469 Royalty-Free Audio Tracks for "Hz"

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Large industrial refridgerator, electric machine engine noise, field recording,. Recording device: roland r-26 portable digital recorder. Microphone: built-in directional xy stereo microphone. Sample rate: 44100 hz. Rec format: wav 16-bit. Edited in: adobe audition (adjusted gain slightly, for a good signal level). Date and location: october 2015, a refridgerator in an industry in sweden. Other: this is an original recording, by myself, which i make available to all via freesound. Org under a creative common 0 (zero) license, i. E. I am putting it into the public domain. You do not have to ask me for permission or credit, attribute, or reimburse me. I hope the sound effect, or parts of it, can be of some use to someone somewhere. Wish you success!kent. Ps. Please comment and rate. .
Author: Kentspublicdomain
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00:42
Cafe/cafeteria (with permission), calm & relaxed, porcelain, sound of people talking, and children in the background. Recording device: roland r-26 portable digital recorder. Microphone: built-in directional xy stereo microphone. Sample rate: 44100 hz. Rec format: wav 16-bit. Edited in: adobe audition (adjusted gain slightly, for a good signal level). Date and location: october 2015, a cafeterian during lunchtime in sweden. Other: this is an original recording, by myself, which i make available to all via freesound. Org under a creative common 0 (zero) license, i. E. I am putting it into the public domain. You do not have to ask me for permission or credit, attribute, or reimburse me. I hope the sound effect, or parts of it, can be of some use to someone somewhere. Good luck with your projects!kent. Ps. Please comment and rate.
Author: Kentspublicdomain
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00:31
River, stream, creek, sound of waves, moving water, field recording. Recording device: roland r-26 portable digital recorder. Microphone: built-in directional xy stereo microphone. Sample rate & rec format: 44100 hz & wav 16-bit. Edited in: adobe audition (adjusted gain slightly, for a good signal level). Date and location: october 2015, a fast-flowing creek on an ordinary autumn day in sweden. Other: this is an original recording, by myself, which i make available to all via freesound. Org under a creative common 0 (zero) license, i. E. I am putting it into the public domain. You do not have to ask me for permission or credit, attribute, or reimburse me. I hope the sound effect, or parts of it, can be of some use to someone somewhere. Good luck with your projects!kent. Ps. Please comment and rate.
Author: Kentspublicdomain
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00:51
I just love this deep rich harmonic sound with some phase modulation! i've tried to capture it the last month and half and finally managed it. There's quite a lot of air traffic (planes and helicopters) here in prague - písnice, but most of the helicopters have poor sound. It is bell 407 helicopter ok-alb in black/beige color operated by blue sky service (http://www. Ok-alb. Com/). Flight mode-s code a37a9ea. First it approaches with the deep harmonic sound, then it flies by overhead with a more noisy mid-spectrum sound. Recorded on zoom h4nsp, this time with 4gb sd card which has far lower startup time than 32 gb one (like 12 secs compared to more than a minute). Besides the helicopter itself there are some birds singing, insects buzzing and some rumble from the wind (i didn't manage attach the deadcat windshield so quickly). Basic frequency: ~ 33. 87 hz. Original filename: 160703-000. Wav.
Author: Bzamecnik
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00:05
Electric machine, engine, large air conditioning unit, hum, noise, field recording. Recording device: roland r-26 portable digital recorder. Microphone: built-in directional xy stereo microphone. Sample rate: 44100 hz. Rec format: wav 16-bit. Edited in: adobe audition (adjusted gain slightly, for a good signal level). Date and location: october 2015, a rather large air conditioning unit in a public parking garage, in sweden. Other: this is an original recording, by myself, which i make available to all via freesound. Org under a creative common 0 (zero) license, i. E. I am putting it into the public domain. You do not have to ask me for permission or credit, attribute, or reimburse me. I hope the sound effect, or parts of it, can be of some use to someone somewhere. Good luck with your projects!kent. Ps. Please comment and rate. .
