781 로열티 프리 오디오 트랙들 "Variation"에 대한

This is a variation on a guttural growl i made to depict some giant bears in power armour. I recorded myself with a zoom h1 and then fiddled with pitch shifts etc to get to this big cat noise (well, that was what i was aiming for).

Description :sound of audacity : pluck. N' : itération tonique. Morphologie :- masse : son seul tonique- timbre harmonique : net et clair- grain : pas de grain texture lisse et rigide- allure : pas de vibrato- dynamique : attaque franche et dure, le son commence au plus haut. - profil mélodique : variation scalaire- profil de masse : équalisation des son aigus. .

Heres a quality fat "street" beat ready for use in a aggressive hip-hop or big-beat production. Long sample containing subtle variations and a ending tail fx. Lots of bass and sub in the kick, designed to bang hard in a car system. Ps:would appreciate a link to interesting finished productions using it!.

Sveriges Radios folkmusikinspelningar. Finlandsresan 1957 Dokumentatör: Matts Arnberg SV EN Instrument: Fiol Radiotjänsts ursprungliga produktionsnummer: MA 57/11142:26:2

Boxer training on jumping rope. North of france 2014. The rope is whisting with speed variation and banging the floor. The boxer sometime is making a mistake and start again. Recorded with schoeps set up: ab ortf couple and a cmc6 mk4 micrecorder on sounddevice 744 through m3i mixer. 48khz, 16 bitsreducted on lr stereo.

Some variation of breaking bones. If you want to have this kind of sound costumized for your project, send me a message. Feel free to use it as you like and share your project! i will glad to show that on my social media. Enjoy!.

I thought i record some breaths, tried to variate it a bit. For example there is an inhale and exhale with the yogic ujjayi breath and some other ones. I used some of these in drone pieces, they blend it pretty well. Thats unprocessed raw: just recorded direct into ableton 9 with zoom h2n.

A number of coins dropping on to concrete made by overlaying a single coin drop and offsetting multiple times. Made using two coin loops in logic x but creating a number of tracks, offsetting the loops at 'random' to create the sound of multiple coins. Also truncated some loops for variation.

I had nothing to do, so i decided i would play around with the sound http://www. Freesound. Org/people/troutstrangler/sounds/26342/ by troutstrangler. Enjoy, if you feel the need to. Made with audacity.

While doing sit-ups in my bedroom - i've discovered that the friction of my back with the floor makes hilarious "fart-like" sounds. I grabbed my zoom h4n recorder - and recorded some. Good fart sounds are sometimes not so easy to find :). (this is file 2 of 2. Each was recorded in a different rec. Level. . . ).

Sound of the button on the tv with an increase of the sound. V' : impulsion variée. Morphologie :- masse : son seul complexe- timbre harmonique : terne et claquant- grain : un peu de grain, son rugueux- allure : un léger vibrato- dynamique : attaque abrupte et graduelle. - profil mélodique : variation scalaire- profil de masse : bruit seul hauteur son augmenté.

Title/Work: Symphonic variations for piano and orchestra Content: Part 4 Genre(s): Variation Author(s)/(Composer(s): César Franck (1822-1890) Music arranger(s): none Lyricist(s): none Performer(s): Géza Anda (1921-1976) Conductor: Eduard van Beinum (1901-1959) Place of recording: Grote Zaal, Concertgebouw, Amsterdam (Netherlands) 1st release date: 1944 1st recording date: 17 May 1943

This sound has been recorded with the h4n pro. You can use this sound in your project but it would be awesome if you could tag my instagram account somewhere in the description:https://www. Instagram. Com/florianreichelt/. Stock footage isn't dead! make 2000$/month via blackbox!register now: http://bit. Ly/stockblackbox.

Phonograph cylinder recording from Filaret Kolessa collection. Duma Pro pikhotyntsia, variation a (fragment). Performed by Platon Kravchenko. Phonograph operated by Opanas Slastion. Date: 1910. Instrument: none Українська: Фонографічний запис із колекції Філарета Колесси. Дума «Про піхотинця», варіант а (фрагмент). Виконує Платон Кравченко. Записувач(-і): Опанас Сластьон. Рік запису: 1910. Інструмент: немає

The sound of a 8mm film camera being wound up and letting it run. There is a variation between the shutter speed. Single shutter sounds and continious running. 24 bit48000 khzrecorded on rode video mic gomixed in pro tools.

