129 Royalty-Free Audio Tracks for "Envelope"

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This is a bass kick i made with a nice crunchy toned delay. It started life as a mono bass kick off my 808 drum machine, i converted it to stereo then inverted the right channel, i distorted it and processed it with 100% envelope to really boost the front end punch. It's c2 pitch for convenience.
Author: Snapper
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00:06
Try as a loop! i used my acoustic guitar and did some knuckle-knocking on the body while muting strings. Sounds like a native drum! effect: speed increase from 33 1/3 rpm to 45 rpm, moise reduction and vol. Envelope. Recorded on conexant smart audio with at2020 mic, processed on audacity.
Author: Husky
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00:05
Try as a loop! i used my acoustic guitar and did some knuckle-knocking on the body while muting strings. Sounds like a native drum! effect: speed increase from 33 1/3 rpm to 45 rpm, moise reduction and vol. Envelope. Recorded on conexant smart audio with at2020 mic, processed on audacity.
Author: Husky
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Cutted parts of an audio experiment using carbon electra saws with some internal pitch envelope going on, going into trash 2, going into eq modulation, going into manipulator (formant & pitch shift, a bit fm modulation on a shifting frequency at times), going into ott.
Author: Diaframe
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00:06
It is a sound of 6 seconds containing a single note of music: si (493. 9 hz) with a amplitude of 1. The sound is sawtooth. Work on the envelope ( the curve) reduced to regular intervals on the first 2 seconds then there is 2 seconds without modifications before the last 2 seconds where there is regular intervals again. This sound like morse.
Author: Ludolpcim
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01:25
Striking matches / lighting matches close to mic'. 16 bit, 44,1 khz, mono source & output. No envelope automation, no compression, nothing except a slight hp at 26 hz. Clipping did occur on some transients for a few milliseconds (0-4 ms) on the strike due to mic' proximity (3 inches). Mic' used: samson c01 usb.
Author: Neuroxik
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02:10
Electronic minute no 28 - chaos and random are friends now. Patch with jerkoff, envelope follower, sample and hold, ring modulation and delayi like the sound my self :-). Evaluation of patch/soundone cycle is - about 30 sec - goodonly short sounds - yes, good this timeamplitude variation - not very much, okaypitch variation - yepp, enough, goodtimbre variation - some, okaymusical value - i should consider this musicalentertaining - think so, yes.
Author: Gis Sweden
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Http://www. Myspace. Com/capashen2note : please show me your composition when you used this sample, i would to listen it !:d. Very usefull sample for transition within two parts. To bring the chorus for example. Made with : white noise filtered, drum layering, big plate reverb. . . I use it all the time hehe. Tip : it was not very processed in order to make your own process like sidechain on reverb tail, envelope. . . . Etc.
Author: Capashen
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This recording is for people who hate the highlighted high frequencies. An old sabian aax small recorded with a røde m5 mic. I the created two copies of the original recording:1. On the first file i applied low pass at 2 khz and hard compression at -24 db without makeup gain. 2. On the second file i applied high pass at 2 khz and hard compression at -24 db without makeup gain. Then i lowered -2 db all the spectrum except for the band from 3. 5 khz to 9. 1 khz and i applied hard compression at -24 db without makeup gain. I merged the two files. The envelope was very flat due to the compression and thus i reshaped it on wavelab (process > level envelope. . . Or press the "v" keyboard button; draw a natural fade out in steps [non-linear]). The result is a warm crash for people who don't want them loud.
Author: Veiler
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00:33
This sample is a vocal "arh" sound, pitch d. It was created by singing "arh" into a dynamic microphone, with pop-screen and recording, through an e-mu 1820, into cakewalk music creator pro version 2. The sample was then roughly trimmed. The sample was then imported into wavelabs lite where the dc off set was removed, the sample was normalized and the trimmed exactly. This sample was then imported back into cakewalk music creator pro version 2, compressed slightly, then duplicated 5 times. Each of these duplications was given slightly different attack and release times, different pan and different eqs. 1 sample was given a multiple voice chorus\flanger effect and another auto-pan. A 6 sample was then added before the main sample, with reduced gain. This sample has increasing volume envelope and "moving" pan envelope. All 6 samples where sent to the same master out where "chapel" style re-verb and compression was applied. The mix down from this was then imported into wavelad lite, dc off set removed and normalized.
