283 royaltyfrie lydfiler for «Holde»

Friday. Random. Why this madness? answer: i have patched s/h (sample and hold) random to doepfer a-160 clock divider and that affects the a-161. For the sake of it i patched one of the gates to the ladik r-110 rnd t/g (random trigger and gate). Result much more randomness than i can use. I can tell you that there is a lot of blinking diodes :-) sounds from doepfer a-110 and 2hp osc and sampler soundmachines ul1uloop.

This recording was made at a canal when it was reasonably dry. The canal has a road running parallel to it and above it. The side of that road has a largish (30cm?) pipe that drains water into the canal. I made this recording by holding my zoom h5 portable recorder in this pipe, and recording with the inbuilt stereo pair of microphones. You can hear the traffic passing above with the zoom of the occasional fast truck, but it's muted and it's echoing around the pipe. There's a hollow rumble running through the whole track. I made the recording in august (spring) of 2021 in brunswick west, australia.

If something happens to you. . . Like getting totally pantsed at a public basketball court. . . Somebody's bound to get pics. Or video. Or both. What happens to the stuff afterward is the thing that matters. Also, somebody would have to wanna help you out. Nobody like that around here. In the past somebody might have helped you out, if you were under any sort of attack. Today it's different. Everybody holds up a cellphone to see what they can capture, of whatever is happening to you. You're on your own.

This track is perfect for a film trailer which hits several "reveals" within it. It was originally recorded on a zoom h2 of a glass bottle being hit while suspended in the air. After some modifications, you have this track, ready for your next film trailer. Like all my sounds, you don't need to mention me as the creator, but if you make a million from it, an open bar at any parties you hold would be nice. (-=.

It becomes clear when i record with audacity and can actually see the attack and decay. I’m playing with alm pip slope. With this module you can cv control the attack and decay. As oscillator i use intellijel μvcf in self-oscillation mode. I fm-modulate this filter/oscillator with a tone from uoki-toki polivoks vcf. The semi random trigger is really two triggers connected to an or gate. Pitch is from analogue systems rs-40 (sample/hold and noise). I can listen to this for a looong time. Retro sound.

While the world is holding its breath, waiting for the covid-19 to pass. . . The soundscape is different. Here in illinois, where we have a mandatory, stay at home order, the sounds of the morning winds and birds seem lonely. . . This was recorded on sunday march 29th, 2020. Usually this time of morning would also feature, people walking and talking on the sidewalk, more car traffic and church bells. . . . Recorded with the zoom f-4 recorder. The microphone was a sennheiser mkh-8060 literally pointed nearly straight up at a budding tulip poplar tree. The dominant feature is the constant river of whooshing wind. . . . . Seemingly underscoring the plight that is upon us.

This is audio of just about the entire ride of the powell-hyde cable car line in san francisco, recorded on 08/26/2015. Late evening trip through the city. I recorded this while i was on the steps on the right side of the car, holding the recorder in one hand and my life in the other! tourists talking, the operator ringing the bells and using the brake levers, etc. Recorded with a tascam dr-70d, built in mics. Free to use, but let me know where it ends up!.

would you get the door? i have a package coming that needs to be signed-for. . (chuckle) "sure. ". (pause) "are you dressed?" heh. Of course he changed his tune, but i was already headed for the stairs. Yep. Sure did. I didn’t step outside, though. Figured it was safer to let ‘em in…. Here’s a quick tip: when you’re holding the little computer thingie and signing, your hands are occupied. The thing kept rejecting my signature. Like, five times. Also if the package is on the floor, how you pick it up calls for considered forethought. I'd already sidestepped, um, all of that. Since when do two guys deliver one package?.

The eerily quiet soundscape of a small midwestern town during the covid-19 shutdown. . . This was recorded in town, on a friday night (april 3rd, 2020) at a time when there is almost always more traffic, people and families walking and talking on the sidewalks. . This recording started at 11pm at night. . . What a strange, weird eerie feeling of this track. You will hear a lot of steady wind gusts, dry leaves being moved around by the strong southerly flow. . Equipment: sony pcm-m10 recorder sitting on a small tripod about 3 inches from the ground. . . I had to really crank up the gain on this one because everything was so quiet---almost as if the neighborhood was holding its breath. . . . Hope you enjoy this unique ambiance.