I recorded stop and go traffic on coldwater canyon one morning on my way to work. Nice variation of traffic that's moving and traffic that's just stopped and idling. Could be used for freeway traffic jams, etc. Recorded with: sound devices 702t, beyer dynamic mc930 mics.

Variation 1) walking through the city of maastricht. This was outside of the center, so it's not that crowded, you can even hear some birds. Still there's a bit of traffic driving around. Recorded with edirol r-1 & sennheiser me66.

Sound of water flowing from a tap with fades in and out created with audacity. X : continu complexe. Morphologie :- masse : son cannelés mélange de sons complexes et de sons toniques- timbre harmonique : éclatant et clair- grain : son rugueux- allure : pas de vibrato- dynamique : attaque douce et graduelle. - profil mélodique : variation glissante sans séparation nette- profil de masse : calibre : equalisation.

This sound was recorded while driving down the road on my way to school while it was raining. I was traveling between 0 and 60 miles per hour. So there is a variation in the intensity of the rain falling against my car. As-well you gain a slight acknowledgement to the acceleration of my engine.

Syncopation (sfz) in Beethoven's String Quartet in A Major, Op. 18, no. 5, III, variation I, m. 7-8. Created by Hyacinth (talk) 19:26, 12 March 2011 (UTC) using Sibelius 5. For comparison: File:Beethoven - String Quartet in A Major, m. 7-8 without syncopation.mid

Phonograph cylinder recording from Filaret Kolessa collection. Duma Pro pikhotyntsia, variation g (fragment). Performed by Platon Kravchenko. Phonograph operated by Opanas Slastion. Date: 1910. Instrument: none Українська: Фонографічний запис із колекції Філарета Колесси. Дума «Про піхотинця», варіант ґ (фрагмент). Виконує Платон Кравченко. Записувач(-і): Опанас Сластьон. Рік запису: 1910. Інструмент: немає

This pack is rather lq, background noise and other mistakes are present. Get brand new, high resolution bmx sounds here:https://www. Asoundeffect. Com/sound-library/bmx-trick-192-khz/***. Gear used: analog tape recorder nagra iv + sennheiser me 66 microphone. Recorded for the projection student movie, 2014, zlin, cz. Https://www. Youtube. Com/watch?v=it7pc5ycwqy.

This is a variation of a hyper-popular wilhelm scream. Since it's 2017 outside, using wilhelm causes everything turn to a comedy. This one sounds fuller, richer, up-to-date. Will suit any type of production (film, commercial, game). Feel free to pitch it, expand it, shorten it and throw a reverb on it. It was recorded by a russian actor sergey smirnov in 2017. Hope you find it useful!.

This is a classic theta brainwave entrainment sound made by two sine waves. The pitch shifts gently to produce some slow variation of the actual speed of the pulse. You can use it as a track and add voice (like relaxation or visualization), or just use as is to promote deep relaxation or trance. The pulses are about 8 hz (cycles per second).

Gem pathescope 9. 5mm projector, unit #1191, made in england. Recorded on a marantz pmd661 with a rode nt4 stereo mike. The gem is a variable speed projector, controlled by a rheostat. Speed for this recording was unknown, but probably 12-16 fps. Microphone was facing the operational side of the projector, 50 cm away. Audio begins with power being turned on, ends with power being turned off. The speed variation during recording occurred naturally.

Gem pathescope 9. 5mm projector, unit #1191, made in england. Recorded on a marantz pmd661 with a rode nt4 stereo mike. The gem is a variable speed projector, controlled by a rheostat. Speed for this recording was unknown, but probably 5-10 fps. Microphone was facing the operational side of the projector, 50 cm away. Audio begins with power being turned on, ends with power being turned off. The speed variation during recording occurred naturally.

An attempt to fill a request for the sound of rummaging through a wooden chest (trunk) filled with wooden toys. . . Tight mic placement for variation. Gear: zoom h6, xyh-6 x/y capsule (120 degree stereo image), rycote windjammer, mounted on a tripod, various wooden toys/items. Please feel free to leave feedback and ratings. I would love to hear how you put the sound to work.