Author: Annannienann
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02:16
2nd sound today! in spite of short time by the synth. . . . Anyway here in using a feedback loop on the quadra envelope generatorstrange effect with long pausesi use quantizer on thisnoise from jupiter storm. Evaluation of patch/soundone cycle is - about 17 sec - goodonly short sounds - no and yes, good this timeamplitude variation - yep goodpitch variation - yep, enough, goodtimbre variation - could say somusical value - i should consider this musicalentertaining - hmm. . . Interesting.
Author: Gis Sweden
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01:27
A patch generating triggers not that random. . . The triggers are triggering an envelope generator and a sample and hold. The sample and hold cv is quantized following a minor 7th chord rules. Hope you understand. . . Pardon my english. Why this. Answer. I have to start adding something like this to my patches. But i use 3 lfos for this :-/ thats about all i got - right now. The alm pip slope works fine as an lfo too. Square wave this time. Take a close look.
Author: Gis Sweden
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03:57
I used 2 low frequency operators (lfo) on a low pass filter (24db) on a generic pink noise sound with medium resonance settings, one of these lfo's was manipulating the other one with a random ramp, to make it sound more diverse and realistic. I put an aditional long envelope on the q (resonance) also, not to mention some chorus at a low tempo to make it kinda binaural with a stereo delay at a short time setting. . . I hope you enjoy it!.
Author: Enricoviets
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00:23
This is part of a set of samples demonstrating the capabilities of the diy version of the hexinverter mutant clap module (eurorack/modular synth). Of particular note is the noise bleed present in some hexinverter diy products as discussed on the muffwiggler forum. Except where noted as "with vca," all samples are recorded without added effects or processing. "with vca" samples have been tidied up with an envelope modulated vca. One may choose to see the bleed as a feature or flaw. . .
Author: David Owle
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Http://www. Myspace. Com/capashen2 note : please show me your composition when you used this sample, i would to listen it !:d. Very usefull sample for transition within two parts. To bring the chorus for example. It sounds a bit electric with an sound effect made with synth. I use it all the time hehe. Made with : white noise filtered, drum layering, big plate reverb. . . Tip : it was not very processed in order to make your own process like sidechain on reverb tail, envelope. . . . Etc.
Author: Capashen
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09:50
Yes! så nöjd att detta ljud hände, typ! let me take this info in swedish, okay. Buchla style slow krell. En modulerande osc och en som moduleras, men man hör bägge i mixen! ena osc går via en lpg den andra via vca/mix. Till det "skrynkliga" ljudet använder jag en pip slope modulerad av jerkoff och sloth. Ljudkällan är en sinus som går via en lugnt modulerad wave shaper. En envelope follower plus sloth ger en trg till en s/h ibland och då byts tonen. Skrynkelljudet går även till mitt analoga delay. Tonen är även liiite modulerad av en env. Ganska west coast och buchla. . . Google translate :-)buchla style slow krell. A modulating osc and one that is modulated, but you can hear both in the mix! ena osc goes via a lpg the other via vca / mix. To the "creepy" sound i use a pip slope modulated by jerkoff and sloth. The sound source is a sine that goes through a quietly modulated wave shaper. An envelope follower plus sloth gives a trg to an s / h sometimes and then the tone changes. The cry sound also goes to my analogue delay. The tone is also liiite modulated by an env. Pretty west coast and buchla. . .
Author: Gis Sweden
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40:01
nonlinearcircuits jerkoff chaos circuit is based on sprott's chaotic jerk equation. This sound is long and boring. . . But i wanted to test the nlc jerkoff. This might be of interest to someone. . . I upload an mp3 file to save disc space. . . The single module has 3 outs. 2 of them are controlling vcaa and one is connected to an envelope follower that generates a trigger when the cv is high enough. The signals in to the vca are the same (1. 5v). A way to illustrate the work of the module. Maybe.
Author: Gis Sweden
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00:44
A combination of:https://freesound. Org/people/symphoid/sounds/159192/ (freestyle piano. Wav)https://freesound. Org/people/symphoid/sounds/159194/ (jangles. Wav). Making a happy occasion piano freestyle with the bright of bells. In my search, i was playing one and by mistake played the other together in the freesound page, it rhymed, so i did this. The piano is unmodified, the jangles had cuts of pieces, invert, volume envelope, and paulstretch (which makes the whoooosh, sidereal moments). ** all credit to >> symphoid <<, author of the original sounds here combined. Credit him if you use this. Thanks **.