Recording of sea undertow on the beach of formicoli, vibo valentia, calabria, italy, the 19th agust 2022 16:44. The sound was recorder with a zoom h1n with windshield at a short distance from the crashing of the waves on the beach. The waves are driven by a light, gentle wind. The sound was recorded by holding the microphone in my hand while i dived knee-deep into the water and walk, filming the crashing of the waves (also on my legs). High-frequency sound details (the foam of the sea, the impact of waves on each other, etc. ) are much more audible here. Processing:* volume adjustment;* 120hz high pass filter (to reduce low some low frequencies rumble due to the wind);* cut and crossfade to eliminate very few mechanical noise of my hand on the mic;.

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

Version 2. . . Of https://www. Freesound. Org/people/gis_sweden/sounds/352940/. . . Or maybe version 34. . . . It's not better but a little different. More dynamics. Softer. But still i have the clicks :-/have to work on that. It becomes clear when i record with audacity and can actually see the attack and decay. I’m playing with alm pip slope. With this module you can cv control the attack and decay. As oscillator i use intellijel μvcf in self-oscillation mode. I fm-modulate this filter/oscillator with a tone from uoki-toki polivoks vcf. The semi random trigger is really two triggers connected to an or gate. Pitch is from analogue systems rs-40 (sample/hold and noise). I can listen to this for a looong time. Retro sound.

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

Raw sound of lips kisses. Used to make these noises many years ago during high school lessons when i was bored in the classroom. Didn't aim it at anyone - did these noises when noone was looking - and just before someone looked, i stopped and pretended like it wasn't me. People didn't get mad though, lots were smiling, and some couldn't hold it for long and bursted out in laughter. It was 1000x better irl - if you're still in school, you should try it out after corona's gone. Note: make sure to check out the other matrixxx-sounds! the sound quality is always better when you download the sound(s)! ⛄. Enjoy!/matrixxx.

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

I've recorded the first chapter of a story created in a manner called one-word-at-a-time in freesound forums. Read the original here:http://www. Freesound. Org/forum/off-topic/34658/. Captured using a zoom h2, edited with audacity. Compressed with sc4 and eqd with audacity's built in rich eq. The compiled text without commentary:. 1 - once. . . 2 - upon3 - a time4 - in a small town called pandora5 - there was a database. 6 - containing vital information7 - collected and controlled by the government. 8 - nobody knew what the database, called pandorabox, contained, yet the popularfolklore went thus:9 - that every word, written, spoken or thought was in the database. 10 - though the question still remains,. . . 11 - how does one12 - hack the database? more importantly, why does one, or who intends to, hackthe database?13 - the question puzzled many but one young outcast searched for the answer forhis special organization called the. . . . . 14 - chaos code. 15 - within this organisation one thing was certain. . . 16 - , they were all looking for the same thing. For all they knew pandoraboxcould hold vital information for there cause that they could use against thecapital or it could hold deep dark secrets about them and the capital that wouldneed to be destroyed and taken advantaged. 17 - but,18 - nothing is ever easy19 - for20 - the chaos code. 21 - now time is running short as few are left to face the enemy22 - , although without even knowing who the enemy really was, the "crusaders" -the hackers - knew they were against something big. . . And that something wasagainst them as well. The first step, then, was to know whom or what they wereup against. 23 - they set to prepare some reconnaissance - to better equip their knowledge. 24 - when they got there they secretly spied the territory and discovered thatit was worse then they predicted and it would be hard getting in and out withoutbeing noticed, they will probably have to fight there way in and out or sneak inand then fight there way out. 25 - since they knew that either outcome meant the destruction of their plansbefore even starting, they decided they'd have to retreat and find an insiderfirst.

This was recorded by holding a small pcm recorder (zoom h1n) very close to an ipod 4th generation. The ipod was turned on and its hard drive tried to start up. You can hear the spin up of the motor and the hard drive head clicking back and forth. The hard drive fails to power up completely and eventually shuts down again. A 350 hz high pass filter was applied, in addition to audacity noise reduction, to get this clean motor noise from the original recording. The stereo file was then mixed to mono because the mic was slightly off center from the ipod, and the stereo provides no benefit. The hard drive in this ipod is a 1. 8" 40 gb toshiba hard drive, the ipod model is a1059. The microphone was held just 3 cm (1. 2 in) from the ipod. Recording settings were stereo 44. 1 khz at 16 bit (wav format). The file is the same except it's mono.