An attempt to fill a request for the sound of rummaging through a wooden chest (trunk) filled with wooden toys. . . Tight mic placement for variation. Gear: zoom h6, xyh-6 x/y capsule (120 degree stereo image), rycote windjammer, mounted on a tripod, various wooden toys/items. Please feel free to leave feedback and ratings. I would love to hear how you put the sound to work.

Squeaky audio cable-to-speaker incomplete connection. One end is plugged into a speaker and the other is not plugged into anything. The squeaking sound is made from my fingers touching the tip and sides of the metal tip of the non-connected end of the cable. The variation of sound and pitch is from moving my fingers up and down the metal tip in different speeds, angles, and placements.

Several years back my older brother stumbled upon a bunch of old family reel to reel films and sat down one evening to project them on a wall and digitize them. This is the sound of that process. What you can hear, i imagine, is the noise of the projector in the left channel and the sound of the reels in the right channel. I've been obsessed with the sounds of the infinite variation in old analog hardware. As a sound designer, that infinite variation is often sought after but rarely, or accurately, reproduced through digital files in various libraries. Of if they are, they're often too short to cover whatever scene i am trying to fill. On the surface it's just noise but if you listen closer it's this wonderful cacophony of overlapping and repeating sounds that are always looping but never quite identical on each rotation. It was ripped from youtube using audio hijack at 48khz/16bit, but due to youtube re-encoding things as youtube does, it's nowhere near the source. It's still, in my opinion, a sound worth sharing. Enjoy!.

Running water into a bathtub. The faucet is audibly turned on and off at the beginning and end. The temperature of the water is tested at several intervals resulting in some variation to the water sound. Individual drips can be heard after the water is turned off. Take 2 of 2. Originally recorded for a short film where one of the characters takes an off-screen bath. Recorded (if i remember correctly) with a sennheiser mkh-416 microphone into a sound devices 302 mixer.

No it didn't. Well cool patch anyway? it's what i like. Small variations on a simple theme. Sloth lfos and a jerk off (both from nlc) are the engine. Yes and a comparator. Using an or/gate-combiner to create a trigger-ish for quadra to react on. Analog delay and spring reverb. Why did i do this patch from the very beginning? when the voltage on x from sloth reaches a specific value a trigger is generated and i sample the value on y and uses to select pitch on an oscillator. The one playing the long tones. Chaos creates my variations. Sh1t, now when i've stopped recording cool thing are happening. Promise. . .

A second bass-drum l∞p variation from"1 drum kick l∞p-104- mrjmix series. Wav"< https://freesound. Org/people/mrjmix/sounds/541414/ >----------------------hypno-paradise version----------------------. You incorporate this sample into your project. . . Awesome!if you use the loop you can change it too, or not, but mostly i'm curious and would like to hear how you used this loop. So send me the link and i'll share it again!. Artistically. #mrjimx 🃏.

I recorded these because i neeeded a sound when a player slices a metal object. But it can be used for cooking sounds etc. As well obviously. The later ones are useful for creating loops and the impact usually sounds quite different which offers some needed variation. You can try to add some crackling fire sound if you need it to sound more powerful. There is no need to credit me but i would be happy if you tell me here if you use it and what for :).

Layered synthesis of the sound of a big hit. 1 layer. Recorded sound of a blow to the pillow (take with a percussion tint)2 layer. Recorded sound of a blow to the pillow (double low kick)3 layer. Recorded sound of a blow to the pillow (variation of a low-kick double with a low pitch and a different attack phase)4 layer. The sound of a low-frequency sweep, like in a synthetic bass drum, obtained on a synthesizer. )an additional layer of metal impact (recorded by me) is not present in all variations of the sound presented. Each layer was subjected to quite extreme compression and equalization. A bit of overdrive is present. Well, convolutional reverb.