Author: Deleted User
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06:58
1 looping envelope and 2 vclfos in a dance (chain connected). I think its harder for this combination to find a nice pattern - equilibrium. It happens sometimes. Maybe the mixture between positive and negative cv confuses the modules. Makes it harder. I start the recording with one of the vclfos in vco-mode. After about 17 sec i swith to lfo-mode. Records and hope that a pattern should emerge. I have been listening, and looking at the wave form, in different modes, but i'm not sure if there is a pattern in this recording. . . Maybe to advanced for me. There is - some -sort of pattern repeating every 22 sec. Or?.
Author: Gis Sweden
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00:12
This sound is a mix of analog sound and digitally created sound. I recorded the sound of a coffee machine. Then on audacity, i generated a tone and modified its envelope. I changed the levels, added effects as reverberation and echo. I put melted at opening and closing in purpose to pretend something was taking off and landing. At first i wanted to create the atmosphere of a spaceship. But after that it looked more like a vacuum noise. I tried to modify amplification and added again echo and reverberation to make it sound more like a weird ufo. Code selon la typologie de schaeffer : vprécisions morphologie :masse : son canneléstimbre : ternegrain : rugueuxallure : chevrotementdynamique : l’attaque du son est graduelleprofil mélodique : variations serpentinesprofil de masse : site.
Author: Univ Lyon
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01:40
Sound create use fm synthesis and use 16 bit for high quality. Create sound use c program. Sample have different frequency (power 2) and length. Last several sample have wave frequency above nyquest limit 48000 hz/2 = 24000 hz. Some effect sound like effect in game strider hiryu (ストライダー飛竜) from capcom 1989 (robot gorilla in level siberia) and sonic hedgehog 1 from sega 1990 (sonic jump in large ring at level end if have more than 100 ring). Algorithm:• one carrier and modulate pair• modulate frequency 1. 4 of note (carrier frequency)• modulate amplitude (β) change from 0. 0 to 10. 0 across note• hill envelope with top at 0. 1 of note length.
Author: Sieuamthanh
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00:13
I'm trying to create a sound that resembles captain america's shield from the marvel movies. I took a recording of a metal garbage can ringing and brought it into iris 2. I cut the attack from the envelope and added light amplitude sine wave modulation. I also set a short decay. I also layered a clean sine wave underneath the recording sample in order to give the recording more umph and body when it resonates. This is the base of captain america's shield. Layer this with metal impacts and sub sonic stings and you're all set. Please post a link if you use this file. I'm excited to see what you can do with this!. Text me if you want to have fun and talk gear. I love hearing what people are up to!702-860-9869.
Author: Oscaraudiogeek
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Not gonna explain about this one much. Basicly i just made a simple patch on my virus c hardware synth which consists of 2 osc's (sine / saw), osc2 slightly detuned from the osc1. Fast pitch envelope on both osc's to get the "punch" part in the kick. Ran through virus's lowpass/bandpass filters, lowpass cutting from 100% to 0% with a speed of 1/4 beats to get a "filtering down" effect to the kick, bandpass rejecting slightly frequencies from a range of 400-600hz. Then i sampled it, many times and picked the best sample. Eq->distort->eq->distort million times and this is the result. Ofc i did some cutting and added some lowpass/bandpass filters with various mix levels @ some points and did some other shit also but basicly it's just eq & distort. Hf, its a decent kick but needs some fixing still since the punch is too separate from the bass.
Author: Harha
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My original dw toms, mixed with themselves 1 octave up [the octave up is lowered -6db and the envelope reshaped to allow loud only the attack]. Then for that resulting mixdow again the same thing [so i used the same method two times]. At all steps i was using the simple compressor[not multiband] for not allowing overlimiting. For the two general mixdowns [because it was a double process] i used hard compressor at -0. 45 dbs. And for the two octavic parallel channels i used hard compressor -3. 60 dbsbecause the octave doesn't sound realistic if not well compressed. For all my dw octavic tomsed i used the same exact method. My original dw toms are here if you want to read data or mics. These toms do not sound realistic as stand alone sounds. These harmonics work better only in a complete mixdown, and have increased audibility than the original recordings [for silent music parts use the original because low velocity of parallel instruments will expose the supportive tom-harmonics].
