634 Royalty-Free Audio Tracks for "Follow"

Songː "Pato cua cua". Authorː Juan Rodríguez (1895-1928). Played byː Julio De Caro y su Orquesta Típica. Recorded in Nov 15th 1926. At 1926 the orquestra (sextet) had the following integrationː Bandoneons: Pedro Laurenz & Armando Blasco. Violins. Julio De Caro & Emilio De Caro. Piano: Francisco De Caro. Bass: Enrique Kraus. Temaː "Pato cua cua" (tango). Autorː Juan Rodríguez (1895-1928). Interpretado porː Julio De Caro y su Orquesta Típica Grabado el 15 de noviembre de 1926. La Orquesta en 1926 estaba integrada por Bandoneones: Pedro Laurenz y Armando Blasco. Violines. Julio De Caro y Emilio De Caro. Piano: Francisco De Caro. Contrabajo: Enrique Kraus. Pedro Laurenz (1er bandoneón), Armando Blasco (2do bandoneón), Julio De Caro (1er violín), Emilio De Caro (2do violín), Francisco De Caro (piano), Enrique Krauss (contrabajo).

Watch our travel video about dubai here: https://youtu. Be/q7oxul_ksaqyou might as well go and check out my instagram: https://www. Florianreichelt. Comleave a comment and tell me for which project you used it!! :). If you want to support me and my work or acknowledge that i provide my soundeffects for free - how about signing up to epidemic sound via the following link: http://share. Epidemicsound. Com/floepidemic sound offers a massive library of sound effects and music and by using my link you not only get the first 30 days for free but you can also cancel anytime! thus, if you only have one project right now you can literally get their entire sound library for free and basically earn me 30 bucks without paying anything yourself. Either way, i hope you have a good time with my sounds and can make your project work! all the best, florian!. Keywords: explosion, huge, sound, fireworks, dynamite, explode, boom, bang, impact, bomb, explosive, detonation.

Watch our beautiful travel video about hawaii here: https://youtu. Be/v9yfon_noxiyou might as well go and check out my instagram: https://www. Florianreichelt. Comleave a comment and tell me for which project you used it!! :). If you want to support me and my work or acknowledge that i provide my soundeffects for free - how about signing up to epidemic sound via the following link: http://share. Epidemicsound. Com/floepidemic sound offers a massive library of sound effects and music and by using my link you not only get the first 30 days for free but you can also cancel anytime! thus, if you only have one project right now you can literally get their entire sound library for free and basically earn me 30 bucks without paying anything yourself. Either way, i hope you have a good time with my sounds and can make your project work! all the best, florian!.

4-channel record of a rolling thunder. The record is slow downed to 0,7-speed. The thunder has now very deep frequencies, which can shake your house, if you have the right equipment to play the file. The 4 channels are recorded in irt-cross technique (microphone distance 25cm) so it is a 360° record. Http://irt-cross. Mozello. Deat the end of the track the rain moves to the front channels. (fade is starting at 1:20 min and is finished at 1:41min)my other track can be used for "intro" followed by this track. See/hear here for the intro option:https://freesound. Org/people/bluedelta/sounds/446753/. The spatial impression is best if headphones are used. Ch1 = flch2 = frch3 = rlch4 = rr. The download-file is a polywav. If you need to split the file (e. G. To make a stereo file), you can use the easy to use"wave agent beta"(free)from sound devices for example. ;-)_________________________________________________________used recording gear:zoom f84 x rode nt1 (without "a" = the black ones).

Created for an upcoming film, this is the audio from a nightmare a character in the film has about the terrible 1966 aberfan, wales disaster. He sees himself in a hallway at pantglas school then hears the coal tip land slide coming, then sees it crash through a distant wall and come rushing at him. I put it together from the following freesound samples:. 94114__tim-kahn__rumble126323__klankbeeld__horror-zombie-hell-atmos147239__matiasezcurra__mud-and-rocks-river-iruya-northwest-argentina168777__robinhood76__03792-children-screaming198095__cell31-sound-productions__earthquake-interior-metalrattling-2244501__hutsvoid__nervous-children249907__klankbeeld__horror-kids-01338721__rogerboyx69__inside-a-tornado379906__kevint1001__water-flood-enhanced402016__ylearkisto__ikkunoita-rikotaan-kepilla-breaking-windows-with-stick415608__rtb45__mud-volcano-field-salton-sea456806__breviceps__hot-bubbling-mud514381__zatar__earthquake3343130__inspectorj__ticking-clock-aand145801__mrbriandesign__kids-screaming-2. This was a very difficult piece of sound design to construct because of my emotions about the disaster and how the national coal board responded: 500 pounds sterling maximum to each grieving parent for each dead child, and with questions such as, "how close were you to your child?" if the answer was somehow not close enough for the panel, no money was awarded. The film scene will be handled with taste and respect, and no dead children will be depicted.

Watch our beautiful travel video about hawaii here: https://youtu. Be/v9yfon_noxiif you want to support me and my work or acknowledge that i provide my soundeffects for free - how about signing up to epidemic sound via the following link: http://share. Epidemicsound. Com/floepidemic sound offers a massive library of sound effects and music and by using my link you not only get the first 30 days for free but you can also cancel anytime! thus, if you only have one project right now you can literally get their entire sound library for free and basically earn me 30 bucks without paying anything yourself. Either way, i hope you have a good time with my sounds and can make your project work! all the best, florian!. Keywords: footsteps, concrete, feet, footsteps boot boots indoors indoor walking walk steps footstep foot foot step running foley snow run freeze stairs stairs gravel shoes.

