33 Royalty-Free Audio Tracks for "Balance"

O som foi feito através de brincos balançando e mexendo. Gravado para a disciplina de captação e edição de áudio do curso rádio, tv e internet, universidade anhembi morumbi. São paulo-sp. Brasil.

O som foi feito através de uma garrafa, a qual foi chacoalhada e balançada. Gravado para a disciplina de captação e edição de áudio do curso rádio, tv e internet, universidade anhembi morumbi. São paulo-sp. Brasil.

Balance by Komiku

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Engine control unit ecu utv atv trail path channel chassis rack shelf battery jitter dual carb analogic calculator mcv symmetry iso synchronous fraser beam sox cox nox atmospheric load balancer.

Engine control unit ecu utv atv trail path channel wideband broadband battery jitter analogic calculator fraser lens beam symmetry mirror field iso synchronous optical sox cox nox atmospheric load balancer.

Engine control unit ecu utv atv trail path channel wideband broadband battery jitter analogic calculator fraser lens beam symmetry mirror field iso synchronous optical sox cox nox atmospheric load balancer.

Engine control unit ecu utv atv running trail path channel battery jitter entropy enthalpy track level adaptive vehicle load balancing rheology module wavelength carrier wideband broadband synchronous mirror fraser field.

Engine control unit ecu utv atv running trail path channel battery jitter entropy enthalpy track level adaptive vehicle load balancing rheology module wavelength carrier wideband broadband synchronous mirror fraser field.

Balance board rocking back and forth, could be used as foley for something else.

A wooden internal door being slammed. Recorded with a marantz pmd-661 with built-in microphones, for a delicate balance, oxford theatre guild 2011.

The driver side door of an mg-b being closed. Recorded with a marantz pmd-661 with built-in microphones for a delicate balance, oxford theatre guild 2011.

The boot (trunk) of an mg-b being closed. Recorded with a marantz pmd-661 with built-in microphones for a delicate balance, oxford theatre guild 2011.

An mg-b being started and driving off on gravel. Minimal editing in audacity to fade out to minimise background noise. Recorded with a marantz pmd-661 with built-in microphones, for a delicate balance, oxford theatre guild 2011.

An mg-b arriving, and the engine being turned off. Minimal editing in audacity to fade out to minimise background noise. Recorded with a marantz pmd-661 with built-in microphones, for a delicate balance, oxford theatre guild 2011.

A little patch hard to balance. It's a meditative timbre practice. . . A en envelope generator in quadrature mode is controlling the amplitude. Download and take a look at the wave - close. Nice!.

A very basic click. I'm not even intirely sure where i sampled it from. The only potentially problematic thing i could see is the slightly off left/right balance. Makes a cool noise when you loop it too.

Two envelopes trigger each other and the quantizer which is fed with cv from the sloth lfo. Anyway, a modular synth experiment. A triangle wave from an lfo acts as a bass tone.

Heavy rain on roofs with some hail at the start getting lighter over the recording, with some drain sounds becoming more prominent towards the end. Recorded with a roland r-26, xy mic, mild eq and volume balance in pro tools.

The door of an mg-b being closed, processed to add a long, spooky echo. Recorded with a marantz pmd-661 with built-in microphones, and processed with audacity. Prepared for (but not used in) a delicate balance, oxford theatre guild 2011.

A recording i made when my wife was updating her cash balance printed recordings at a national bank. This is the only one that still uses printed stuff in a world of apps and e-banking. The sound contains useful mechanical noises and a vintage printer.

A broken space heater that clicks. Recorded with a zoom h5 using the onboard xyh-5 capsule to capture a stereo signal and a sennheiser k6/me66 for a mono track. Very minor post processing to balance the stereo/mono and pull the subs out of the side channels.

D min7 chord of a halion 6 patchmultisample (c0-c6). Source: zebra 2, spectro blend oscillators (additive synthesis). Strong processing with spectral fx (esp. Mtransform), eq/geq + compressor to balance the frequency spectrum. Feel free to suggest/demand other chords. Don´t hesitate. . .

I have made a patch that generates drones. Lets call this generative. . . I use feedback on my spring reverb. I only use one filter. The drone is structured by a triangle lfo and 2 comparators. It's tricky to balance the patch to give varying and interesting results. The drone is made with a 100% analog modular synth.

Recording taken from a train at about 20 feet away. It was very windy, so consequently, the majority of the track was very much ruined. There is a small click near half-way, caused by a brief release of steam. It might prove annoying if you are planning on looping it. There is also not an even right/left balance throughout, due to my movement to avoid the wind.