Author: Veiler
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Pistol fired outdoors with ricochet. Single shot, fairly close, with fast fadeout. Narrow stereo image, no panning, almost monophonic. Wholly synthesized. No weapon was fired in the making of this sound. It's an emulated sound effect of a sidearm gunshot with a cliche ricochet sound, like in the vintage western movies and ww2 films that they showed on tv when i was a kid. Can be used in a game, perhaps, or a none-too-serious vidclip. The sound of the pistol cartridge explosion is default flstudio kick, clap and snare slowed right down. A single tap of delay is added to lend an impression of echo off a middle distance hard surface. The ricochet noise was made with sytrus running as a vsti inside flstudio. It took an entire day of head scratching, oscillator tweaking and envelope mangling to get something that reasonably resembles a sound that i recall from the old movies. I think i'll shoot myself before i try something like this again. :). Plus the usual flstudio compressors, eq, reverb and delay - nothing tricky, just standard stuff.
Author: Diboz
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Td-3-tg recorded with zoom h-1. Td was performing slide through octaves with "slide" button pressed in program, and subsequent cs were played, in octave -1 and 0, and higher c in octave 0 and +1, back and forth. Program takes 7 16th notes and the space between notes takes 9 rests. Tempo of the td-3 was set to maximum and the volume control was set to high amount, to let zoom h-1 with rec level setting to 37, be driven up to -6db. Sound recorded in 96khz and 24bits. Trimmed and saved in flstudio edison, what made sound 32bit. No amplify, no normalisation. "tune" knob of td-3 was set to maximum as well as "cut off", "envelope" and "accent". "resonance" and "decay" was set to one o'clock. "waveform" swicth was set to square. No distortion. Zoom h-1 was plugged by a cable, td-3 output to line in. Cable was named vitalco - 1/8 inch trs to 1/4 ts, male to male, 3m.
Author: Laffik
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A third version of https://www. Freesound. Org/people/gis_sweden/sounds/352940/. Now i let the alm pip slope affect a filter. I play a little sequence made with cvlfo , clock divider, attenuverter, quantiziser. The way i usually do…. But the interesting thing is the cvad (?) voltage controllable envelope generator. But in the case of alm pip slope you just control attack and decay. Seems to be enough. As in the other versions of this sound i connect one lfo to attack and a second lfo to decay. But this time i connect the vcad to control the frequency of a filter. Interesting. I wish i had two more cvlfos… should open up for rhythmical usage. I use no vca or adsr. I have connected the vco straight to the vcf and the vcf to mixer. In the beginning i have the frequency pot at 2 a clock then i gradually move it clock wise and let the vcad take control. 1 minute in the pot is fully clock wise. The vco is playing a sawtooth wave. If you dl and inspect the wave you can see that in the beginning and the end it is a sawtooth wave, but in the middle part the filter affects the wave form.
Author: Gis Sweden
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00:19
guardians of limbo (spectral voices, ethereal sounds, odd vocals) sample of fx preset from magnus choir vsti software. Virtual choir (musical instrument). Software description:. Magnus choir is a vst, vst3 and audio unit virtual instrument which can be used to create natural and synthetic choirs. The male and female choruses combine to form a mixed choir, featuring the classic satb (soprano, alto, tenor, bass) structure: women sing soprano and alto, while men sing tenor and bass. Versatile to generate a wide spectrum of choirs, vocal textures, choral pads and voices with modulation capabilities for a new level of realism in digital sound creation. • 54 preset sounds ready to use, including a vast array of natural and synthetic sounds, from oohs, aahs, men and women in mixed choirs to the celestial choir of angels, reso pads, dark atmos, creepy voices, ambient ghostly and birdsong effects, as well as cinematic and soundscapes. 01. - abbey ghost02. - ad infinitum formant03. - ad libitum chorale04. - aeternus lux lucis05. - alchemical signals06. - angelic vox07. - angels between us08. - apocalyptic chamber09. - astral singers10. - aurum vox pad11. - birds sonic sweep12. - caelestis kingdom13. - celestial choir14. - choral ensemble15. - choralis pad16. - cinematic padilius17. - cosmic odyssey voice18. - cryogenic dimension19. - dark cantus20. - digital voice21. - dystopian chorus22. - elves land23. - enchanted goblins24. - ethereal voices25. - guardians of limbo26. - lost souls in the dark27. - male & female aahs28. - morph dreams29. - morphed vowels30. - mystical vowels31. - nebula dark atmos32. - necromancer summons33. - neo choir34. - octave aahs choir35. - octave vox