37 Royalty-Free Audio Tracks for "Dsp"

Done by morphing ocean and male speech sound.

I was playing a pattern with my sequencer and the midi notes went over to my microkorg which i didn't really want bug it nmade a cool sound anyway.

Another example on "listening" to a computer. Many sounds you hear are overtones from fans. The sharp noise is data transfers. Most of the sounds are caused by moving the mouse. The processors are not "heard" by placing a small antenna between the flat cables from two hard discs, you can capture the data packages. That may be done next time.

A ride/cymbal sound made with sunvox. It's a sampled noise impulse with a certain starting phase sent through a bandpass and then a reverb with a low room size, which acts as a resonator. It then goes through another filter and reverb set, then a compressor.

A ride/cymbal sound made with sunvox. It's a sampled noise impulse with a certain starting phase sent through a bandpass and then a reverb with a low room size, which acts as a resonator. It then goes through another filter and reverb set, then a compressor.

A ride/cymbal sound made with sunvox. It's a sampled noise impulse with a certain starting phase sent through a bandpass and then a reverb with a low room size, which acts as a resonator. It then goes through another filter and reverb set, then a compressor.

Some generative campfire sfx made with sunvox. The crackling sounds were made by taking some highpassed white noise, ring modulating it with some more white noise, and then using a noise gate to usilate the loudest 'crackles'. The rumbling was created using lowpassed white noise. Everything was sent into a reverb and a stereo expander.

A take on the amen break using synthetic drums. 179 bpm, made using sunvox. This break is part of my acoustic breaks set; the sunvox sources are available for download here: https://warmplace. Ru/forum/viewtopic. Php?f=11&t=5561 they should be included in the next sunvox distribution too.

Some generative wildfire sfx made with sunvox. The crackling sounds were made by taking some highpassed white noise, ring modulating it with some more white noise, and then using a noise gate to usilate the loudest 'crackles'. The rumbling was created using lowpassed white noise, and the wind was made by bandpassing white noise with a high resonance and randomly sliding the filter frequency. Everything was sent into a reverb and a stereo expander.

Hola !. So after all the dsp processing of the little voice recordingi tried out my little bbc symphonic orchestra new free libraryput some violins on it & some horns of abraxas, if youdon(t know horns of abraxas of johann johannssonn, i urge you to go& check it out, the whole movie is a candy for the ear & eye. . . S with titlesas seekers of the serpent's eye or burning church or dive-bomb blues ordeath and ashes or children of the new dawn or forging the beast. . . What a soundtrack & what a movie ! but also what a tragic loss. . . Https://www. Youtube. Com/watch?v=hgih-ma5nag. & then at the end i transform again the little percussive voice partinto a voice again. . . You can clearly see in the wave form of the big percussion & the little voice wave form, an isomorph pattern, no ?. 17decmber of 2020jjjjjj looper dooper. Yes !. Ok i go to sleep nou !.

DSp in C major.

Single note sampled from an analog synthesizer by modular samples. Modular samples provides samples of vintage and modern synthesizers for apple exs24, native instruments kontakt, reason and live samplers, with over 50 gigabytes of public domain content. Sampler files and sound packs are also available at http://modularsamples. Com. Synthesizer: korg z1patch name (pack): dsp drunk padnote: c2midi note: 36.

Reverb bloom from valhalla dsp valhalla room plugin.

A factory sound simulated with brush-teeth sound loop samples. Processed with dsp-quattro x.

Oud sample originally from hammondman. Slightly reduced in amplitude to permit dsp experiments that require more headroom.

Created using fl studio fpc and many dsp effects.

Several sounds of small blades hitting, with unfortunate cheap reverb applied. Recorded using a cheap condenser microphone through a focusrite saffire 24 dsp.

Spanish words for beethoven's ode to joy, first phrase. Recorded in a flat tone for further processing with dsp software.

A korg ms-20 using the white noise generator into the esp to generate random triggers. Hooked up to a boss rph-10 phaser and then to emu patchmix dsp stereo reverb.

This was part of a political speech of g. W. Bush regarding the iraq waran the need of military actions. Recorded directly from radio with ahammerfall-dsp system. It´s ironic!.

This was part of a political speech of g. W. Bush regarding the iraq waran the need of military actions. Recorded directly from radio with ahammerfall-dsp system. It´s ironic!.

Made up by layering 3 additive synthesized spectrum sounds ran them through several stages of different audio dsp configurations. Fl studio 20. 8 used in the process.