Trying to start a 1983 volvo 245 after a stop at a gas station. First we hear the seatbelt warning signal after the driver turns the ignition on. The first start attempt fails. The two following attempts fail because the starter fails to engage with the flywheel, creating a very loud and unpleasant sound. There is some reverberation from the metal roof of the gas station. At 00:24, the driver remarks "he's doing it again!". The fourth attempt succeeds in starting the engine after a rather long cranking. We then drive off and we also hear some squeaking from the steering wheel. Throughout the recording we hear breathing noises from the driver (80 year old man, smoker). The recording was made in the front passanger seat with the window open, that's why there a very noticable difference between the left and right channel. Recorder: edirol r-09, 48khz wave/24-bit, cropped with cool edit pro, re-saved as 48khz wave/24-bit and compressed with flac. No other pp. Edirol r-09 settings: low cut: off, mic gain: low, agc: off. Recorded on june 15, 2012 in åkersberga, sweden.

I was recording outside my bedroom window while eating dinner in the living room, then i came back in here to see if i got anything interesting. I was zooming through the recording at 5x speed when i came across this bit of incidental pareidolia. I'm not sure what was going on, maybe the neighbors' stereo, but i don't remember hearing it, it's much louder in the living room so i should have. Whatever it was came out as a little distant choppy 2-notes alternating melody when played at 5x speed, which suddenly gets louder and solid as you hear the lower note followed by a third lower note. These 2 louder notes sound to me like someone singing the words all day. This would lead me to believe the original tones have some light harmonics i don't hear at normal speed. After which it goes back to the softer stuttering 2-note alternating thing from before. It doesn't sound like much at all at normal speed. So i just did a few straight pitch changes with goldwave until i got to 5x and saved this little file. See if it sounds like "all day" to you.

Vigorous picked bass sound. Preset #4 from bassesland vsti software. Notes starting from c5 produce harmonics. Http://syntheway. Com/bassesland. Htm. Bassesland is a virtual bass software that covers a wide range of sounds, from an electric bass guitar or an acoustic double bass, to the vintage bass synthesizers. Features. - rotary switch selector to change between the following basses:. 01 electro acoustic bass02 fretless electric bass03 jazz electric bass04 fingered bass and harmonics05 picked bass and harmonics06 muted bass and harmonics07 slapped electric bass08 bass slides (glissandos)09 fuzz bass overdrive10 minimoog sub-bass11 moog prodigy bass12 moog system 55 modular synth13 moog taurus pedal preset14 moog taurus bass pedal preset15 roland jx-3p juicy funk16 roland jx-8p synth bass17 roland juno-106 fat bass18 clavia nord lead acid bass19 oberheim ob-xa buzz bass20 arp 2600 bass (arp instruments, inc)21 oscar bass (oxford synthesiser company)22 kawai k3 resonance bass23 upright bass (acoustic double bass)24 upright bass pizzicato.

Hark! The Herald Angels Sing is an English Christmas carol which first appears in its modern form in 1850. The original lyrics are adapted from Charles Wesley's 1739 hymn ""Hark! how all the welkin rings", set it to the same tune as Christ the Lord is Risen Today. George Whitefield altered the opening lyrics to the more familiar "Hark! The Herald Angels Sing", and various others also made small alterations in the following years. In the early 1840s, Felix Mendelssohn wrote "Festgesang", a cantata in celebration of the presumed 400 year anniversary of Johannes Gutenberg's invention of the printing press. The tune to the second part of this piece, "Vaterland, in deinen Gauen", was adapted to fit the revised Wesley lyrics in 1855 by William H. Cummings, assembling the hymn tune into its more-or-less final form. It is performed by the chorus of U.S. Army Band "Pershing's Own", led by Colonel Thomas Rotondi, Jr. (Leader & Commander) and CSM Debra L. McGarity (Command Sergeant Major) c. 2010.

. . Inside an intercity express (ice) between stuttgart and mannheim, sitting in an almost empty (three passengers) second-class broad-spaced compartment at around 9 pm. After a shaky first minute an even part follows for around 90 seconds. Interrupted by some road holes the steady sound continues, now with the frequency of the engine sound rising until the beginning of the fourth minute. Here the "main part" begins, starting with several moments of acceleration, deceleracion and breaking. From minute 5:15 to 7:35 the train reaches it's peak velocity, with only few bumps. After a short deceleration the train inceases velocity again, reaching a second peak, this time noticeably bumpier. Once in a while you can hear some element of the fitments rattling nervously along the track, depending on the constitution of the railways and the overall situation. During the last two minutes the train keeps on decelerating slowly and continuously until the end. Recorded in stereo with a portable stereo recorder (zoom); enhanced in audacity using a parallel dynamic eq (tdr nova), a compressor (vos density mkiii) and a binaural spacializer (auburn panagement).

Watch our beautiful travel video about hawaii here: https://youtu. Be/v9yfon_noxiyou might as well go and check out my instagram: https://www. Florianreichelt. Comleave a comment and tell me for which project you used it!! :). If you want to support me and my work or acknowledge that i provide my soundeffects for free - how about signing up to epidemic sound via the following link: http://share. Epidemicsound. Com/floepidemic sound offers a massive library of sound effects and music and by using my link you not only get the first 30 days for free but you can also cancel anytime! thus, if you only have one project right now you can literally get their entire sound library for free and basically earn me 30 bucks without paying anything yourself. Either way, i hope you have a good time with my sounds and can make your project work! all the best, florian!. Keywords: rain, water, dripping, softly, rainy, drops, tap, water rain rain dripping wet wet drip drips drips raining shower raindrops weather raindrop drop.

