132 Royalty-Free Audio Tracks for "Fair"

Ambient sound of the public park of chapultepec in mexico city during the weekend. Birds and people can be heard and a weekend bazar in the background. Recorded with my iphone 11.

Independence day fireworks display, recorded july 2004 in tewksbury, ma. The noise floor on this one is not so good, but there are a fair number of very nice explosions, pops, and whistles. The sound of quad cycles being ridden in the distance is also audible, particularly loudly starting around the 15:00 mark.

Recording of builders preparing a construction site near my house for new development by breaking up a parking lot with a large jackhammer or percussive drill. Recorded from the next lot over, so there is a fair amount of ambient noise (e. G. , from nearby traffic), but the bits with the machine cut through that pretty well.

I saw someone in the comments section of another sound like this asking for a longer version, i hope this is long enough, it should be more than enough. If you're going to play this through speakers, a fair bit of warning, turn the speakers down first, it's extremely bass heavy!.

H.M.S. Pinafore performed with the following cast: Willie Rouse (Sir Joseph Porter, K.C.B.) Harry Dearth (Captain Corcoran/Boatswain's Mate) Walter Hyde (Ralph Rackstraw) Harry Thornton (Dick Deadeye) Alfred Cunningham (Dick Deadeye/Boatswain's Mate) W. Anderson (Carpenter's Mate) Elsa Sinclair (Josephine/Cousin Hebe) Ada Florence (Mrs. Cripps, called "Little Buttercup") Miss Burnett (Cousin Hebe) There is some disagreement about who the performers are in various parts, as explained by Mark Shepherd. Not to be confused with the Russell Hunting/Sterling selections from Pinafore dating from the same year and using some of the same performers. The performance cuts the overture, the entr'acte, "A British Tar" and part of the Act I finale. Some portions are transposed from their original keys.

Breathing through a 1. 5 metre didgeridoo to obtain a dramatic sound. Pitch and re verb were used for more effect. Bit rate 288kbps. Ngwave pc software. Sennheiser shotgun microphone. I'm new to this and something happened with the upload. Track is running a fair bit slower than i thought it would but feel it's still unusual enough for an underscore. Any comments are welcome.

H.M.S. Pinafore performed with the following cast: Willie Rouse (Sir Joseph Porter, K.C.B.) Harry Dearth (Captain Corcoran/Boatswain's Mate) Walter Hyde (Ralph Rackstraw) Harry Thornton (Dick Deadeye) Alfred Cunningham (Dick Deadeye/Boatswain's Mate) W. Anderson (Carpenter's Mate) Elsa Sinclair (Josephine/Cousin Hebe) Ada Florence (Mrs. Cripps, called "Little Buttercup") Miss Burnett (Cousin Hebe) There is some disagreement about who the performers are in various parts, as explained by Mark Shepherd. Not to be confused with the Russell Hunting/Sterling selections from Pinafore dating from the same year and using some of the same performers. The performance cuts the overture, the entr'acte, "A British Tar" and part of the Act I finale. Some portions are transposed from their original keys.

The man doesn't snore, but there really isn't all that much difference. A big chest has big lungs and they take a while to fill. On exhale just a small portion of each breath has a bit of expressive voice. Who knows why? to be fair, it isn't always present when he sleeps. Just often. An older classic movie called legends of the fall features a sleeping grizzly. This reminds me of that.

Pinafore airs, Pt. 1 of 4. This four-part cylinder collection covers most of H.M.S. Pinafore's songs, although, sadly, part 3 is missing from the collections I've so far been able to check. This cylinder includes "We sail the ocean blue" "Hail, men of warsmen", "I'm called Little Buttercup", and "A maiden fair to see" Performers include Elizabeth Spencer, Mary Jordan, Harry Anthony, Walter Van Brunt, James F. Harrison, and William F. Hooley.

I have a knack for the reprehensible as some may have gathered. It comes naturally. So every once in a while my partner sings about it. Karen carpenter sang, "don't worry that it's not good enough for anyone else to hear. . . " so why did i post it? because 1. It's only fair that more should suffer than just me, and 2. I'm curious to see if anyone will download it. We're working on "blue moon" of the doo-wop variety. Part of it.

The underground railway stop aspudden in stockholm/sweden. The recorder is situated near the end of the platform, facing along the line to the entrance. A fair crowd of passengers is waiting on the platform. The pa is announcing the next train, which promptly arrives and opens it's doors. Recorded with a zoom h2n. These are the rear channels of a 4ch surround recording. Mics set to 120° dispersion.

This is a merry go round that was at the louisville zoo in kentucky, usa. It was actually specifically called a mary lee we go around, created by a mary lee and her husband in 1919. I’m not sure if the music is similar or the same as the music used when it was made but it seems like if it wasn’t it was made to feel like it could be. There’s music in this recording as well as some people talking in the background.

Here's a vocal sample of "hydrochloric acid" ran through audioterm and sent to a waldorf blofeld as a wavetable. The blofeld pitches up and then scans the wavetable (via mod wheel, so it's fun), which plays out what you hear here, plus a fair bit of outboard verb. Sounds like a vocoder but it's not. As opposed to traditional samplers the pitch is independent of the playback rate / length of the sample.

In the shade of the palm from Leslie Stuart and Owen Hall's Florodora. Sung by Frank C. Stanley in 1902. This is Edison Gold Moulded Record #8066. Other titles for this song include: In the shade of the sheltering palm Shade of palms There is a garden fair Florodora was the first big hit musical of the 20th century. "Tell me pretty maiden" was the runaway hit, with "In the shade of the sheltering palm" also quite popular.

