496 Royalty-Free Audio Tracks for "Equal"

00:00
00:09
*12167th harmonic on C = E+. Equal-tempered: 24/12:1 = 684.82 cents. Limit: 23-limit. MIDI pitch bend: 18,91 on TT
Author: Hyacinth
00:00
00:09
*Sixty-third harmonic on C = C+. Just: 63/32 = 1172.74 cents. Equal-tempered: 212/12:1 = 1200 cents. Limit: 7-limit. MIDI pitch bend: 35,87 on 1100
Author: Hyacinth
00:00
00:09
*Major fourth (Eleven quarter tones) on C = F or G. 211/24:1 = 550 cents. MIDI pitch bend: 0,80 Preceded by:File:Nine quarter tones on C.mid
Author: Created by Hyacinth (talk) in Sibelius. A P4 with midi pitch bend on 80 for 550 cents.
00:00
00:09
*Greater 29-limit quarter tone on C = C. Just: 29:28 = 60.75 cents. Equal-tempered: 21/24:1 = 50 cents. Limit: 29-limit. MIDI pitch bend: 56,83
Author: Hyacinth
00:00
00:09
*Thirty fifth harmonic on C = D. Just: 35/32 = 155.14 cents. Equal-tempered: 23/24:1 = 150 cents. Limit: 7-limit. MIDI pitch bend: 83,81 on m2
Author: Hyacinth
00:00
00:09
*3125th harmonic on C = F♯+. Equal-tempered: 23125/2048:1 = 731.57 cents. Limit: 5-limit. MIDI pitch bend: 13,42 on A7
Author: Hyacinth
00:00
00:09
*Fifty-fifth harmonic on C = A↑. Just: 55/32 = 937.63 cents. Equal-tempered: 29/12:1 = 900 cents. Limit: 11-limit. MIDI pitch bend: 5,76
Author: Hyacinth
00:00
00:09
*Forty-ninth harmonic on C = A♭+. Just: 49:32 = 737.65 cents. Equal-tempered: 28/12:1 = 800 cents. Limit: 7-limit. MIDI pitch bend: 6,76
Author: Hyacinth
00:00
00:09
*Hundred-nineteenth harmonic on C = B. Just: 119/64 = 1073.78 cents. Equal-tempered: 211/12:1 = 1100 cents. Limit: 17-limit. MIDI pitch bend: 78,87
Author: Hyacinth
00:00
00:09
*Thirty-ninth harmonic on C = E♭. Just: 39/32 = 342.48 cents. Equal-tempered: 23/12:1 = 300 cents. Limit: 13-limit. MIDI pitch bend: 76,77
Author: Hyacinth
00:00
00:16
Regular diatonic tuning 53-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS.
Author: Hyacinth
00:00
00:16
Regular diatonic tuning 31-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS.
Author: Hyacinth
00:00
00:09
*Major limma (135th harmonic) on C = C♯+ (Ben Johnston's notation). Just: 135:128 = 92.18 cents. Limit: 5-limit. MIDI pitch bend: 64,61
Author: Hyacinth at English Wikipedia
00:00
00:09
*Hundred-seventeenth harmonic on C = B♭. Just: 117/64 = 1044.44 cents. Equal-tempered: 28/12:1 = 800 cents. Limit: 13-limit. MIDI pitch bend: 28,78
Author: Hyacinth
00:00
00:09
*Thirty-first harmonic on C = B. Just: 31:16 = 1145.04 cents. Equal-tempered: 211/12:1 = 1100 cents. Limit: 31-limit. MIDI pitch bend: 53,78
Author: Hyacinth
00:00
00:09
*Hundred-fifteenth harmonic on C = A♯+. Just: 115:64 = 1014.59 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 23-limit. MIDI pitch bend: 86,68
Author: Hyacinth
00:00
00:09
*Perfect octave on C = C'. Just: 2:1 = 1200 cents. Equal-tempered: 212/12:1 = 1200 cents. Limit: 3-limit. MIDI pitch bend: none MIDI.