pad36. - oniric sequences37. - oohs choir38. - psychedelic vox39. - psychomanteum reso40. - quasi spatial voices41. - relaxing paradise42. - restless spirits43. - sanctus holy chant44. - sonorous skies45. - sopranvox c4-c646. - spatiotemporal atmos47. - spectral hell48. - synthetic chorus49. - synthesized vocals50. - underworld embryos51. - vinyl chorus52. - voices in the mist53. - vowelled soundscape54. - vox vocis texture. • low frequency oscillator section: these knobs apply modulation to the selected instrument. By using the lfo to modulate various aspects of the audio signal, you can apply effects such as vibrato or tremolo. • adsr envelope generator with attack, sustain, decay and release parameters. • pitch bend: the pitch bend knob directly changes the pitch of the selected instrument. • reverb built-in: provides a spaciousness and depth to simulate the sound reflections from walls, floors and ceilings following a sound created in an acoustically reflective environment. Small rooms can be modeled as well as large spaces. • filter section: with filter type box for low pass filter and high pass filter. • amplitude range parameters: it controls the loudness, the way in which we perceive amplitude. The sensitivity level is set by the user. • panning potentiometer control. • midi cc automation: implementation of midi continuous controller parameters for use with external hardware control via daw.
Author: Syntheway
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00:03
88 piano keys, long natural reverb: up to 13 seconds per note. This is me giving back. I love freesound. You guys saved my bacon back in the day. Recently i searched for free piano notes for a game i'm making, but the only ones i could find ended too quickly. I need long reverb! luckily i have an old piano, so i made my own. So this is me giving back. This is an old piano!!!. We had the piano tuned a year ago, but it is well over 60 years old, so be warned! these notes have character! if you want perfect tone, either edit them individually, generate something artificially, or buy a professional set. But if you want a piano with personality, this is for you. Being an old piano, it only has 85 keys. So i created the highest 3 notes by speeding up previous notes, to make the modern standard 88 keys. How the notes were created. The notes are created on an old (well over 50 years) steinhoff upright piano. It only has 85 keys, so i faked the highest 3 keys by taking previous keys and changing their pitch. I opened the top, balanced my trusty everesta bm-800 condenser microphone across the top near the high note end, and held down the "loud" pedal. Each note was then hit and kept pressed down until i could no longer hear any reverb. Notes were saved as mp3 using my laptop, using free sound recorder on the highest quality settings. Yeah, i know it isn't flac, but i am strictly amateur with budget to match, and that was the best i could do. After that, all editing was of course uncomopressed until the final save. How the notes were edited. Editing was kept to a minimum, mainly to enhance the reverberation. All editing took place on audacity on linux mint. First i cropped any silence from the start. Next, used the envelope function to gradually increae volume to 200% over a couple of seconds. That is, the quietest part of the reverb is twice as loud as you might expect. Because for my game i sometimes need a single piano key to last ten seconds. Next i maximised the volume. If there was just a single stray waveform that stuck out then i reduced that by 2db or so then maximised again. Because like i said, i want to hear that reverb! i then found the part where background noise starts to be noticeable, and faded out over 1 second or so. This meant that the lowest notes had as much as 13 seconds of reverb, whereas the highest notes might only have 2 or so. Finally i checked the result, and edited three or four notes that i felt were just too ugly (badly tuned, or for some reason the software suddenly got hissy when the note became too quiet. Weird. ) i also slightly changed the pitch of a couple of notes that were slightly out of tune but otherwise ok. No doubt a better ear than mine could teak all of the notes. But as i said, it's an old piano and we're keeping it real. Finally, files were compressed to ogg at the highest quality setting, using soundkonverter. Why not flac?. I live in the countryside with very slow broadband, so i apologise for including more of the original files. But as it was, uploading this zip file took about an hour. Enjoy. Legal. Use this for anything you want, commercial or not, credit me or not. Consider it public domain. My main concern is that i had completely legal sound for my game, with nice long reverb and character. Uploading it here provides proof that i created it first, just in case anybody comes back and says "those are mine" (it happens).
Author: Tedagame
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