This underwater breathing was created in audacity. To create this sound i generated 2 tracks rhythms on 2 different mono tracks. For the breathing i created a rhythm "click noise" and added the effect "paulstrech". I deleted some moments of silences. I tried to simulate a heartbeat. I generated a rhythm tracks "noise click" and added the effect "echo". I selected in the track a sound wich looks like to a beat, cut the remain and add the repeated effect on the selected moment. I added bass to make the son more organic and reduced the gain. ---. Typologie/morphologie de shaeffer. Ce son est un mélange de continu complexe (x) et d'itération complexe (x''). Masse :son cannelé. Mélange de sons complexes avec des hauteurs. Grain : a la fois rugueux (la respiration) mais aussi lisse (les battements de cœur). Dynamique :l'attaque est plus ou moins violente avec des variations. Profil mélodique :variation scalaire.

Squeaky audio cable-to-speaker incomplete connection. One end is plugged into a speaker and the other is not plugged into anything. The squeaking sound is made from my fingers touching the tip and sides of the metal tip of the non-connected end of the cable. The variation of sound and pitch is from moving my fingers up and down the metal tip in different speeds, angles, and placements. The sound has been slowed way down, and the pitch has been taken way down too, to create a low drone sound for industrial purposes or in mad chemistry lab scenes, etc. Anything with a dark, industrial, and slight sci-fi feels.

A short variation of sounds i made in garageband for something called victors crypt. It's a synth-ish bit that i think would fit perfect to something paranormal, sci-fi and mysterious. It's short and straight to the point. A "i'm a fuckin' alien coming for you ass"-kind of sound. Feel free to use it to whatever. . . Feel free to use it as long as you give me the credit for it/write me as composer. And subscribe to and watch my channel :). Be cool and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

This choro music shows the typical improvisation style of the choro players. The music is a variation of the ancient folk theme of northern part of Rio de Janeiro state called "Dança da Urubu" also called "Urubu Malandro", "Samba do Urubu" or "O Urubu e o Gavião". Flute: Pixinguinha (recorded in 1930).Português: Esta gravação mostra o típico estilo de improvisação do choro. A música é uma variação da música folclórica chamada "Dança do Urubu", oriunda do norte do Estado do Rio de Janeiro. Em 1914 foi gravada pela primeira vez a música, com o nome de "Urubu Malandro", pelo chorão conhecido como Louro. Pixinguinha, em 1930 gravou com sua flauta esta variação, com o nome de "O Urubu e o Gavião"

This is my attempt to emulate the sound of the harmony 64 chimes that can be heard on some ice cream trucks. I used a single note from a low-quality recording from a demo of the chimes for the base synth then cleaned up the audio using audacity and set the starting pitch to "c". (in particular, i used the first note of the "can-can" chime from http://www. Microminiatures. Com/tunes. Html). I then composed a short variation of a well-known song (bicycle built for two in this case). This loop can be used in games or other projects as long as you put a link to this sound's page in the game description. I hope you enjoy and any feedback is welcome!.

What if we could hear sounds from another planet ?. In this imaginary place, people can visit zoos under water. Here is the sound of a yhtem, recorded by a visitor from inside his personal submarine. The recording device was found by a member of the zoo staff, as it was floating over the water. It gave no more informations about what happened to the visitor, except that according to several monster's specialists, the yhtem « sounded hungry ». In the real world, this sound was created using the sound of a very brief scream. At the background was a noisy street, and some cars were passing by. I used two different screams and mixed them, before decreasing speed and tempo in audacity. -. Xson « cannelé ». Le son « d'arrière plan » est étouffé, plutôt doux, mais il y a des « accents » rugueux, acides, lors du grognement. L'attaque est graduelle. On distingue quelques notes, différentes hauteurs. Variation scalaire.

Sound created from using the rings of saturn as a spectral source to a series of filters. When a 1 pixel high image of the rings is extracted it looks like a spectrogram (original: https://en. Wikipedia. Org/wiki/file:saturn%27s_rings_dark_side_mosaic. Jpg). The ring spectrogram was divided into three color planes, and the color intensity values were transformed into resonant filter cutoff frequencies. In essence one filter unit (per color plane) has 256 sounds playing simultaneously. The individual filters are placed along the x-axis so, that the stereo image consists of 256 steps from left to right. In this sound of the series the spectrum was compressed to a range of 20 - 1000 hz. A small variation in certain divider factor per color plane is introduced for a slight chorus like effect.