A was busy doing some big muff basedenvelope follower, envelope filteredcomposition, when it hit me, a small portioncould be used for the max. 12 second loopof a loop exercice we're doing in the class. Here, i manipulate the envelope filter twice. First, a recorded loop, of my vintage teisco60's 70's don't remember anymore, doesn't matterguitar, i found for 90 euro at an online rommelmarktlet's say. . . I put the envelope filter so that it 'just' triggerson the peaks of my audio file. . . Oww yeah !!!. The second time i trigger the envelope filter, is wheni play live on top of the recorded loop, i'm playing on purposepercussive, a coup of my hand with an immediate attack, toeven further more let the filter open & because of the amazinggrainy low-frequency based russian sovtek big muff the filtergrowls even more. . . On top of the just percussive behavior, i playof course an harmonic, content related sequence, feeling that the loopwhile being in an odd measure, already is repeating itself , the liveplaying, contrastwise, makes variation in texture & harmonic/melodice content. . . This is only a small portion of the biggercomposition, that's comin'curious ? head to. Https://jozefaleksanderpedro. Bandcamp. Com/. For support : paypal/jozefaleksanderpedro. Peace !04012021.

I combined an ambient bar crowd recording that i found here with a funky little back beat that i also found on this site and made a great cubicle noise blocker / filter. I use this at work with headphones on when i'm trying to concentrate and drown out conversations in the office. Also good for when i work from home and i'm trying to drown out the tv and other distractions. The crowd noise is excellent at diffusing regular office conversation and the little funky back beat keeps the crowd noise from getting boring. This works really well even at fairly low volume i. E. You dont have to crank it loud to drown out the distractions. Hope you like it and thanks to everyone for the great sounds on this site. Combination of the following two files - yet another bar crowd - june 2007. Wav (lonemonk)hip hop. Wav(ls)ps - i purposely let the crowd noise run out for a few seconds at the end so that you can appreciate the full groove of the hip hop. Wav. Has a nice effect when you loop the whole thing, gives you a little break from the crowd noise. Almost like you're stepping out of the room for a second.

German folksong from the 19th century. This midi file was created in 2014 with the claim, to be in accordance with the original. This includes mistakes in the original. Deviations are unintentional or software related. Modification of this file should follow this claim or become a clearly marked fork. Deutsches Volkslied aus dem 19. Jahrhundert. Titel: "(Die) Teutoburger Schlacht". In Liederbüchern häufig verzeichnet mit dem beginnenden Vers "Als die Römer frech geworden". Diese Midi-Datei entstand durch einfaches setzen der Noten in einer Midi-Software in 2014 mit dem Anspruch, dem Original (bzw. der Quelle) möglichst genau zu entsprechen. Dies schließt Fehler im Original mit ein. Abweichungen sind unbeabsichtigt oder softwarebedingt. Modifikationen an dieser Datei sollten diesem Anspruch entweder folgen oder eine deutlich gekennzeichnete Abspaltung darstellen. Charakteristische Inhalte der Midi-Datei: Der Text der erste Strophe ist in der Midi-Datei enthalten (auslesbar mit entsprechende Software) (Text gemäß der Quelle). Zwei Tracks sind enthalten: Nur Melodie, sowie Melodie mit Begleitkomposition (beides gemäß der Quelle) Ein Kommentar ist hinterlegt der inhaltlich weitgehend diesen Angaben entspricht

Modern Music from Psalm Singer's Amusement by William Billings (1781). Lyrics: we are met for a Concert of modern invention To tickle the Ear is our present intention Audience are seated expecting to be treated with a piece of the Best with a piece of the best & since we all agree to set the tune on E the Authors darling Key he prefers to the rest let the Bass take the Lead & firmly proceed till the parts are agreed to... let the Tenor succed & follow the Lead till the parts are agreed to... let the Counter inspire the rest of the choir inflamed with desire to... let the Treble in the rear no longer forbear but expressly declare for a... ...fuge away then change to brisker time & up the Ladder climb & down again the mount the second time & end the strain then change the Key to pen five tones & flow in Treble time the Notes exceeding low keep down awhile then rise by slow degrees the process surely will not fail to please Thru Common & Treble we jointly have run we'll give you their Essense compounded in one all though we are strongly attached to the rest six four is the movement that pleases us best that pleases us best six four is the movement that pleases us best & now we address you as Friends to the cause performers are modest & make their own laws although we are sanguin & clap at the Bang the part of the hearer's to clap their Applause to clap their applause the part of the hearer's to clap their Applause

I guess it's what (nearly) every hongkongers would like to make it as ringtone sound for everyday life, right? #hehe#. Recorded near dolce & gabbana kowloon shop, at canton road, tsim sha tsui, hong kong, during protesting against d&g;'s "blocking esp. Hongkongers to take photos outside their shops" behaviour on 8th january, 2012. The "無綫新聞．事事但但" (tvb news, absentminded (news reporting)) is a slogan which to satirize tvb that self-filtering unwanted news for china government, or specificity, the communist party of china. Their (sometimes actually talking about yuen chi wai's, the head of the news dept. Of tvb, who interviewed with li pang after "8964" tiananmen square protests of 1989, with no following the professional conduct of journalism, and being abused as dog after the report was broadcasted) behaviour lets many hong kong network users calling them cctvb, which means they are more likely to be the hong kong mirror of cctv in china. A man even made a board wrote "無綫新聞．事事但但" and shown on camera when tvb news was doing a live report. This slogan are being called by protesters on that event as they don't like tvb reports the event like a entertainment news.

