure, and is joined by an electrical buzz and the echoing high-pitched sound of the traction motor off the surrounding valley. The clip ends with power being removed as the train approaches a station, and crosses a set of points. Note: there is one muffled station announcement within this clip.

Clean, dry recording of a smartphone touchscreen being rapidly tapped as if a message was being written on it. Could just as easily be used as sounds from using (writing, playing mobile games, browsing, etc) a tablet or really any relatively small touchscreen device. Tapping speed and length between taps varies throughout the recording, but overall i tried to make it sound as natural as possible while still offering options for more granular placement. Recorded with an akg p170 into a tascam 208i audio interface at 48khz/24-bit. Microphone was positioned 5-6 inches away from source. A 120hz high-pass filter was applied to remove unnecessarily pronounced bass frequencies.

This is a collection of "small room reverb" impulse responses that i sampled in a new england home known as butternut lodge, built and owned by actress bette davis back in 1940. It consists of all wooden rooms with many non-parallel surfaces, rugs and furniture and includes 3 round-shaped "silo" rooms! these rooms sound clean and do not have the irritating "ping" of many rectangular rooms. Short history/pictures of butternut (https://www. Airbnb. Com/rooms/24692769?source_impression_id=p3_1659215694_liuasyfxoceab5fn). Although these round shapes (and some of the other very small rooms) could potentially wreak havoc with phase at specific frequencies when summed to mono, i recorded this using the mid/side mic technique; therefore, the "side" channels fully cancel out, leaving a clean monaural reverb signal. These irs are stored as flac files. They can be used directly by any daw without conversion and have the added feature of being id3 tagged with a photo of the room each ir is taken from. After downloading, select view -> large icons in the folder to view the rooms. I sampled each room using a swept sine wave into a jbl flip 6 bluetooth speaker; recorded through a tascam tm-st1 m/s stereo microphone, feeding a tascam dr-07 recorder @ 24-bits 44. 1 khz and deconvolved using reaper. As of this post, i've been using these rooms for about 2 weeks. So far, i've found the "garage" to sound fantastic on drums! the drum sound! also, many of the other smaller rooms have a great effect on guitars, keys, and hand percussion. Each room varies in tone and brightness, so i've found that selecting/tuning the reverb send works well if approached like an eq. Increase the effect send until the instrument "feels" right (then perhaps back off slightly). A close-miked acoustic guitar, for instance, will take on a nice brightness and 3-d quality; not particularly reverberant, just big. At that point, i recommend applying any eq, compression, and bigger-sounding reverb effects. Hopefully you enjoy this. Please let me know how you like it and if you have any suggestions. Cheers!. Ken.