This was part of a political speech of g. W. Bushregarding the iraq war an the need of military actions. Recorded directly from radio with a hammerfall-dsp system. It´s ironic!.

Very unprofessional sol note of a regular flute. Used for python programming training on digital signal processing subject. Not aimed for sound usage.

Low rumble using interface noise neural dsp gojira, acustica coffepun and heavy filtering. I also added a high-passed filtered mid-side version for the stereo image.

Mac ibook g3's cdrom working and producing various sound including some air noise from the spinning cd. Recorded very close to the cdrom with rode nt1000 condensor microphone through tlaudio fat2 tube preamp through rme hammerfall dsp audio interface.

Rain falling on leaves. Also can hear a car driving in the background. Recorded with: sony ecm-ms907-->sony mz-r66 md recorder-->imac line-in-->dsp-quattro-->wav. No effects applied, only editting was taking out some noisy parts.

I made this after listening to the first track listen on this page:. Http://www. Redbullmusicacademy. Com/magazine/psychoacoustics-introduction-feature. Mr. Stockhausen has produces some amazingly real sounds back in the times when no computers were out there to do any dsp for him. Synthesized with zynaddsubfx within lmms.

This is record from line-out of soundcard connected to microphone in, when command "sudo cat /dev/sda1 > /dev/dsp" is running in my linux command line shell. Sounds really close to modem 56k. Unfortunately i've written it into 128 kbit mp3, so this is result of back conversion into wave.

While i was re-installing some pluginssince you know the implosion of the maci thought i'd do a little exercise &take my 'r we recording this shit' shit recording& process some dsp on it_ _ _just for fun. 17 dec 2020a+j. J. A. A. P. P.

A guitar chord, probably a d. Recorded for the purpose of testing out guitar dsp effects. Recording details:. Gibson les paul junior, p90 pickup, mahogany neck, ernie ball beefy slinky 11-54, dunlop 88mm. Recorded through the instrument input of a focusrite saffire pro 24. Edited in ableton live, no processing other than gain and fade.

A steady rain falls silently through the still december night air, then splatters all over the tile and cement surfaces of a back yard, splashing in standing water. A hint of space from brick/stucco fencing and house bounding all sides. Akg perception 400 large diaphragm mid-side stereo pair in omni+fig8 mode > sound devices mixpre-6 @ 24/96. See also: musical dsp processed version of above:https://soundcloud. Com/chromakei/watercolor.

Channeling the /dev/sda1 hard drive partition into a file. At last i've imported the raw file properly as the 8-bit unsigned linear pcm. This is 8bit mono 44100 hz windows wave. Lots of strange digital sounds. Quite useful for noise and experimental musicians. Interesting that if we just do cat /dev/sda1 > /dev/dsp we hear different sound more like modem 56k. I also made a record of it. See my files.

The raw data is result of this command in my linux command line shell:. Cat /dev/sda1 > my_hard_drive. Then the file my_hard_drive has been imported as raw by audacity sound editing program with attributes:. Signed 16 bit pcm with no byte order 2 channels (whatever. . . ) stereo, 44100 hz. This sound differs from that which can be played just by command "cat /dev/sda1 > /dev/dsp" - this last command plays sound through speakers instead of writing a file. The sound is closer to sound of 56k modem. Later i will upload it (i've just connected line-out of sound card to it's microphone slot).

A 286 computer booting and running a self-test before reaching the os, then getting shut down through the button at the middle of the right corner of the case, including part of the monitor shutting down. The picked license is creative commons 0, but it'd be great if you could mention me in your work, if you ever use it for it, i'd like to take a look at what you've done. Recorder: moto g4 play (harpia), laying flat and facing down on the case. Microphone: built-in microphone. Encoding: wave (lossless, 32-bit float pcm). Processing: no dsp applied, removed a full piece of sound at the beginning and a full piece of sound at the end, including environmental noises that weren't related with this recording.

As a homage to freesound. Org for being a member for over 7 years under the name "djeuphoria", i present the freesound community with some unique sounds i've created recently using loads of different plugins and synthesizers that i've been acquiring over the years that has slowly turned into a massive collection. So with that being said i'm going to be periodically adding sounds to my "dream sample pack" so you can all hear the sounds i've been creating under my new nickname "dream", thank you all for the downloads, its awesome to see how terrible my sound quality was and how much i've improved from that, enjoy these awesome synth sounds i've engineered, cheers. -dreamp. S, most of the melodic sounds are recorded in the key of c for convenience and all foley sounds are recorded with a zoom h4 at 44khz.

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.