4-channel hq record of a sudden and heavy thunderstrike (nearly) without rain in the afternoon of a hot summerday. The recording equipment was prepared for recording thunder, so there is no distortion, no compression or (auto)gain reduction done by a limiter in the zoom f8, means the whole dynamic is still there and will be audible by a adequate monitor/audio equipment. ;-)the sound was not edited or otherwise enhanced with effects. This file can be used as a intro followed by my other track (link below), which has soft rain at the beginning, before the thunder comes. . . ;-https://freesound. Org/people/bluedelta/sounds/367222/. The 4 channels are recorded in irt-cross technique (microphone distance 25cm) so it is a 360° (4x90°) record. Http://irt-cross. Mozello. De_________________________________________________________used recording gear:zoom f84 x rode nt1 (without "a" = the black ones). Ch1 = flch2 = frch3 = rlch4 = rr. The download-file is a polywav. If you need to split the file (e. G. To make a stereo file), you can use the easy to use"wave agent beta"(free)from sound devices for example. Https://www. Sounddevices. Com/product/wave-agent/. Comments about this atmo-record are welcome! ;-). . . And you can help others to find this sound easier by (star)rating this track.

Synthesized sound of a flying helicopter. The patter is as follows:. Sound 1 || sound 2 || sound 3 || sound 4 || sounds 1+2 || sounds 2+3 || sounds 3+4 || sounds 1+3 || sounds 2+4 || sounds 1+2+3 || sounds 1+3+4 || sounds 2+3+4 || sounds 1+2+4 || sounds 1+2+3+4 || sounds 1+2 again || sounds 1+2 with phaser effect (pitch up and down). Each sound above is exactly 2 seconds long except the second-to-last sound (4 seconds long) and the last sound (8 seconds long). All sounds synthesized in propellerheads reason's thor polyphonic synthesizer. Here's how i did it: used two oscillators (one noise oscillator and another multiple-wave oscillator), and then passed them through two different filters. In each filter, i lfo'd the frequency knob at 2. 0hz (120bpm), and the pattern you see above is each oscillator-filter combination muted in different ways. For the last sound, i applied a phaser effect and automated the frequency knob or some other knob to give that pitch-up pitch-down effect.

This is a submission for sarah belle reid's collaboration prompt for her forthcoming electroacoustic opera. It comprises a dry recording of a male voice reading the following original text describing a moment from a dream:. "this is a story about dreams. It is not about a specific dream, or rather while it takes place in one dream it is about many. From time to time in my dreams i am in a city. Not a particular city, like paris or chicago, but the events of the dream happen in a setting which includes tall buildings and crowded streets and views of the sun setting behind a busy skyline. One time, while having such a dream, i was standing on an arcing bridge over a body of water like a river or canal. The late afternoon sun was to my left, and the warmth of the sunlight contrasted with the cool breeze off the water. As i looked across the curving expanse of water, i was mesmerized by the bright reflections of the sun on the water, on the glass of the windows, across this expansive space. I realized with a start that i recognized a cluster of buildings across the way. I had seen them before, in another dream. In that dream i had been a different person. Rather, in most all of my dreams i am in some way myself, but entangled in a moment from some other life, surrounded by characters and pursuing concerns that are alien to my waking being. In that moment, in this dream, i came to understand that all my dreams that happen in a city are happening in the same city, the same geography and architecture holding dozens of episodic lives i may have between sleeping and waking. ".

Here are some recordings of some of my basic woodwork tools. I'll try and get better recordings in the future but i share a workshop and it is rarely quiet enough to get good recordings. All recordings are me working on a piece of 25mm thick walnut timber. Listening back has made me realise that all of these tools need sharpening!! :). The recordings are as follows:. 00:00 - 00:26stanley block plane fine shaving the edge of the timber. 00:28 - 01:33stanley 5m retractable tape measure, metal blade and plastic casing. Tape being wound out and drawn back in. 01:36 - 03:30milwaukee m12 battery drill. Trigger being pressed, chuck opening and closing and bits being changed. Drilling into timber. Driving screws into the timber and removing them again. 03:32 - 05:14lie nielsen crosscut tenon saw cutting across the grain of the timber. 05:17 - endgeneral purpose wood saw 'ripping' along the grain of the timber. This recording was made using a sound devices mixpre6ii and a stereo pair of fel em172 mics. Low cut on the sd which in basic mode is 80hz (i think). There is no processing to this recording other than to ‘normalize’ the levels. I do not require any credit or attribution. If any of these sounds have been of help, and you are feeling charitable, please do consider donating to freesound to help keep the site running (a link is also on the home page). Any donations are greatly appreciated!.

Favorite airs from The Mikado (music by Gilbert and Sullivan, 1885) was a 1914 production by Edison Records, performed by the Edison Light Opera Company. This was one of several phonograph cylinders put out by Edison Records (and, no doubt, others) that attempted to encapsulate an entire opera or musical in about four minutes generally, they consisted of a bit of the opening chorus, a verse or two from one or two of the songs, then a bit of the Act II finale. This one is not atypical. The cast is not given, but in the 1913 recording of Pinafore, also by the Edison Light Opera Company, the following singers were featured: Elizabeth Spencer, Mary Jordan, Harry Anthony, Walter Van Brunt, James F. Harrison, and William F. Hooley The only copy of the recording I had to work from was not particularly high quality, and, though I think I managed to clean it up fairly well, I had to leave some of the background noise in, or the singers start to sound unnatural since cleanup of static does, by necessity, remove some information as well. By removing clicks and pops, then blending a noise-reduced track with the one just cleaned of the clicks and pops, good results can be achieved. Notes This was Edison Blue Amberol #2179, which was a reissue of Edison 4-minute Amberol #465. Songs All songs are heavily abridged: Overture (first few seconds) A wand'ring minstrel I Three little maids from school are we Tit-willow (On a tree by a river) Act II Finale: "For he's gone and married Yum-Yum" and "The threatened cloud has passed away" The full text of The Mikado is available on English Wikisource: s:The Mikado.