Author: Hyacinth (talk)
00:00
00:09
*Sixty-ninth harmonic on C = C♯+ (Ben Johnston's notation). Just: 69:64 = 130.23 cents. Equal-tempered: 21/12:1 = 100 cents. Limit: 23-limit. MIDI pitch bend: 86,73
Author: Hyacinth
00:00
00:09
*Hundred-fifth harmonic on C = A+. Just: 105:64 = 857.10 cents. Equal-tempered: 29/12:1 = 900 cents. Limit: 7-limit. MIDI pitch bend: 34,82 on m6
Author: Hyacinth
00:00
00:09
*Fifty-seventh harmonic on C = B♭. Just: 57:32 = 999.47 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 19-limit. MIDI pitch bend: 106,95 on M6
Author: Hyacinth
00:00
00:09
*Ninety-fifth harmonic on C = G (Ben Johnston's notation). Just: 95/64 = 683.83 cents. Equal-tempered: 27/12:1 = 700 cents. Limit: 19-limit. MIDI pitch bend: 106,90 on TT
Author: Hyacinth
00:00
00:09
*Septimal minor second on C = D♯- (Ben Johnston's notation). Just: 28/27 = 62.96 cents. Equal-tempered: 21/12:1 = 100 cents. Limit: 7-limit. MIDI pitch bend: 19,84 on PU
Author: Hyacinth
00:00
00:09
*Hundred-twenty-first harmonic on C = B↑↑♭-. Just: 121:64 = 1102.64 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 11-limit. MIDI pitch bend: 108,64
Author: Hyacinth
00:00
00:09
*Ninety-first harmonic on C = G♭ (Ben Johnston's notation). Just: 91/64 = 609.35 cents. Equal-tempered: 26/12:1 = 600 cents. Limit: 13-limit. MIDI pitch bend: 127,66
Author: Hyacinth
00:00
00:24
Formatted for use in the make noise morphagene. This reel was used in the morphagene: plane of composition video. It consists of several splices of equal length to be traversed through linearly or nonlinearly. Splices created in ableton live 9 from stock sounds.
Author: Makenoisemusic
00:00
00:09
*Lesser 29-limit quarter tone on C = C♯ (Ben Johnston's notation). Just: 30:29 = 58.69 cents. Equal-tempered: 21/24:1 = 50 cents. Limit: 29-limit. MIDI pitch bend: 100,82 on PU
Author: Hyacinth
00:00
00:09
*Eighty-seventh harmonic on C = F+ (Ben Johnston's notation). Just: 87:64 = 531.53 cents. Equal-tempered: 25/12:1 = 500 cents. Limit: 29-limit. MIDI pitch bend: 11,74
Author: Hyacinth
00:00
03:30
Same program as in https://freesound. Org/s/457868/ butthe main clock (lfo_2) frequency is about 1hz. It's a minor scale?! as have split the octave in 5 equal parts. This strange scale sounds like a sort of minor scale.
Author: Gis Sweden
00:00
00:09
*Eighty-fifth harmonic on C = E♯ (Ben Johnston's notation). Just: 85:64 = 491.27 cents. Equal-tempered: 25/12:1 = 500 cents. Limit: 17-limit. MIDI pitch bend: 26,93 on M3
Author: Hyacinth
00:00
00:09
Diatonic scale in 19-et on C. MIDI pitch bend matches intervals. Steps: 0, 3, 6, 8, 11, 14, 17, and 19. Cents: 0, 189.473684210526315789, 378.947368421052631578, 505.263157894736842105, 694.736842105263157894, 884.210526315789473684, 1073.684210526315789473, and 1200 cents. Created in Sibelius with midi pitch bend on 8 (6) different instruments.
Author: User:Hyacinth
00:00
00:20
24-tet scale on C (50 cent steps). Easley Blackwood, Jr.'s notation for 24 equal temperament. As only "ups" are used, there are no three-quarter flats and quarter flats are enharmonically spelled (Dd = C#↑). Pitches are split into two groups of 12. MIDI pitch bend is correct for intervals.
Author: Hyacinth
00:00
00:07
5 7 9 chord on E, eight steps in the octave. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include eight steps in the octave, based on 5:7:9 and of which only the just version would be used. Traditional notation: E B♭ D.
