8,665 Royalty-Free Audio Tracks for "Countdown From 5"

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

Examples of digital clipping (Source: Beethoven's Fifth, 30 second cut, loudest peaks occur at 19.9, 20.7, 22.7 and 23.8 second marks). A set of five files: 1. Original, normalized to 1 dB margin to full scale. 2. +2dB overload 3. +5 dB overload 4. +10 dB overload 5. +20 dB overload

A countdown from 5. 5 4 3 2 1 Go.

A raw recording of a home-made 5-string kantele played by an uneducated person. The first part is an adaptation of the traditional song Vaka vanha Väinämöinen. The other parts are some random ways in which the instrument can be played and may or may not correspond to traditional playing methods.

I created this file myself (using Sibelius, Windows Sound Recorder, and Audacity) to illustrate the concept of interval class.

Leading-tone seventh chord often serves a dominant function. This example is from Mozart's K. 283 III, mm. 64-69.

Just Intonation Major Chord (4:5:6)

Symphony No. 5, first movement, bars 195-227

Mahler Symphony No. 5, II. Stürmisch bewegt, mit größter Vehemenz

Mahler Symphony No. 5, I. Trauermarsch

Mahler Symphony No. 5, V. Rondo Finale

Mahler Symphony No. 5, IV. Adagietto

Scale of harmonics on C.

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 10 Fugue No. 5 in D major, BWV 850

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 09 Prelude No. 5 in D major, BWV 850

Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 - 09 Prelude No. 5 in D major, BWV 850

Kimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 10 Fugue No. 5 in D major, BWV 850

Semi-augmented whole tone on C (D#-), 125/108, 253.08 cents.

*Classic diminished fifth on C = G♭. 36:25 = 631.28 cents. Limit: 5-limit. MIDI pitch bend: 1,74 MIDI.

*Semitone Maximus on C = D♭. 27:25 = 133.24 cents. Limit: 5-limit.

Primay triads in c, as MIDI

Leading-tone diminished seventh chords as dominant in Beethoven's Piano Sonata No. 5, Op. 10, no. 1, I, mm.1-10.

Just augmented second in just C scale: A♭ and B.

Leading-tone seventh chord often serves a dominant function. This example is from Beethoven's no. 5 op. 10, no. 1, I, mm.13-16.

Grave whole tone on C (D--), 800/729, 160.90 cents.

Major chord on C in just intonation (1/1, 5/4, 3/2).

D, F, Ab = C, Eb-, Gb-

*Semicomma on C. 2109375:2097152 = 10.06 cents. Limit: 5-limit.

Diatonic scale on C.

*5-limit limma/Enharmonic diesis on C. 128/125 = 41.06 cents. Limit: 5-limit. MIDI pitch bend: 18,77

Enharmonic scale [segment] on C. Quarter comma meantone temperament. Note that in this depiction C♯ and D♭ are distinct rather than equivalent as in modern notation.

*Single note of just BP diatonic scale on C = H. Just: 9/5 = 1017.60 cents. Limit: 5-limit.

*Decade on C. 10:1 = 3986.31 cents. Limit: 5-limit. MIDI pitch bend: 79,59 (5/4 = 386.31 cents = 3986.31 - (1200*3).)

*Single note of just BP diatonic scale on C = G. Just: 5/3 = 884.36 cents. Limit: 5-limit.

*5 steps in 41 equal temperament on C. Equal-tempered: 25/41:1 = 146.34 cents. MIDI pitch bend: 106,78

*5 steps in 34-et on C. Just: 25/34. Equal-tempered: 25/34:1 = 176.4705882352941176 cents. MIDI pitch bend: 60,56

Just minor chord on C: 10:12:15.

*Octave minus syntonic comma on C = C-. Just: 160/81 = 1178.49 cents. Limit: 5-limit. MIDI pitch bend: 15,89 on M7

*Six-hundred-twenty-fifth harmonic on C = D. Just: 625/512 = 345.25 cents. Limit: 5-limit. MIDI pitch bend: 61,78

*Three-hundred-seventy-fifth harmonic on C = F+. Just: 375/256 = 660.90 cents. Limit: 5-limit. MIDI pitch bend: 62,51

*5 steps in 31 equal temperament on C. Equal-tempered: 25/31:1 = 193.55 cents. MIDI pitch bend: 120,61

*4 steps in 5-et on C. Equal-tempered: 24/5:1 = 960 cents. MIDI pitch bend: 25,51

*Four-hundred-fifth harmonic on C = G♯+. Just: 405/256 = 794.13 cents. Limit: 5-limit. MIDI pitch bend: 15,62

*Decade on A on C. Just: 10:1 = 3986.313714 cents. Limit: 5-limit. MIDI pitch bend: 79,59

Diminished triad on B in just intonation. Presumably B-D-F in 5-limit just intonation.

*5 steps in 18-et on C = ??. Equal-tempered: 25/18=20/72:1 = 333.33 cents. MIDI pitch bend: 85,74

Just major triad on C (4:5:6).