Favorite airs from The Mikado (music by Gilbert and Sullivan, 1885) was a 1914 production by Edison Records, performed by the Edison Light Opera Company. This was one of several phonograph cylinders put out by Edison Records (and, no doubt, others) that attempted to encapsulate an entire opera or musical in about four minutes generally, they consisted of a bit of the opening chorus, a verse or two from one or two of the songs, then a bit of the Act II finale. This one is not atypical. The cast is not given, but in the 1913 recording of Pinafore, also by the Edison Light Opera Company, the following singers were featured: Elizabeth Spencer, Mary Jordan, Harry Anthony, Walter Van Brunt, James F. Harrison, and William F. Hooley The only copy of the recording I had to work from was not particularly high quality, and, though I think I managed to clean it up fairly well, I had to leave some of the background noise in, or the singers start to sound unnatural since cleanup of static does, by necessity, remove some information as well. By removing clicks and pops, then blending a noise-reduced track with the one just cleaned of the clicks and pops, good results can be achieved. Notes This was Edison Blue Amberol #2179, which was a reissue of Edison 4-minute Amberol #465. Songs All songs are heavily abridged: Overture (first few seconds) A wand'ring minstrel I Three little maids from school are we Tit-willow (On a tree by a river) Act II Finale: "For he's gone and married Yum-Yum" and "The threatened cloud has passed away" The full text of The Mikado is available on English Wikisource: s:The Mikado.

O Tannenbaum, an 1824 German Christmas carol written and with music arranged by Ernst Anschütz using a traditional folk melody as his basis. Performed by the chorus of U.S. Army Band "Pershing's Own", led by Colonel Thomas Rotondi, Jr. (Leader & Commander) and CSM Debra L. McGarity (Command Sergeant Major) c. 2010. This recording includes the first verse in German, followed by an English translation. CSM Debra L. McGarity O Tannenbaum (Mon beau sapin) interprétée par le chœur de l'armée américaine (U.S. Army Band). Basée sur un chant traditionnel allemand, elle est devenue depuis le début du XXe siècle un chant de Noël associé au traditionnel sapin de Noël. Українська: «О ялиночко!» (O Tannenbaum) — німецька різдвяна колядка у виконанні хору армійського оркестру США «Pershing's Own». Эрзянь: "O Tannenbaum" ("О, куз" эли "Роштувань Чувто") конань моры "Pershing's Own" АВШ-нь ушмовиень оркестрась. Моронть юрокс ашти немецень раськень эськоень моро, сон теевсь XX пингеньть ушодомонтень Роштувань ине морокс, кона сюлмазь Роштувань чувтонть марто. العربية: "أغنية O Tannenbaum" (يا شجرة الميلاد) من أداء جوقة الجيش الأمريكي ("Pershing's Own")، وهي مشتقة من أغنية تقليدية ألمانية، أصبحت إحدى أغاني ميلاد يسوع مرتبطةً بتقليد شجرة الميلاد منذ بدايات القرن العشرين. Čeština: "O Tannenbaum", německá vánoční koleda, vzniklá na základě tradiční německé lidové písně se z počátku 20. století v podání amerického armádního sboru "Pershing's Own".

Forward with NOAA the NOAA Corps Song The "NOAA Corps Song" is actually entitled "Forward with NOAA." In 1987-88 the National Association of Commissioned Officers (ACO) was interested in commissioning a NOAA Song. Captain (then Commander) Steve Manzo was a member of the ACO Executive Board and volunteered to assist. Manzo contacted a long-time friend, Bob Arberg. Bob's father, Bud Arberg, had actually written the music and words to the "Army Song" -- while assigned to the Adjutant General's Staff during World War II. Dr. Arberg (former Princeton graduate in music) was retired and he readily volunteered to write a song. Dr. Arberg was provided reference materials on the NOAA Corps. He recognized at the outset that this was an attempt to build NOAA Corps morale and he cautioned that buy-in/acceptance within the Corps would not be easy. The song was first presented at a National ACO Dining-In in either 1988 or 89. Secretary of Commerce William Verity was present, as were both Bud and Bob Arberg. Bud Arberg played the piano and performed the "NOAA Song" to the assembled group of 150 officers and guests. Upon completing the NOAA Song, Secretary Verity graciously presented Dr. Arberg with a small gift of thanks on behalf of DOC/NOAA/NOAA Corps. The music was arranged by the USAF Band. The words are as follows: Forward with NOAA With the Corps that's got it all Science and Service We are always there to meet the call We survey the oceans And we track storms in the air Forward with NOAA We're the NOAA Corps, we're always there -- Musical Interlude then Repeat -- Forward with NOAA With the Corps that's got it all Science and Service We are always there to meet the call We survey the oceans And we track storms in the air Forward with NOAA We're the NOAA Corps, we're always there