The "annoying" speed chime, turned world famous drift hero by initial d; as it was intended to be heard by the toyota motor corporation. A common issue with these chimes is that the second impact is muted by the impact rod, this was mitigated in this file by holding the chime with a specific side up. This is marked by the second bell properly ringing out after the second impact. This rendition is a pre-timed, loopable, clean version of the chime, recorded from a real imported 86640-12070 "king kong" (kin-kon) chime. Sound created by attaching a power supply set to 12v ~0. 35a in an amateur studio. Like many of my files, these are completely free to use without even giving credit! :) my only request is you tell me where you use them!. These are also called 「速度警告チャイム」(sokudokeikoku chaimu) meaning "speed warning chime" and colloquially 「キンコンチャイム」 (kinkon chaimu) literally derived from the "kin-kon" sound it makes. Dream　on‼.

The sound of an ice maker on a water cooler doing a few cycles. My amazing aunt harriet amazes again by sending me this sound of her ice maker. She taped her old iphone to the inside of the door on her new water cooler/ice maker combo, and let the ice maker run for a few cycles. She even typed up a description of what it does for me so i could post this here on freesound:the water is pumped from a reservoir underneeth the ice tray into a tray above that houses 9 pegs. The water is then cooled to freezing, while the 9 pegs are simultaneously cooled to hold the ice in place. More water is then pumped into the tray to thicken each piece of ice. After a few minutes, excess water is dumped back into the reservoir and ice falls from the pegs into the ice tray. The process then repeats. Enjoy and use however you like!.

Electro-magnetic interference from the colorino talking color identifier and light probe when held near the internal ferrite antenna on the back right of a 13-year-old boombox near the bottom of the am broadcast band, from 530 to 580 khz. You first hear the device inactive being brought near the radio. This gives a low buzz of stacato clicks. At about 00:23 the light probe button is briefly pushed, you hear a quick boop of the light probe with low light level combined with the beginning of the white noise of the device active. If you put your ear near it after you use it, you will hear a slight hiss from the audio amplifier carrier idling for about a minute after last use. On the am radio this translates to white noise. At 00:26 there is a double click and a distorted voice says black. The voice is being picked up by the am radio. 10 seconds of white noise and i press the color button again and it says black. I put something else over the color sensor and it says a few more things. At 00:51 i hold down the light probe button and try to point it at the light above my desk while still holding it close enough to the radio to pick up the emi signal. You hear a warbling tone at 00:59 as the light reaching the sensor increases and decreases in brightness depending on how it's pointed. The signal fades in and out as the device is moved around. This has all happened at 530 khz. At 01:37 i step the radio up to 580 khz where you get a stronger signal. Wibw from topeka competes with the noise throughout the rest of the file. At 01:51 you hear the distorted error beep as i press the color button without anything but air and light in front of the color sensor. It must be pressed up against the thing you want the color of, or it gets in too much ambient light and errors out with a loud protesting beep.

Here is a recording done during the fireworks of san juan at the beachof barcelona, spain. I was standing in front of the mapfre building, between the building and the sea to be exact. Fireworks were being launched behind me from the beach and their sound was reflected off of the building in front of me. The effect you hear are thereflections of the building. The building is shaped to visually reflect the city back onto the beach. Hence each floor has mirrors in a 45 angle downwards, all around the building (look it up on google for details). The sound must be coming from different points each located further away, creating a kind of discrete doppler effect, i suppose, although i am not yet 100% sure what exactly causes this. I am holding the microphone sideways, so you hear the explosions on your right ear and the reflection traveling to the left. In reality, you hear the explosion behind you and the reflection traveling up along the building. If you are ever in barcelona end of june during "san juan", you should check this out!. Recording done with my zoom h2n and its internal microphones. Hope you enjoy.

sigil reel 2: percussion. Created by nathan moody, formatted for use in the make noise soundhack morphagene. This is one of two morphagene reels made from one-of-a-kind handmade electro-acoustic instruments and found objects created by sound designer and musician nathan moody, an outgrowth of his 2018 album, "the right side of mystery. ". This reel is focused on percussive, inharmonic content from found objects and one-of-a-kind handmade instruments including metal table tops, perforated steel gongs, stretched springs, steel tubes, a drum made from packing tape, shakers made of tin cat food lids, and much more. They were struck with rubber mallets, carbon fiber rods, drumsticks, and woolen tympani mallets. They were recorded with a variety of microphones (sennheiser mkh50, dpa 4061, audio-technica at4050, shure sm57 and beta 52a), through awtac channel amplifier and neve 511 preamps. The hits are gritty, raw, and harmonically complex often with long decays, holding up well to varispeed manipulation, decay-tail looping, and filtering. For more information about nathan moody and the sounds and instruments used on this reel, visit nathanmoody. Bandcamp. Com and music. Noisejockey. Net.