Author: Kentspublicdomain
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00:16
Laboratory refrigerator, with beeping, plus the sound of a door being closed in the background, field recording. Recording device: roland r-26 portable digital recorder. Microphone: built-in directional xy stereo microphone. Sample rate: 44100 hz. Rec format: wav 16-bit. Edited in: adobe audition (adjusted gain slightly, for a good signal level). Date and location: october 2015, a laboratory in sweden. Other: this is an original recording, by myself, which i make available to all via freesound. Org under a creative common 0 (zero) license, i. E. I am putting it into the public domain. You do not have to ask me for permission or credit, attribute, or reimburse me. I hope the sound effect, or parts of it, can be of some use to someone somewhere. Good luck with your projects!kent. Ps. Please comment and rate. .
Author: Kentspublicdomain
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00:14
Original file name: abstract hip hop beat 1 - 28 september 2012specs: 140 bpm, stereo, 48000 hz, 24 bit, wav formatdescription: an abstract hip hop beat loop programmed into propellerhead's reason redrum. Used the 'abstract hip hop kit' samples that come with reason's soundbank. First part of loop is dry with no effects except eq, second part is more processed. Sample pattern: a1 x2 | a2 x2effects: equalized all the samples. First half is dry in that no extra effects apart from eq are used; second part of the loop is actually two copies of the same loop with one of them containing extreme compression after some unison (detuning) and ~30ms delay. Contact (pm) me if you want any changes to this sample (please include freesound sample number 166029). You can use this commercially with proper crediting, but please let me know where and how you use it - seeing this used will really make me happy. :).
Author: Afleetingspeck
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00:27
This was recorded by holding a small pcm recorder (zoom h1n) very close to an ipod 4th generation. The ipod was turned on and its hard drive tried to start up. You can hear the spin up of the motor and the hard drive head clicking back and forth. The hard drive fails to power up completely and eventually shuts down again. A 350 hz high pass filter was applied, in addition to audacity noise reduction, to get this clean motor noise from the original recording. The stereo file was then mixed to mono because the mic was slightly off center from the ipod, and the stereo provides no benefit. The hard drive in this ipod is a 1. 8" 40 gb toshiba hard drive, the ipod model is a1059. The microphone was held just 3 cm (1. 2 in) from the ipod. Recording settings were stereo 44. 1 khz at 16 bit (wav format). The file is the same except it's mono.
Author: Conath
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00:30
**warning**: do not play this sound with full volume on speakers with an amplifier; you risk damaging the driver through exertion. Format: wav - 24 bit, 44. 1khz [mono] - loopabledescription:a 30 second long pure sine wave of 14hz, at a constant spl level of -5 decibels. The audio file is loopable with a coherent crossing point from end to beginning. If you would like to read up on the infrasound phenomenon go here:http://goo. Gl/gmbsvm. Methodology:synthesis generation in sound forge pro macosx. -------------. This can be used for experimental purposes. I used infrasound in a horror film; attempting to create a physical sense of terror with the motion picture at specific times. It is believed by some that a high enough amplitude of infrasound can be used as a weapon. -------------. If you like or dislike this sound, please comment on your thoughts :). Reminder:this sound is licenced under cc0 [public domain] - so you are free to use and abuse it. I wouldn't mind a credit though if you're feeling generous. . .
Author: Headphaze
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00:42
This is an upload for a sample request (http://www. Freesound. Org/forum/sample-requests/32975/ ) for a person who wanted a haunting melody with some layers in the key of g# / ab. I am not a melody guy, so i don't know if i've got the notes right or if the piece may even fit the description of what the guy wants, but here it is!. Edit (mar 2018): no need to ask if you need to give me credit. Up to you. Just continue your amazing work with sounds & music. ;). Specs: 80bpm, 48000 hz, 24 bit, wav format, (i think it is in the key of g# / ab), original file name - haunting tone in g# abinstruments used (all found in reason 5 soundbank; all virtual): "a" piano, grand piano, pizzicato strings, violin, a random ghost layer synthesized in maelstrom graintable synthesizer, double basseffects used: a little equalization here and there; a little bit of delay on the pizzicato strings; volume automation.