Daisy Bell sung by the DECtalk speech synthesizer. Using v4.61.02 for Windows. In G major at 200BPM, roughly. The input code is as follows: [:phoneme on] [d<40,27> ey<860> z<40,24> iy<860> d<40,20> ey<860> z<40,15> iy<860>] [g<40,17> ih<220> v<40> m<40,19> iy<260> yx<40,20> or<260> ae<300,17> en<300> s<40,20> rr<260> d<40,15> uw<860> _<900>] [ay<860,22> m<40> hx<40,27> ae<810,27> f<30> k<30,24> r<30> ey<860> z<40,20> iy<860>] [ao<200,17> el<100> f<40,19> or<260> dh<40,20> ax<260> l<40,22> uh<560> v<40,24> ax<260> v<40,22> yu<860> _<600,24>] [ih<260,24> tx<40> w<40,25> ow<180> n<40> t<40> b<40,24> iy<260> ax<260,22> s<40> t<40,27> ay<560> l<40,24> ih<220> sh<40> m<40,22> ae<60> ae<100,24> ae<100,22> r<40,20> ih<560> jh<40> _<560,22>] [ay<300,22> k<40,24> ae<520> en<40> t<40,20> ax<260> f<40,17> or<560> d<40,20> ax<260> k<40,17> ae<260> r<40,15> ih<560> jh<40> _<560>] [b<40,15> uh<220> tx<40> yu<560,20> d<40> l<40,24> uh<210> k<30> s<30,22> w<30> iy<260> t<40> _<560,20>] [aa<560,20> en<40> dh<40,24> ax<260> s<40,22> iy<260> t<40> _<260,22>] [ah<150,24> v<40,25> ax<110> b<40,27> ay<260> s<40,24> ih<260> k<40,20> el<260> b<40,22> ih<260> el<260> tx<40> f<40,15> or<250> t<10> t<40> uw<860,20> _<900>]

Street noises recorded while walking through the most touristy area of montmartre, in paris, france. Streets visited include rue des saules, rue norvins, rue du mont cenis, rue du chevalier de la barre, rue du cardinal guibert, rue azais, rue saint eleuthere, in that order. Highlights include:. 00:00-00:30-> walking south along the relatively quiet saules ("willow") street in montmartre; footsteps and squeaking boots. 00:42-01:02-> street-cleaning truck passing on the same street. 01:02-01:30-> piano playing inside a restaurant on norvins street. 01:30-01:36-> rock music in some other shop. 01:44-01:46-> kids running past. 01:56-01:58-> barely audible music somewhere, under heavy crowd sounds. 01:56-02:59-> crowd noises, clinking silverware and plates in the restuarants i'm passing, increasingly heavy crowd. 03:00-03:21-> passing van, followed by another bus. 03:21-04:06-> ill-behaved young males ruining my take with strange ape-like cries. 04:06-04:17-> i think this was a passing taxi. 04:20-05:08-> someone playing a steel drum on the ground in mont cenis street. 04:43-------> someone closing a gate, i think. 05:16-05:18-> american tourist exclaiming at close range in chevalier de la barre street. 05:53-06:18-> street portrait artists talking and joking with each other. 06:30-07:25-> someone playing the harp on cardinal guibert street next to the basilica, partially drowned out by a passing car. 07:25-08:23-> someone singing on the steps in front of sacré-coeur. He had a powerful but distorted amplifier--the bad sound quality was like that in real life. I turned around in front of the basilica on this dead-end street and that's why the music switches sides. 08:23-08:40-> yes, that's a chainsaw. The city was trimming some large trees. 09:33-09:47-> more chainsaw noise as i walked past the workers on azais street. 10:00-11:00-> increasing crowd noise as i walk back north to the busiest part of montmartre along saint eleuthere street. Recorded with a hand-held h4n at 96 khz / 24-bits, stereo, compressed into 160 kbps / 44. 1 khz / 16 bits mp3. Recording date march 16, 2012, in the early afternoon.

Ok, i don't know how many of you might be interested in this, but i figure there's no harm in posting it. I'm working on some original songs. Laptop-based, electronic songs, with many orchestral parts, including violin, viola, cello, and string bass. Presonus studio one has some very nice vst string instruments, and i have some really great ones for kontakt. But they all are missing one thing, and i couldn't find the (admittedly esoteric) sound that i'm looking for anywhere on the internet. Being a viola player myself, i recorded myself playing these very particular incidental sounds. Let me explain-. There's this 'grabby' sound that a well-rosined bow makes just is it is first being drawn across the string. Listen carefully to any of the pros and you'll hear it. In your laptop sequences, if used subtly, right at the point where the first note of a phrase is initiated, this sound can give the string part a marked sense of realism*. This, combined with vibrato, reverb and a nice warm/tube/tape saturation setting, nobody will be able to tell the difference between your vst and the real thing. About the audio-i tried to keep them as pitchless as possible, thus not limiting their utility. I recorded two sets of all four open strings (c, g, d, a), first close mic'ed, and once from a few feet away, in stereo. Or to say it another way, the sounds are as follows-1. Open c close2. Open g close3. Open d close4. Open a close5. Open c far6. Open g far7. Open d far8. Open a far. It's totally overkill for me to record all the different versions, but i suppose somebody out there might find one more appropriate than another for their purposes. They work pretty effortlessly for violin and viola, but you might have to pitch them down for cello and string bass. I added no processing whatsoever, apart from normalizing each individual sound. Aiff, recorded at 44/16. Nady scm-2090 stereo condenser mic, focusrite saffire pro 24 interface, recorded in logic. Not the quietest room, but these sounds will be so far down in the mix that it won't matter. Free for all to download, no attribution necessary. Http://www. Freesound. Org/people/bruce%20burbank/sounds/220917/. As an example, here's the part i'm working on that motivated me to record these sounds, with the grabby sound in place. See if you can spot the three times i used it. *pro tip- much the same way i'll insert an inhale breath right before horn or oboe phrases.

