134 Royalty-Free Audio Tracks for "Fourth"

Fireworks recorded amidst the buildings of an apartment complex. Lowpassed around 1khz. Slightly expanded dynamic range. I cut as many incidental noises as i could hear on my headphones (cars, neighbors, etc) but there's still some residual hum from an electrical box that was nearby as well as wind. Recorder: zoom h1date: 7/4/2017time: 10:00pmlocation: fremont, ca (usa).

French composer Erik Satie created several works for the piano entitled Gnossienne. This is the first piece in a set of three composed before the three works explicitly titled Gnossienne, but not published until after the composer's death, and not originally titled Gnossienne or numbered as such, and the fourth piece of what ultimately became seven works that shared the name Gnossienne. This rendition was performed by the La Pianista.

Various sounds created with ar 15. First sound is removing the magazine. Second sound is putting the magazine back in, but not all the way. Third sound is pushing the magazine in all the way. Fourth sound is taking the magazine out again. Fifth sound is putting it in again, all the way this time. Sixth sound is cycling the charging handle. Sixth sound is engaging the bolt catch with an open bolt. Recorded with a blue snowball through audacity.

Circle of 5ths loop compiled on a 2015 macbook pro using field recordings. Tempo / time sig:24 bars of 3/4 timing with each bar lasting 2. 5s. Or 12 sets of 6/8 at 5s per bar with a total length of 60s. Filters:hipass pumped at 60hz, -5db. Lopass pumped at 1200hz at -6db. Delay set to 0. 05s at 600hz with a 60% wet mix. Arranged with the tonic 5th as a constant with the last (fifth) 5th in the circle, starting and ending with the tonic. Second 5th enters in 5s, third in 15s and the fourth in 25s as the fifth stops. The fifth 5th begins to fade back in after 10s of silence, which begins the process of the second, third and fourth fading out in that order. The fifth 5th is at full volume as the loop turns, as is the tonic. The mood changes noticeably as each consecutive 5th begins, and changes again as the following 5th joins the loop.

Awadagin Pratt performs the first and fourth movements of Franz Schubert's piano four hand Fantasia in F minor with student pianist Lucy Hattemer at the White House Classical Music Student Workshop Concert. In the 1 hour session this is from about 21:20 - 29:04.

1st track :generate a pink noisedelete frequencies up to 2khz with the equalizershape a crescendo - decreshendo envelope. 2nd track :generate few very low frequencesmake it alternate four times betwin high and low strength with envelope toolapply a compressorput a decrescendo envelope. 3rd track :generate a 300hz sinusput an envelope with an agrssive attack and a rapid end (0. 1s length)make it correspond with the end of the second low echo (track 2)generate the same sound, lower, with a 600hz and 1200hz sinus, corresponding respectively to the third and the fourth low echo.

The sound of water free falling off the edge of a flat roof. I opened the apartment balcony door and started recording. The fourth floor apartment is on the corner. The water was draining off the flat roof over the edge and falling directly from the roof to the ground. The recording equipment is a studio quality apex 460 multi pattern tube condensor microphone. It was located to avoid getting wet (!) and was about 90 degrees and six feet away from the sound source, just set in a few feet from the open balcony door.

The range of a Jew's harp as string harmonics:“By using the cavity of the mouth as a resonator, each harmonic in succession can be isolated and reinforced, giving the instrument the compass shown. The lower harmonics of the series cannot be obtained, owing to the limited capacity of the resonating cavity. The black notes on the stave show the scale which may be produced by using two harps, one tuned a fourth above the other.” This file plays harmonics 4, 5, 6, 7, 8, 9, 10, 11, and 12.

Warning: careful when listening, it gets loud!. July 4th. Recorded in the midwest usa, where we adore our explosives. The omnis on my humble dr-05 did a pretty good job capturing the sheer depth of zillions of people blowing stuff up together :-). You’ll hear: people having a party in the distance, a bonfire crackling on the right, a distant train blowing its whistle, and of course a lot of explosions. A couple of the big bangs clipped, but unsurprisingly, it made no audible difference. I reduced to 48khz, 24 bit and normalized to -3. 0 db. It really wakes up when you apply some eq to your liking. But i left it as is for everybody.

A neighbor of mine might have just peed in his pants if he couldn't shoot off his illegal commercial fireworks before the fourth. So, july first, his manly outpouring of window-rattling bomb blasts echoed across an entire valley. For nearly two hours. I like fireworks. When i go to see 'em. Not so much when i can't get away from them. Sure, i could have gone shopping, or out for a drink. I recorded it instead. This particular explosion is just the largest of those that came after i started recording. It's just a lowly iphone but it does pretty well. Admittedly, even with no amplification it might have been too much for the microphone. You have the clear launch sound followed by burst and echo. The same blast kicks off the other fireworks file i am uploading.