Author: Created by Hyacinth (talk) 06:34, 25 November 2010 using Sibelius 5.
00:00
00:15
Formatted for use in the make noise morphagene. This reel was used in the morphagene: plane of composition video. It consists of several splices of equal length to be traversed through linearly or nonlinearly. Audio is counting from 1 through 8 with various text-to-speech voices. The output has been edited so that the numbers appear at the same time in each splice for plane of composition traversal.
Author: Makenoisemusic
00:00
01:01
I used the "the challenge. Wav" base (id: 561988) and made a simple melody with a synth, added effects and some beats. I used some fl studio effects: reverb, echo, distortion, equalization, amplify, low-fi effect, low-pass, drums and synthesizer. Amazing challenge as always, thanks badoink.
Author: Danlucaz
00:00
02:01
I cut out some parts of the "badoink audacity base loop" (id:540779) and did my best to make a simple song using only audacity. It wasn't easy lol, i used several effects from audacity itself: reverb, echo, pluck, distortion, equalization, amplify, change speed, change pitch and tone generator. The end result is not a masterpiece, but it was nice to participate in this challenge, thanks badoink.
Author: Danlucaz
00:00
00:16
Regular diatonic tuning 72-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS. In 12-tone, T=200 cents and S=100 cents. In 72-tone, T=233.3 cents and S=16.6. This is that scale: C = 0 D = 233.3 E# = 466.6 F# = 483.3 G = 716.6 A = 950 B# = 1183.3 C = 1200
Author: Hyacinth
00:00
00:01
Artificial beep used for research purposes in the behavioral experiment (link to the paper: http://www. Ncbi. Nlm. Nih. Gov/pmc/articles/pmc3384222/). The sound was generated in matlab using binary click trains at the fundamental frequency of 330 hz and 100 ms duration, which were bandpass filtered with a bandwidth equal to 1/50th of the formant frequency using malcolm slaney's auditory toolbox. Formant center frequency was 6. 912 khz. The formant frequency was chosen to lie within rat and human sensitivity range.
Author: Liartar
00:00
00:11
An impulse response, made with vital softsynth, simulating the responce of a bunch of strings tuned to notes of bohlen—pierce scale. Specifically, a middle ground between 13 equal divisions of a tritave (interval 3/1) and the just-intonation bohlen—pierce scale. (for no particular reason. ). Convolving with this might add some xen flavor to your sounds, even if you play in standard tuning 12edo. I tried it with surge xt’s hammered dulcimer patch (i love hammered dulcimer!) and heard some additional shimmering.
Author: Arseniiv
00:00
03:01
A pair of owls stationed themselves outside my half-basement bedroom window in colorado early this morning around 12am. Unfortunately i only had my phone to capture them with, but it still turned out alright, save for the periodic vox-like breaks when silencing background noise. The hoot is obvious as to the source, but i'm unsure about the screech/cry that occurs with equal frequency. Is it the response of a mate? or just the yip of a curious neighbor dog?. Recorded with the stock application on my lg g3 phone and encoded to mp3 using the "video to mp3" app.
Author: Depwl
00:00
00:10
3-4 equals 3-8 drum pattern.
Author: Created by Hyacinth (talk) 02:55, 20 July 2009 using Sibelius 5.
00:00
00:04
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.
Author: Djeuphoria
00:00
02:59
Algorithmic modular music program (man3_2019). The computer is my analog modular synth. 00 rem -------------- man3_2019 --------------00 rem man3 - modular algorithm no 300 rem the steps/command lines, 01 to 08, are steps on a step sequencer00 rem main clock (lfo_2) 3hz00 rem the cv sequencer (seq) are tuned to an octave split in 5 equal parts. 00 rem seq has its own clock00 rem lfo_2 controls vco_2 via vca_2 and vca_300 rem lfo_3 controls wave shaper and vcf00 rem vco_1 tuned to 150hz sin -> wave shaper00 rem vco_2 tuned to 150hz tri00 rem vco_3 tuned to 75hz sqr -> vcf00 rem ----------------------------------------01 sampl lfo_1 -> vca_1 (vco_1)02 sampl seq -> vco_203 sampl lfo_1 -> vca_2 (vca_3) : rem [lfo_2 -> vca_2 -> vca_3 (vco_2)]04 sampl seq -> vco_105 trg -> noise -> delay_106 sampl seq -> vco_307 trg -> env (vco_3)08 trg -> noise -> delay_110 goto 01.
