16 Royalty-Free Audio Tracks for "Hi Pass"

Cicadas of south city at summer night recorded from a window. Hi-pass filtered of various car sounds, and so timbre is not so natural — but maybe it’s what you are looking for?. Recorded by nokia 700, processed in audition.

Fuzzy mid-pitch lead sound with an electrical quality to it in a stuttering kind of rhythm.

A loop with hi-pass filtering in action!.

Future pass by sfx, free to use.

Kick processed with delay, pitch bent and sent through a hi pass filter.

Recorded with audio technica bp4025 plugged into zoom h4n. Hi-pass and lo-pass filters applied.

Recorded with zoom h4n. Hi cut filter and denoising applied to taste.

Recording made on 15th feb 2013, with zoom h4n x/y 120º integrated mics. Hi-pass filtered @ 80hz. No more processing. Ambience interior overground train @ peckham rye.

My rainly bird impact sprinkler recorded with my zoom h6 with a shotgun mic. Processed in sony vegas with some hi-pass and through an ultra maxamizer. Enjoy, paul blaccard.

Well, i guess i live in a loud city, east village, new york city. - here is a snippet of sounds heard from a walk through my neighborhood during a weekend evening in september 2022. Also playing with hi-pass filter as part of the fade out.

Created in waveform-10 using 1 instance of zynaddsubfx with 3 layers of hi pass filtered oscillators which were tweaked in detail to sound more like noise. Theres a little reverb, delay and distortion in there. The other oscillator was white noise created in 4osc ( native waveform-10 plugin ).

Pobblebonk frog named for the sound of its call or the eastern banjo frog. An australian frog with a distinctive call. Note i've used selective eq to remove the cicada calls. An accompanying file has the cicada calls unedited. Recorded with rode ntg5 - > zoom h4n pro -> processed in adobe audition, equalisation, hi-pass, eq.

The doorbell in my apartment is so loud and obnoxious i decided to share my pain with the rest of the world, lol. In all seriousness, hopefully someone finds it useful for their production. The first sample is the purest, with the last two i *attempted* some dampening, but the difference is really inaudible. Recorded with zoom h6 (xy capsule), minimal processing done (loudness normalization, slight panning rebalance, hi-pass @ 40hz).

Free to use without restricition. No attribution required. 50 seconds of ghostly wails over a dark sub bass drone with wide stereo reverb. Produced by using two old school analog synths, a cs-80 and a dx7. All chorus, phaser and reverb settings were manipulated within the synths. An external hi-pass eq plugin was added in order to cut off the subs at 30hz. These old analog synths produce frequencies way below the tolerance of your monitors; thus the need for a bass cutoff, not to mention to also prevent involuntary bowel leakage xd.

4ch surround recording of a bike riding through city traffic (leipzig/germany) on an evening in late spring. Recorded with a zoom h2 with a rycote windshield in a shock mount fastened to the center frame above the pedals. All recordings in the set are raw from the recorder and will usually need a hi-pass filter to deal with the rumble. Steady riding and freewheeling along a minor street, with some cars and a scooter passing, some gear switching and stopping at a red light with cars passing on the intersecting street at the end. These are the rear channels, mics set to 120° dispersion.

The same as my other fire whoosh sound, but i used a hi-pass eq at the 50hz mark to take out some of the "mud. ". --. This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 165 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.