A very peaceful, melancholy soundscape i recorded on labor day weekend in some woods, about 20 feet from a popular lake in the midwest. There was a small cove in between my setup and several campers across the way. . . They undoubtedly were enjoying one last time with nature starting to change from summer to autumn. The main sound is that of insects, not sure what the species is, but, they have a beautiful, drowsy "tick-tick-tick" sound that repeats. . . To me, this sound signals the very subtle, almost imperceptible march towards the autumn equinox. I swear, the longer you listen to this captivating insect, you're drawn into, almost like a hypnosis state of reflection. . . A couple things to listen for:(1) around 1:13 a very low splash. (2) at 1:38 a lone goose honks. (3) starting at 2:30 some very low volume, muted camper conversations. (4) at 2:36 a louder splash. (5) 2:41 more beautiful, un-hurried muted camper conversations. No doubt talking about how they need to break camp and return to the real world, but the "tick-tick-tick" of the insects have a strong hold on them. No, stay a little while longer; have another cup of coffee, talk about your accomplishments over the past summer,. This was recorded around 10am on sunday morning, september 6th, 2020 in illinois. Mixpre-6 audio recorder and the sennheiser mkh 416 microphone. Enjoy this audio snap-shot of the natural world winding down summer!.

This is a submission for sarah belle reid's collaboration prompt for her forthcoming electroacoustic opera. It comprises a dry recording of a male voice reading the following original text describing a moment from a dream:. "this is a story about dreams. It is not about a specific dream, or rather while it takes place in one dream it is about many. From time to time in my dreams i am in a city. Not a particular city, like paris or chicago, but the events of the dream happen in a setting which includes tall buildings and crowded streets and views of the sun setting behind a busy skyline. One time, while having such a dream, i was standing on an arcing bridge over a body of water like a river or canal. The late afternoon sun was to my left, and the warmth of the sunlight contrasted with the cool breeze off the water. As i looked across the curving expanse of water, i was mesmerized by the bright reflections of the sun on the water, on the glass of the windows, across this expansive space. I realized with a start that i recognized a cluster of buildings across the way. I had seen them before, in another dream. In that dream i had been a different person. Rather, in most all of my dreams i am in some way myself, but entangled in a moment from some other life, surrounded by characters and pursuing concerns that are alien to my waking being. In that moment, in this dream, i came to understand that all my dreams that happen in a city are happening in the same city, the same geography and architecture holding dozens of episodic lives i may have between sleeping and waking. ".

It's a 15-minute long drum improvisation. It contails a lot of different beats and rhythms played so you might cut-out some loops for your needs. The kit has:- single kick- snare- hihat- 3 toms- broken crash that sounds really short- ride. The kit was old and not in perfect condition. I also used my sticks to play on some other part of the drumkit, like metal stand for the crash etc. I also got up and stated running around in a circle hitting sticks together and afterwards hitting drums and cymbals while running around the drumkit. I took my shoes off before i started so you can't hear my footsteps. I didn't use a metronome and i know i don't hold the tempo and it's a bit wiggly sometimes. I think this performace was inspired by band mr. Bungle. I recorded this with zoom h2 handy recorder's front stereo xy mics. It was standing on a table about one meter above the floor. Facing the drumkit and me. It was captured into a 48khz/24-bit wav file, then i trimmed the ends and converted this to flac using audacity. No processing applied, though i think it sounds nicer when you put these effects:. 1. A compressor:-attack: 10ms-release: 50ms-ratio: 2. 5:1-treshold: around -24db2. A reverb:-decay: 1. 5 to 2 seconds-dry: 0db-wet: around -15 db. It amazes me how much energy compression actually adds to drums!. I made this with my podcast (http://unfamusic. Com/fnr/) in mind. I want to overdub guitars, vocals and make it one big schizophrenic song. If you're interested to hear it, leave me a comment so i can find you, or just subscribe to my podcast's rss (http://feeds. Feedburner. Com/unfa-fnr/).