Author: Gis Sweden
00:00
00:08
Quartal chord on A equals thirteenth chord on B♭, distinguished by the arrangement of chord factors. Created by Hyacinth (talk) 13:55, 13 October 2010 using Sibelius 5.
Author: Hyacinth at English Wikipedia
00:00
00:02
This sound is a 1-sample long impulse at 48 khz. It covers the whole frequency range with equal power. This is a perfect sample for exciting your guitar amp or reverb unit to capture it's impulse response (ir). You can also play it through a speaker in a reverbant room to capture it's reverb characteristics. Remember that the ir sample will be no flatter than your speaker's performance multiplied by your microphone's performance (frequency response characteristics). The sample has exaclty 1 second of silence, then the impulse, then another second of silence to ensure the impulse will be played clean and untruncated on any sound system or device. My test with ir lv2 convolution plugin have proven, that this sample has absolutely flat frequency response - convolved signal was identical to the source signal. After normalization and sample-alignment of the sound clips i have inverted the polarisatin of one of them and summed them - result was absolute silence, even no hiss was present as a result. This shows the accuracy of the convolution process and proves this sound to be perfect for sampling ir. The impusle was generated with c* dirac ladspa plugin. Created using audacity.
Author: Unfa
00:00
04:59
No pain no gainshort storyby: maqsood hasnitranslated by: najamfree abuzar barqi kutab'khanafeb. 2019owing to the intensity of heat and thirst, the crow was very enervated but there was no water and shade. He went on roaming about in search of water. He was thinking that, he would definitely die, if he could not find water in a short time. He neither wanted to die nor he was disappointed. He was determined to seek water and shady tree till the last breath of his life but, in fact, the intensity of thirst was creating problem for him. Now he had two choices either he must continue seeking water or leave it and wait for death. He mustered courage and flew east in search of water. He had covered a short distance when he saw a garden and hurriedly started flying towards it he wanted to live and was sure of hisexistence in future. Quite surprisingly, he seemed to be more active now. He wanted to reach the garden very soon and every cost. Though he was flying very speedily yet the garden seemed to be very far off. He got tired and thought that the garden be an illusion of his mind. He was shaken about the entity of garden. He thought it might be an illusion and he must seek any other way which could rescue his life. But he had not any other choice. To chase the illusion was better than to leave seeking water because there was the possibility of life. If he died while searching, it would be a courageous step. He stopped for awhile and the garden was quite at short distance. He hopefully started marching towards the garden and felt that it was not too far. He felt grief for wasting a precious moment. He would have been ahead if he had not stopped. He felt ashamed ofhis negative thinking because they could bring about demise. These negative feelings were equal to pessimism. A devoted definitely finds his goal at last because god helps those who helpthemselves. He took on fling with great zeal and now he appeared to be fresh. He was spiritually exalted and was flying without difficulty. Now he reached the threshold of the garden. The garden was in the urban area and it meant that it was for pastime but he was surprised to see that there were no bower. Birds had left this garden when men himself neglected it. He flew over the garden but there was no water. He deplored his labor. Suddenly, he found a pitcher in the garden and felt rejoiced and hurriedly went to it. There was very little water in the pitcher and he made very attempt to drink water but failed due to the low level of water. He hatched a plan and caught a pebble with the help of his beak and put it into the pitcher. Owing to heat, the pebble was dry and it seemed that it had liked it. In a short time, the crow poured another pebble and the first pebble did not like this sharer. Although it had not liked thesecond one yet the bitter fact was that the wise crow imposed his will by throwing more pebbles into the water. The crow was gallantly doing his job and, at last, the pitcher became full of wet pebbles and he drenched his thirst by sucking wetness of them.
Author: Maqsood@Mailworld
451 - 496 of 496
/ 10