116 Royalty-Free Audio Tracks for "Core"

The 100% genuine and original htx sound in stereo :p. 3 merged samples featuring 21 group-panned notes with portamento and plenty dialed up effets like chorus, delay and reverb, everything except external panning, digial dc-filtering and volumeramps are comming straight out of the novation x-station. Rumor has it that the core of the original thx-sound actually was programmed in csound in case you want to recreate the original. A google search will give you the right pointer. Fixed high-pass version without the dc and normalized. Individually packed for freshness.

I took a few one-shot samples from a bunch of free packs i downloaded off the net (legally), i gave the kick some subtle crunchy distortion in the high end whilst trying to retain it's core sound and it's punch, i altered the transients and the pitch of the samples to make them pop more and sound more to the point and i placed a coloring compressor on the master to give it a bit more overal volume raise without causing it to clip in a bad way.

Another free instrumental by anonymous producer mesostic. At a slow tempo, and with dissonant synthy chords, this is the perfect track for a hardline rapper to spit out some lines to. Or maybe it would make a great quirky soundtrack to your next homespun film project. The song was written in Ableton Live using Ableton core instruments and the U-He Diva soft synth on the lead line. Mesostic has also shared all stems here on Wikimedia for your remixing, extending and sampling delight.

Dubstep bass: 110 bpm wobble at 1/8th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Dubstep bass: 110 bpm wobble at 1/8th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Dubstep bass: 110 bpm wobble at 1/16th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Dubstep bass: 110 bpm wobble at 1/16th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Acid bass: 110 bpm c2 note, not your typical saw/square basslines. High sweeping filters in parallel sampled in ableton using massive, compression using psp compressor2 and psp warmer. Random presets, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down. Check out my songs on soundcloud :d.

Note: i must-asch you to download the newer sonically identical htx sound ii. Wav as it is properly filtered. Https://freesound. Org/people/sirplus/sounds/332566/. The 100% genuine and original htx sound in stereo :p. 3 merged samples featuring 21 group-panned notes with portamento and plenty dialed up effects like chorus, delay and reverb, everything except external panning and volume-ramps are coming straight out of the x-station. Rumor has it that the core of the original thx-sound actually was programmed in csound in case you want to recreate the original. A google search will give you the right pointer.

Acid bass: 110 bpm c2 note, not your typical saw/square basslines. High sweeping filters in parallel with lfo routed to certin parts sampled in ableton using massive, compression using psp compressor2 and psp warmer. Random presets, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down. Check out my songs on soundcloud :d.

Alchemical elements - sound experiences to compare. Hello sound-freaks,. In this pack i share some selected pieces of binaural beats referring to basic elements of ancient alchemy. If you listen, you should use headphone. I start with sulfur:. According to paracelsus (1493–1541), the three primes or tria prima – of which material substances are immediately composed – are:. Mercury (mind)salt (base matter or body)sulfur (spirit). (https://en. Wikipedia. Org/wiki/alchemical_symbol). Here some data for the sulfur binaural soundpieces i've worked with:symbol/atomic number in periodic table/nuclear magnetic resonance (nmr frequencies):s 16 7. 67 163,27 hz (176,01 hz: a series with this frequency may come later). You may listen to binaural variations of sulfur same nmr frequency 163,27 hz hz but different intervals:. Binaural creations of sulfur in these sounds on nmr 163,27 hzyou can read the distance to the core tone from the name of the soundfiles. For comparison with the basic or target tone, i added a sulfur stereo sound of 163. 27 hz as a audio test for you in this pack. Have a nice dayand fun with these compositions,the horst from germany. Some informations about sulfur as a homoeopathic remedy (if you are interested):. Https://www. Britishhomeopathic. Org/charity/how-we-can-help/articles/homeopathic-medicines/s/sulphur/http://homoeopathie-liste. De/mittel/sulfur. Htm.

Soundscape of a city street in chicago during winter. Sunday, january 31st 2016 at 6:05pm. Continual planes, trains, and cars passing. Occasional pedestrians. Cta "l" trains audible at the nearby thorndale red line stop. Mic: core sound tetramicrecorder: zoom f8. Converted to b format using vvtetravst, then processed to stereo as wide cardioids at + and - 45 degrees using ambisonics toolkit (atk). Light noise reduction applied using izotope rx 7 spectral de-noise. High pass filter applied to reduce low end rumble. Some editing done to remove wind buffeting. Please note that this is a 48k 24bit flac file - flac files can be easily read and converted by audacity [https://www. Audacityteam. Org/] and reaper [http://reaper. Fm/], among others.

This recording was made in the path of totality of the august 21st 2017 eclipse, in the woods surrounding devil's kitchen lake in southern illinois. It's a stereo extract from a longer, 88 minute b format recording. The purpose of making the recording was to see how the eclipse affected the sounds produced by insects and birds. In this extract, totality occurs exactly 10:00 minutes in; and ends at exactly 12:38. This mirrors the time totality occurred at devil's kitchen lake: from 1:20:27pm to 1:23:05pm central time. Mic: core sound tetramicrecorder: zoom f8. Panorama of the recording site: https://photos. App. Goo. Gl/t2m3esbcm71l4wzza. With thanks to jay needham for being a good host, and guidance on where rattlesnakes like to hang out. Please note that this is a 48k 24bit flac file - flac files can be easily read and converted by audacity [https://www. Audacityteam. Org/] and reaper [http://reaper. Fm/], among others.

Gravado para a disciplina de captação e edição de áudio do curso rádio, tv e internet, universidade anhembi morumbi. São paulo-sp. Brasil. Utilizando microfone condensador em estudio. Obejeto caneta bique de 4 cores, trocando as cores, abrindo e fechando a caneta.

We develop iphone app that perform musical analysis on recorded audio from the iphone. Our app implementation make use of the audio queue service to receive raw audio buffers from the audio queue callback. In the first version of our app we had the problem of too much clipping on the recording which degrade the accuracy of our analysis. We also suspected that the noise canceling algorithm in iphone 5 produce distorted sound, which is not much noticeable by human ear but distorted enough to affect our sensitive algorithm. We found that the solution to our problem is to set the audio session mode to kaudiosessionmode_measurement. This session mode is supposed to give maximum freedom for us to control the microphone input, which include turning off the automatic gain control and probably noise canceling as well. The solution works very well except that it introduce a strange waveform pattern in the beginning of all recordings in iphone 5. It is very hard to explain the waveform we get, so i made two recordings at freesound so that you can see it visually. The first recording is made in an almost quite environment, and you can see the weird spike in the beginning of the recording. The second recording (this recording) is made with constant background noise, and you can see that the actual sound wave is offset from the strange curve and gradually increase to its original volume. This waveform only happens on iphone 5 devices that we tested, and there is no problem at all for iphone 4s and older generations. We have tried various settings and the glitch is still unavoidable as long as we set the audio session mode to kaudiosessionmode_measurement. We also find similar glitch in one of our iphone 5 devices, in which the glitch happens even if we try to set just the input gain level without changing the session mode. We are not sure if this is a hardware-related bug in iphone 5, or if it is fixable software glitch in the future version of ios. For the moment we are looking for workaround that can avoid this glitch while automatic gain control and noise canceling are disabled.

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.