The guest room i am staying in has a tile bathroom. Each time i take a shower, i hear this magnificent hum of the water heater clicking on and then turning off once the shower water is stopped. I was fortunate enough to hear it click on while i wasn't in the shower and captured about 30 seconds of it before it died. Infinite variation, impossible to replicate. At the end, as the water heater shuts down, it clicks down into the lowest ranges of the frequency spectrum; i didn't hear it until i listened to the recording but the couple of seconds of that are just as magical. Wish i would have left the recorder running!. Captured with a zoom h3-vr to ambix format at 96k24bit and bounced to stereo. Processing: 24db gain to all 4 clips, izotope spectral denoise to get rid of the air in the room and izotope ozone to enhance the bass signal a touch. Enjoy!.

A was busy doing some big muff basedenvelope follower, envelope filteredcomposition, when it hit me, a small portioncould be used for the max. 12 second loopof a loop exercice we're doing in the class. Here, i manipulate the envelope filter twice. First, a recorded loop, of my vintage teisco60's 70's don't remember anymore, doesn't matterguitar, i found for 90 euro at an online rommelmarktlet's say. . . I put the envelope filter so that it 'just' triggerson the peaks of my audio file. . . Oww yeah !!!. The second time i trigger the envelope filter, is wheni play live on top of the recorded loop, i'm playing on purposepercussive, a coup of my hand with an immediate attack, toeven further more let the filter open & because of the amazinggrainy low-frequency based russian sovtek big muff the filtergrowls even more. . . On top of the just percussive behavior, i playof course an harmonic, content related sequence, feeling that the loopwhile being in an odd measure, already is repeating itself , the liveplaying, contrastwise, makes variation in texture & harmonic/melodice content. . . This is only a small portion of the biggercomposition, that's comin'curious ? head to. Https://jozefaleksanderpedro. Bandcamp. Com/. For support : paypal/jozefaleksanderpedro. Peace !04012021.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Tibetan bells and sounds from outer space,a pathway to inner peace. Sounds for relaxation and meditation. 289,4 hz is attributed to mars, 841,68 hz is frequency of synodic moon. Hello,this is the very real horst from duisburg germany with another soundpiece of tibetan singing bowl attributed to planets of our solar system. The sounds of mars/synodic moon, were taken by me on february 25th, 2014 also as a modul used in our soundproject "tibetan bells and sounds from outer space" at youtube-channel :https://www. Youtube. Com/user/taochisoundthe singing bowl has frequency of mars/synodic moon [grundton: mars 289,4 hz / synodic moon 841,68 hz; durchmesser ca. 170 mm; höhe ca. 80 mm; gewicht ca. 790 gramm] and was treated with different mallets [drumsticks]. For more information about frequencies of the planets, please visit:. Http://www. Planetware. De/tune_in/frequenz. Htmlhttp://wiki. Astro. Com/astrowiki/de/planetenton. I share three excerpts of these pieces of 03 min, 07,45 min and variation with stretched sound 3,07 min here for you for your free usefor more information about tibetan singing bowls please visit:http://en. Wikipedia. Org/wiki/singing_bowlthanks for listening andfind true peace on your waythe very real horst. .

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tanpura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them; strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" is experimenting with running up and down the strings. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Made in ableton live. A slow firing heavy weapon. 19 layers were used to create this one. Eq was used to select different frequencies from various weapon samples and compressed together for the inital transient or pop. Time based fade in/out layering was used for the sustain and reverb tails so they fit nicely together. The single shot that was layered together was then printed as a new audio sample. I created a loop and pitched every shot by a few cents or 1 semitone to add variation. Each sample was then manually shifted on the timeline forward or backward by milliseconds to give a more realistic feel in timing rather than sound robotic. Each shot was sidechained to duck down in volume when a new shot triggers for more clarity. Mechanical trigger and bolt movement samples were add in before/after the initial transient of the shot. Shell hit floor samples were used for added detail. I felt the shots lacked a good sub bass so an eq was used to filter out the sub and replaced with a rapidly decaying 808 kick drums sub. Once the loop was formed, all shots were then grouped together and processed with a transient designer into a clipper, a compressor, a maximizer, ott multiband, gluing reverb, stereo spread and then into a final limiter. Enjoy.