Ambient recording of a yakiniku restaurant in tokyo. I used a stereo pair of microphones mounted on the table next to the grill at 120 degree angles. There is a fair amount of noise from the grill itself, but if the volume is reduced for use as a background noise, the grill sounds becomes negligible. You can hear the background music, the waiters and kitchen staff and some diners/utensils. Near the end an order is placed in japanese.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

These recordings were made at the annual "tag der sachsen" (saxony fair) in freiberg. Recordings were done on the main market square (obermarkt), where a local radio station had set up a large stage for concerts and other events. Recording was done with a zoom h2, mics at 90° dispersion. This is the early morning after the event, at about 7. 30, stage hands are taking down the rigging, workers are clearing away trash and loading trucks. During the recording, someone starts working with a leaf blower.

A pedestrian crossing in the inner city of stockholm/sweden, on the intersection of the mäster samuelsgatan and the drottinggatan. It is a rainy afternoon and there is a fair amount of pedestrian and automobile traffic underway. The recorder is on street level, pedestrians can be heard speaking swedish, german, russian and a variety of other languages. Near the end of the recording, a can rolls across the pavement near the crossing. Recorded with a zoom h2n. These are the rear channels of a 4ch surround recording. Mics set to 120° dispersion.

Wide-angle soundscape of trovill beach on the swedish island of sandhamn on the eastern outskirts of the stockholm archipelago. It is a partly cloudy, windy day and a fair amount of people are at the beach, few are bathing. Some boats and ships pass by in the mid distance. The recorder is situated in a small wood some 40m or so from the shore, facing the beach and capturing a wide angle. Recorded with a zoom h2n. These are the rear channels of a 4ch surround recording. Mics set to 120° dispersion.

Potable hoover (vacuum as known in the states) powered-on. Portable vacuum cleaner turned on. Short sample which can be looped. Two samples are included, the first is about 30cm away from the microphone and the second is a close-up to the microphone. I would advice using the end of the audio file to apply noise removal however have left this upload of the sound unedited so you can tweak this yourself to find what fits your project best. Noise removal may not be necessary at all depending on how you incorporate the sound. Also to be fair, how do you add noise removal to what is essentially glorified white noise?.

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

H.M.S. Pinafore, Listing of tracks Overture (Imperial Infantry Band) Selections - Orchestral medley (London Orchestral Band) We sail the ocean blue (Male chorus) I'm called Little Buttercup (Little Buttercup: Ada Florence) A maiden fair to see (Ralph Rackstraw: Walter Hyde) I am the Captain of the Pinafore (Captain Corcoran: Harry Dearth) When I was a lad (Sir Joseph Porter: M. Anderson) --- [Lost] Act I finale Never mind the why and wherefore (Josephine: Ada Florence; Sir Joseph Porter: Ernest Pike; Captain Corcoran: Walter Hyde) Hold, pretty daughter of mine --- He is an Englishman (Captain Corcoran/Boatswain's Mate: Harry Dearth; Ralph Rackstraw: Bernard Turner; Chorus) Farewell, my own (Ensemble)

A shorter, more polished version of my previous sound "alien world" (https://freesound. Org/people/patrick_corra/sounds/540045/). This ambience is a bit more earth-like compared to its predecessor, though any sound used here is either created from scratch or recorded: i used my own voice for the "bird" sounds and a crickets chirping recording for some background noise. Aside from myself and the crickets, no other animal was recorded to create this sound, so i think it's fair to define it as "alien". Inspired by the sounds heard in black mesa's version of xen, i decided to try creating a similar soundscape.

It's a fictional replyment for the song 'scarborough fair', it describes a girl has many special power for the man she loves( for the task he gave), but the price( cost) is lose the ability to have children. . . So, she can does everything, but can't be pregnant. The lyric is an example( because my english is poor, so you can change it become better):. She can makes a seamless shirt. She makes it without needle,but she can’t does even simple women make a baby as any mother have done. She can washes in dry well. That’s no water and there’s no rain. But she can’t does even simple women make a baby as any mother have done. She can plows a land with horn. That’s between sea and coastal. But she can’t does even simple women make a baby as any mother have done. The software be used is 'finale 2002', and use 'formatfactory' to change. Mid to. Wav, then use 'audacity' to edit the. Wav file.

Noise created by individual oscillators, using audio paint, with different height images, to demonstrate what happens with too few oscillators vs. Plenty. In the end, the result is not random enough to be noise. The first 2-second burst is pure white noise for comparison. Then we have multiple 1-second bursts from audio-paint in a sequence of different image sizes: 50,100,150,200,250,350, 500, 700, 1000, 1350, 1750, 2200, 2700, 3250, 3850, 4500, and 9999 (this corresponds to the number of oscillators). The last burst is longer, and there is 1/2 second gap of silence after the first (reference) burst and before that last (9999) burst. The images other dimension was 20. The spacing of frequencies was exponential, between 40 hz and 18 khz. This is not intended to be useful, just an illustration during a discussion in a forum (http://www. Freesound. Org/forum/sample-requests/35199/?page=2#post75605). As mentioned there, i realized only afterward that exponential spacing would be giving me an approximation to pink noise instead of white noise, so the reference burst at the start is not really a fair comparison. Ideally, i would go back and re-do all this using linear spacing, but that's a lot of trouble. :-) i did, however, change to linear to get a white approximation, but that's a different sound i'll upload separately (c. F. Http://www. Freesound. Org/people/zimbot/sounds/242053/). I don't believe you can get true white noise without at least something being random in your synthesis method.