Save A Little Dram For Me song from United States prohibition era. MEDIUM: 1 sound disc : analog, 80 rpm ; 10 in. CREATED/PUBLISHED Orange, N.J.: Edison. Lyrics: (spoken) In the middle of the sermon, Parson Johnson rose and started sniffing the air. There was a peculiar smell tricklin’ up the parson’s nose. That told him that gin was ‘round somewhere. And he closed his Bible gently in the middle of the psalm and started figurin’ mentally where that smell was coming from. His eyes scanned every pew, and then he did declare, he says “I announce this meetin’ through… (sung) …until you kick in with my share.” Oh Bretheren if you want more preachin’ Save a little dram for me. Glory hallelujah Why drinkin’ gin ain’t against my teachin’. Treat me with equality. (spoken) From this here smell it’s very plain to see That somebody here’s been holding out on me. (sung) For Bretheren if you want more preachin’ Save a little dram for me. (spoken) Now when they passed the bone dry law, I was the very first to say that it never would stay And neither did I think the law could regulate our thirst. That’s why I’ve got some stored away. Now since prohibition’s got us drinks is few and far between. Of all the stingy brothers you’re the worst I’ve ever seen. But I insist on my share. Don’t say it’s all run out Or else you’re going where-- You know that bad place I been preachin’ ‘bout? (sung) For Bretheren if you want more preachin’ Save a little dram for me. Glory hallelujah Why drinkin’ gin ain’t against my teachin’. Treat me with equality. (spoken) I’ve shared your joy and I’ve shared your sin And believe me brothers I’m gwine to share your gin. (sung) For Bretheren if you want more preachin’ Save a little dram for me. Українська: «Збережи для мене трохи драм», пісня з епохи сухого закону США, випущена в 1922 році.

Created by divkid for use in the make noise soundhack morphagene. There are dry-only, fx-only, and mix versions of this reel in the pack. See it in action at https://youtu. Be/rk4ufmfcouc. Patch walkthrough. The patch starts with the qu-bit chance providing discrete random values (sample and hold) going into an instruo harmonaig. This takes the stepped random voltages and quantizing them to a given scale. I put in the notes c d eb f g ab bb which is a c natural minor scale, the relative minor of eb major (for anyone that's curious). However like most of my modular work i didn't actually tune the oscillators to anything specific. So treat the scale as a pattern of intervals not a set of specific notes. The quantized notes then form 4 voice chords giving us a root, third, fifth and seventh cv output that will be diatonic following the scale pattern, meaning the third will be major or minor, the seventh major, minor or dominant and the fifth natural or diminshed to suit the scale. With the 4 quantized outputs on the harmonaig these all go into the four oscillators on the synthesis technology e370 quad morphing vco. Each of the e370 oscillators are in the basic morph xy mode using the built in rom b set of wavetables. Wavetables are modulating by various mixes of the befaco rampage, mutable instruments tides, wmd multimode envelopes and music thing modular turing machine. The modulation sources are mixed and split with multiples and mixers. These modulating wavetables then go into a bubblesound vca4p where i'm using 4 mk1 intellijel dixie oscillators all un-synced and free running with sine wave lfos. Each lfo freely fades the voice in and out of the vca4p. As this is unsynced there's no regard to pitch changes linked to changes in amplitude and the swells. I find splitting the gate/rhythm from pitch regarding sequencing to be a freeing and interesting way to work that's not available on traditional instruments. This is just a simple application of that idea with the lfos fading freely unrelated to the other modulation or sequencing of pitch. The sound then goes from the vca4p mix out into a befaco mixer and praxis snake charmer which the output section of the larger case and i'm sending a 'pre' auxiliary out into my fx case. The dry sound first goes into the erica synths fusion delay / flanger vintage ensemble which is giving me short modulated delays giving vibrato like sounds and pushing the input level and overdrive gives us some warmth and grit that thickens up the sound and also fills in the gaps left by the free running lfos pulling quieter sounds and compressing in the on board tube. This then outputs to the feedback 1 bit multitap delay module which has it's delay chip pushed to longer times for some added crackle and noise. I'm using the two delay taps for a shorter and longer delay with little feedback to mix the dry sound for a generally noisier and smeared version of the input. This then goes into the xaoc devices kamieniec with it's on board lfo as slow as possibly for a mildly resonant phase shifting. This goes into mutable instruments clouds set to sew random grains slowly and randomly which are pitch shifted up 2 octaves to fill out some high end flourishes against the closed chord voicings at the core of the patch. Finally this goes into a long lush reverb from the halls of valhalla card in the tiptop audio z-dsp. The stereo fx chain and the mono dry signal are mixed in the befaco hexmix and recorded as a mixed stereo file. I'd consider this to be the main 'reel'. However i split the dry signal and the fx only wet stereo signal and recorded those at the same time so you can choose which reel to use and experiment with dry/wet or blended sounds from this patch.