This is a recording made in the room of my apartment in italy in the province of rieti, while i am testing a drone dji phantom 4 pro clone, purchased 3 days ago on the vova site, only during the test it suffered two accidents. The first 5 minutes for 3 flights everything went well, then on the fourth flight, as the drone was also without para-propellers, the first small accident happened, on landing he fell to the ground from the bed, then resumed flying for another two times. On the third flight there was a second bigger accident: first he started spinning the propellers against the wall for a while, then he fell to the ground rolling until he hid under the bed. This time, however, even after this great accident, the drone resumed flying normally as if nothing had happened. This recording was done with my iphone connected to the shure mv88 plus microphone.

. . 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).

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.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

D chord in all fourths tuning.

Parallel fourths evoking organum in Debussy's "The Sunken Cathedral" opening

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tanpura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them; strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" is experimenting with running up and down the strings. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

*Augmented eleventh on C = F♯'. Equal-tempered: 218/12:1 = 1800 cents. MIDI pitch bend: none

Feedback loop going through an improperly connected electrostatic mic, delays, pitch shifters (to justly tuned perfect fourths and perfect fifths), and reverb.

Fifteenth chord from Marpurg on A: A,(C,E,)G,B',D',F',(A"). Resolves to C,E,G,C',E'.

*Tridecimal major third on C. Just: 13:10 = 454.21 cents. Limit: 13-limit.

Full diatonic fifteenth chord from Listz on B

Fifteenth chord from Perry on C

Broadcast made by the Russian composer Dmitri Shostakovich from the besieged city of Leningrad in 1941. The work he refers to here is Symphony No. 7 in C Major, opus 60, subtitled Leningrad. Transcript: An hour ago, I finished the score of two parts of a large symphonic composition. If I succeed in writing this composition well, if I succeed in completing the third and fourth parts, then it will be possible to call this composition the seventh symphony. Why do I announce this? So that the radio listeners who are listening to me now will know that the life of our city goes on as normal. We are all now doing our military duty. Soviet musicians, my dear friends and numerous brothers-in-arms, my friends! Remember that our art is now in great danger. Let us defend our music, let us work honestly and selflessly! Hace una hora, he terminado la partitura de dos partes de una composición sinfónica de gran tamaño. De tener éxito en escribir bien esta composición, de tener éxito en completar las partes tercera y cuarta, entonces se hará posible llamar a esta composición la sinfonía sétima. ¿Por qué les anuncio esto? Para que los radioescuchas que me están escuchando ahora sepan que la vida en nuestra ciudad prosigue como de costumbre. Todos estamos ahora haciendo nuestro deber militar. ¡Músicos soviéticos, queridos amigos y numerosos hermanos de armas míos, mis amigos! Recuerden que nuestro arte está en gran peligro ahora. ¡Defendamos nuestra música, trabajemos honesta y desinteresadamente! Час тому назад я закончил партитуру двух частей большого симфонического сочинения. Если это сочинение мне удасться написать хорошо, удасться закончить третью и четвертую части, то тогда можно будет назвать это сочинение Седьмой симфонией. Для чего я сообщаю об этом? Для того, чтобы радиослушатели, которые слушают меня сейчас, знали, что жизнь нашего города идет нормально. Все мы несем сейчас свою боевую вахту. Советские музыканты, мои дорогие и многочисленные соратники по оружию, мои друзья! Помните, что сейчас нашему искусству грозит великая опасность. Будем же защищать нашу музыку, будем же честно и самоотверженно работать.

*Twenty-third harmonic on C = F♯+. Just: 23/16 = 628.27 cents. Limit: 23-limit. MIDI pitch bend: 6,73

*Classic augmented eleventh on C = F♯'. 25/18 = 1768.72 cents. Limit: 5-limit. MIDI pitch bend: 127,53 MIDI.

*Hundred-sixty-ninth harmonic on C = F♭. Just: 169:128 = 481.06 cents. Limit: 13-limit. MIDI pitch bend: 120,57 on P4

*Undecimal major third on C = F↓+ (Ben Johnston's notation). 14:11 = 417.51 cents. Limit: 11-limit.

A morphagene reel recorded from an old swedish air organ. The reel is organized into 5 groups, cmaj scale, octave up, thirds, fourths, and fifths. Really nice slowed down or through a low pass gate.

*Ninety-third harmonic on C = F♯+ (Ben Johnston's notation). Just: 93/64 = 646.99 cents. Limit: 31-limit. MIDI pitch bend: 5,79

*Hundred-seventy-first harmonic on C = F+ (Ben Johnston's notation). Just: 5:4 = 501.42 cents. Limit: 19-limit. MIDI pitch bend: 58,64

A request for freesounder neilreynolds1980, intended as a soundtrack for the play dr faustus at the point the eponymous character is sucked into hell. A bit of technical information: the basic sound is a stacked set of ‘devil’s intervals’ (augmented fourths) with doubling at the octave, playing an instance of calf organ set to a truly horrifying demonic choir patch i created. The rest of the effects are accomplished using automation of this instrument as well as calf pulsator and calf filter in ardour. This sounds much better when downloaded than it does in the freesound player. The stereo image and sample rate are much reduced in the version you hear in the player.