Thank you for listening. If you enjoyed this music, please subscribe to my youtube-channel. About this release:download available at https://freesound. Org/people/kjartan_abel/sounds/608392/ and soundcloud. Usage rights and limitationsthis release is licensed under the creative commons attribution-sharealike 4. 0 license, which allows you it freely in your own projects (commercial or otherwise) as long as provide proper credit:. ————————————————————–april showers by kjartan abel. Visit https://kjartan-abel. Com/library to download royalty-free music for your next project. Cc by-sa 4. 0 attribution-sharealike 4. 0 international. ————————————————————–. About the artist:best known for his immersive musical journeys, kjartan abel composes original music and soundscapes for a variety of media projects, including youtube videos, podcasts, television shows, games, art installations and for feature films. Creatively influenced by the likes of vangelis, jean michel jarre, koto, laserdance, and røyksopp, tangerine dream and kraftwerk to name a few. Please subscribe to kjartan abel on youtube: https://kjartan-abel. Com/youtube. Listen to kjartan abel:spotify: https://kjartan-abel. Com/spotifyapple music: https://kjartan-abel. Com/applemusicamazon music: https://kjartan-abel. Com/amazonmusicsoundcloud: https://kjartan-abel. Com/soundcloudyoutube music: https://kjartan-abel. Com/ytmusic. Follow kjartan abel:instagram https://kjartan-abel. Com/instagramfacebook https://kjartan-abel. Com/facebooktwitter https://kjartan-abel. Com/twitterpinterest https://kjartan-abel. Com/pinterest. This track was supported by generous patreons:want more royalty free music? consider supporting me on patreon: https://kjartan-abel. Com/patreon. Copyright issues:none of my music has been uploaded to content id so there should be no copyright issues if you use it on youtube or any other service, but copyright claims against user-generated videos on youtube do arise from time to time. To learn more about any copyright issues, please visit https://kjartan-abel. Com/copyright-issues/. Usage rights and limitations:simply put – music in the music library is free, even for commercial use, as long as attribution is given! downloadable files are licensed under the creative commons attribution by-sa 4. 0 international license (cc by sa 4. 0) unless stated otherwise. To learn more about your usage rights and limitations, please visit https://kjartan-abel. Com/usage/. Please use the contact form at https://kjartan-abel. Com/contact/ for inquiries!. Thank you for your cooperation. Take care and enjoy this composition!.

This is a failed attempt at sampling a rock drumkit on 6 tracks. The channels are as follows:. 0: oh l1: oh r2: kick3: snare4: room l5: room r. I've captured this into ardour 5. 12 using 3 different audio interfaces:. Behringer umc202hd - overheads (dynamic mics)line 6 pod studio ux2 - kick and snare (condenser + dynamic)zoom h2 - room ambience (built-in xy condenser mics). This file is a 6-channel 24-bit flac file encoded using ffmpeg from the raw wav files exported from the original ardour session. There are several issues with this recording however:. 1. The tracks seem to drift, because the individual audio interface clocks were not in sync. The proper way to record multitrack audio is using a single multichannel audio interface - but i didn't have one. 2. There's either x-runs or some usb transfer issues creating small glitches and dropouts in various tracks her and there. Don't know why did this happen, as we've been tracking the real drummer's performance without these issues. Now - fixing these issues manually would be an insane amount of work, but i hope maybe someone has means to either solve them with programming a special tool, or know a tool that could fix these, and make this recorded session ready to be sliced as a drumkit for say - drumgizmo. There's some really good stuff in here - an i was able to cut and mix some really nice drum samples, that i've been using for years, but it's not ready to be fully sliced for maximum flixibility. The instrument was played by myself - it's a drumset by pearl (don't remember the details), owned by the drummer of a band i recorded this with. The band was called small hint - hence the drumkit name. We were recording an ep, and i used some free time left to capture this as well. The ep was never finished and we disbanded soon after. Regarding fixing the issues - here's what i think needs to be done:. 1. I think each hit would have to be automatically phase-aligned on all 6 channels, to correct for the drift. 2. I think it should be possible to automatically detect clicks by simply watching for a sudden change in amplitude between adjacent samples - marking bad areas and then using something like audacity's repair effect to interpolate the waveforms. I think the glitches have much steeper changes in amplitude than even the drum transients, so it should be possible to differentiate between those automatically. If you found a way to fix at least some of these problems - please let me know!. If you've made some "remixes" on freesound - i'd also love to know that. Apart from that - sample what you can out of this and make some sick drum tracks!.

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.