Barrel organ ambience close to a vegetable market. More in this pack. Recorded close to outdoor terrace of a café, so tableware audible. The cracking / squeaking sound sometimes is from the windscreen over the terrace. Recorded june 2011, 's-hertogenbosch, holland. I've tried to find a spot that gives a nice balance in sounds. Sony pcm d50 internal mics xy90re-uploaded ad public domain.

Inspired by a discussion on the ambient online forum:https://www. Ambientonline. Org/forum/ambient/sound-design/92341-how-to-synthesize-drum-sounds. Used the subtractor synth from reason. Please refer to the pack description for a full list of the sounds synthesized. Ao_subtractor_snare_2_1. Reason subtractorosc 1 is off (set balance 100% to osc 2 + noise). Osc 2 set to sine wave, oct = 3. Noise decay = 127, noise color = 127, noise level = 127. Filter set to low-pass 12 and completely open (=127). Amp env decay = 44.

This sound was recorded with a cm25 mkii condenser microphone, connected to a focusrite scarlett interface. The daw in which it was recorded is ardour and a guitar effects vst was used to add some distortion and delay. It was created with a photoresistor and a led lamp. The microphone was placed pointing towards one of the edges of the monitor, so as not to emphasize the treble and to balance more with the mids. At times it can sound like a guitar with floyd rose doing dive bombs. Translated with www. Deepl. Com/translator (free version).

Quiet urban residential area in tokyo at about 2 am in the late summer (october, i think). You can hear far off traffic, some night insects and a drunk guy who came to close to my hidden mics to take a whiz. Excluding the peeing guy, quiet parts are perfect for looping (for ambient background sounds in video or audio works). The peeing guy might actually be useful, so i didn't cut it out. Faithfully recorded with a stereo mic pair placed at a 90 degree angle. The left-right balance was adjusted and the stereo field was expanded later to fix the lopsided sided flatness of the original recording. Other than that, the recording is unprocessed.

I tried out some new gear and methods! more mountainside rain! a complete storm from beginning to end with swelling and then waning rainfall, occasional thunder. Ms stereo bar on mic stand projected through open second-floor window, just under the roof eaves. Recorded july 20th during one of the mid-afternoon brief intense storms we can seem to get frequently in the rocky mountain foothills beginning around june. If you were listening and wondering, the direct sound of the thunder is somewhat occluded as i believe the storm was behind the overhanging roof and house from the perspective of the microphone array. The mountainous terrain and other objects in the field reflected some of that thunderclap, as well as the exterior wall of the home, and so this is all a little bit funky. Mid-side stereo recording:large diaphragm condensers mounted on octavia stereo mic mounting bar:akg perception 220 mid (cardiod) (on top, upside-down)akg perception 400 side (in bidirectional mode) (on bottom, facing left)sound devices mixpre-6 preamp+mixer+recorder (ch1+2 paired to ms stereo, gain @ +21db, fader @ unity, balance at mid/side center) w/48vdc phantom power applied, on-board mid-side encoding and monitoring in l+r, 24/96khz stereo recording. Postprocessing:cooledit 2000: edited to excerpt from longer recording. Normalized recording to 0db. Downsampled to 16bit 48khz. Flac: encoded.

This piece was produced using a text-to-speech program on a "rant" by francis e. Dec. Mr. Dec was a disbarred lawyer from new york state who spent the balance of his adult life writing and publishing rants against a global conspiracy that had removed him from the legal profession, controlled the white house for decades, performed clandestine medical operations on the entire population of earth and worked for a malevolent entity called the "world wide communist gangster computer god". Mr. Dec appears to have hated just about every religious, racial, ethnic, professional and political group that he was aware of. Although i have tried to maintain the syntax and general flow of this rant; i have taken the liberty of removing the more offensive passages and phrases. Since the development and widespread use of anti-psychotic drugs in north america, schizophrenic creativity of this level of complexity has become harder to find. Street ranters are an endangered species but my memories of them include the unusually stiff, declamatory and repetitious cadence of their speeches. Curiously, a speech-to-text program mimics some of these features. I hope that the irony in using a computer voice cuts two ways. Mr. Dec's rants are in the public domain. To his credit he was very open source with his work. My use of dec's writings should not be construed as advocacy for his views nor as an endorsement of how our society currently treats persons labeled as schizophrenic. The wikipedia entry on francis e. Dec is a good and balanced starting point if you are interested in the life and work of this very unique and unfortunate man. I leave the listener with this quote by g. K. Chesterton-. "the madman is not the man who has lost his reason, the madman is the man who has lost everything except his reason. ". --.

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.