This is a sci-fi ambient drone sound i made. It's creative commons cc0, so please treat it as public domain. You can use it in any commercial or non-commercial media for free, no restrictions. For those curious how i made this, i took a quick 8-second drum loop from my pocket operator po-33 (ko) and ran it through a free time-stretching/pitch-shifting program called akaizer. The program's based on old samplers like the akai s1000 that had extremely artifact-heavy time-stretching and pitch-shifting features. If you slow a sound down enough, the final product tends to sound harsh and electric. Akaizer turned my 8-second drum loop into 2 minutes and 38 seconds of harsh, bassy noise, pretty damn close to the final. Then i imported the file (we'll call it file a) into reaper, my daw. Track 1 has reaeq with a high-shelf acting like a low-pass. Its curve is set at 1386. 2 hz, gain at -inf, and bandwidth at 2. In retrospect, i have no idea why i didn't use a low-pass. Track 1 has a send to a blank track 2, which has a fab-filter pro-q 3 high-pass filter with a 12db slope. It's at 320. 57hz, q is 1. 096. After the eq, track 2 has valhalla shimmer set to the black hole preset with no changes. Track 3 is the default file a with valhalla shimmer on the black hole setting, but with two tweaks. Low-cut is at 30hz, high-cut is at 6630hz. Everything else is the same. That's followed by fab-filter pro-q 3 with these eq settings:-0. 72db at 69. 463hz, q at 1. 007. -1. 11db at 536. 64hz, q at 1. 013, dynamic eq (click "make dynamic" and leave everything as-is). The point of this dynamic eq is to give a slight drop in gain in the 500hz region, which tends to get muddy in larger mixes. I wasn't sure if i'd use this for a larger project, and i didn't want build-up in that region from the already large-sounding track 1 and 2. The ocassional eq drops here also adds a warble to the final mix that helps sell an analog, electrical sound. +0. 85db at 3697. 3hz, q at 1. 009. This is to add subtle airiness to the drone. It seems weird to have "airiness" in the 3-4k region, but it's the sort of rumbliness of the sound traveling away and dissipating in the atmosphere after the lowest drone sounds. My volume fader settings for all 3 tracks:. Track 1: -8. 59 dbtrack 2: -6. 46 dbtrack 3: -6. 43 db. On my master bus, i have izotope imager 9 with these settings:. Band 1: width at -100 (mono) for 59hz and below. Band 2: nothing at 60hz to 525hz (width at 0). Band 3: width at 48. 1 for 526 to 1. 4khz. Band 4: width at 49. 4 at 1. 4khz and above. Stereoize is set to 6. 4ms on mode i. And that's it! no compressors or limiters anywhere, since i liked how dynamic the actual tracks were and i figure you can always add your own compressor or limiter to the final if you want. I've also added the original po-33 drum loop on my page, as well as the loop after it was run through akaizer but before it hit reaper in case you want to do your own processing. Enjoy :).

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.

Sounds of orchestral drums that can be used for film scoring or making other kinds of soundtrack music. Begins with oneshots, there's also rolls, accents and phrases. This is synthesized with zynaddsubfx. Sequenced and rendered with lmms, eqd, normalized and edited with audacity. Paste the following text into a text file and import that as labels in audacity, you can then export multiple files from this one and have them properly named. A neat trick to put order into this sample collection, quickly (i did the hard work for you), it alsow is much easier to uplaod multiple files i this way, as describing them all would take ages. 0. 000000 30. 545306 oneshots 0130. 545306 61. 272766 oneshots 0261. 272766 92. 018435 oneshots 0392. 018435 123. 000884 oneshots 04123. 000884 153. 710113 oneshots 05153. 710113 184. 692562 oneshots 06184. 692562 244. 690340 oneshots 07244. 690340 304. 360249 oneshots 08304. 360249 309. 860952 roll short 01309. 860952 314. 924512 roll short 02314. 924512 320. 060930 roll short 03320. 060930 325. 124490 roll short 04325. 124490 330. 333787 roll short 05330. 333787 335. 506621 roll short 06335. 506621 340. 706803 roll short 07340. 706803 350. 915896 roll decelerating 01350. 915896 361. 115873 roll decelerating 02361. 115873 371. 534422 roll decelerating 03371. 534422 381. 989410 roll decelerating 04381. 989410 392. 189388 roll decelerating 05392. 189388 402. 498662 roll decelerating 06402. 498662 414. 647574 roll decelerating 07414. 647574 422. 752925 roll long 01422. 752925 430. 803628 roll long 02430. 803628 438. 854331 roll long 03438. 854331 446. 795737 roll long 04455. 101429 463. 152132 roll glide up 01463. 152132 471. 202834 roll glide up 02471. 202834 479. 326395 roll glide up 03479. 326395 487. 413537 roll glide up 04487. 413537 495. 500658 roll glide up 05495. 500658 503. 587800 roll glide down 01503. 587800 511. 565646 roll glide down 02511. 565646 519. 652766 roll glide down 03519. 652766 527. 776327 roll glide down 04527. 776327 535. 972744 roll glide down 05535. 972744 542. 019887 phrase a 01542. 019887 548. 176304 phrase a 02548. 176304 554. 296281 phrase a 03554. 296281 560. 379841 phrase a 04560. 379841 566. 463401 phrase a 05566. 463401 574. 696258 phrase a 06574. 696258 578. 666961 accent 01578. 666961 582. 819819 accent 02582. 819819 586. 899796 accent 03586. 899796 590. 761224 accent 04590. 761224 594. 768367 accent 05594. 768367 600. 997642 accent 06600. 997642 606. 316213 phrase b 01606. 316213 611. 634762 phrase b 02611. 634762 617. 026190 phrase b 03617. 026190 622. 344762 phrase b 04622. 344762 630. 431882 phrase b 05630. 431882 635. 714014 glide up 01635. 714014 640. 959728 glide up 02640. 959728 646. 387574 glide up 03646. 387574 651. 669705 glide up 04651. 669705 657. 061134 glide up 05657. 061134 662. 416122 glide up 06662. 416122 667. 698254 glide down 01667. 698254 673. 089683 glide down 02673. 089683 678. 444671 glide down 03678. 444671 683. 799660 glide down 04683. 799660 689. 045374 glide down 05689. 045374 695. 071319 glide down 06703. 454324 711. 891179 roll long 05711. 891179 720. 076735 roll long 06720. 076735 728. 540499 roll long 07728. 540499 733. 672177 wobble 01733. 672177 739. 129206 wobble 02739. 129206 744. 406735 wobble 03744. 406735 749. 731383 wobble 04749. 731383 755. 116599 wobble 05755. 116599 761. 650683 wobble 06.