Author: Afleetingspeck
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01:37
This helicopter sound design was created at fl studio, in the sytrus synthesizer. The sound consists of four layers. 1. Sine wave frequency of 44 hz. Simulates the low frequency noise of propeller blades. 2. White noise passed through the svf filter. Simulates the noise of propeller blades. 3. Saw wave. Simulates the sound of an engine. 4. The sine wave. Imitates a high-frequency whistle of the engine. Various modulations are applied to all waves through the envelopes of the synthesizer. Next, the signal on the mixer channel is processed by a multi-band exciter and equalizer. Then a signal was sent to two channels with delay processing. One of them imitates reflections. In the lower-middle frequency range. On the second in the upper-middle frequency range. As you approach the sound source, the volume parameters of the direct and reflected signals are automated, low pass filter, pan width and equalization of direct sound. The helicopter performs strange maneuvers, as if making constant circles during the approach to the listener. I did not seek to create the veracity of these maneuvers.
Author: Newlocknew
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00:16
Non-functional tube radio warming up, making a loud 60hz hum with lots of harmonics. As a bonus it clicks off at the end. Zenith consoltone. Only because the faq says so: electro voice n/d 257a through impedance transformer into crappy gigabyte motherboard realtek high definition audio. 16bits, processed at 32bits. Audacity sound editor and/or driver wouldn't record mic level so it was very noisy after amplification. Filtered with a (mathematically equivalent) fft constructed whopping 64k length zero phase filter (blackman window) with 5 wavelength width bandpass at each harmonic from 60hz to 5,520hz. For some reason a fraction of some of the harmonics didn't get through so did another pass on the residual noise and mixed that in. Near the beginning there was a sort of brief duplicate signal that descended in pitch so it didn't make it through the filter. I added that bit in. Attenuated frequencies above 3. 6khz because they are pretty much noise, but removing them didn't sound right. Cleaned up the beginning a bit in various ways, cut it down to 15 sec and carefully appended the unfiltered "click" onto the end, which i denoised 12db with audacity's noise reduction.
Author: Hetanoyokozuki
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06:21
A drowsy, warm lazy hot day in mid-summer in the forest of the midwestern usa. As is the case around mid-july, the birds are not singing as much. Perhaps they are just exhausted from raising a family and wilting from the heat. The insect chorus ebbs and flows, like the ocean waves creeping up on the beach, and retreating back. Except, unlike the ocean which never stops moving, the insects will eventually stop singing and hibernate for the winter. I have always loved the sound of propeller-driven planes and their slow, molasses-like sound. That sound has always induced a melancholy touch to the recordings. To me, this drowsing plane symbolizes change -- even though the birds and plants are still in full growth, the end is near. . . In about four more weeks schools will resume, the emphasis for many will turn inward. Leaving the woods to deal with the transition. The droning plane, like ocean waves, symbolize change. . . In several months there woods will be drastically changed. Recording made on july 18, 2022 using sound devices mixpre 6 and the sennheiser mkh 8020 omnidirectional microphone. Enjoy this peaceful ambiance, and hopefully it will trigger some long-past memories for you.
Author: Kvgarlic
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00:21
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.
Author: Zimbot
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[[this sound pack contains 8 sounds total, and this is # 4 of 8. ]]. Note: this sound (as all my sounds on freesound. Org are) is **public domain**. Use it, sell it, do anything and everything with it. No need to credit me. I only hope it's useful for someone! however, i'd love to hear about any projects you use my sounds with!!. Abstract, creepy sounds i recorded after watching this video on hans zimmer's creation of the score to the original dark knight soundtrack:. Https://www. Youtube. Com/watch?v=r-l1rctgtoe. (fascinating video, give it a watch! :d). - i found an old rusty razorblade (if it ain't rusty it ain't emo, amiright? amiright? oh god that's in poor taste)- and just started scraping it over the copper-wound strings of my seagull s6 acoustic guitar in which i've installed an electronic pickup. - recorded into reaper on my mid-2014 macbook pro, via direct in through a zoom h4n in audio-interface mode. Only processing: gentle eq highpass at 95 hz. And some slight gain reduction. These sounds remind me somehow of creepy film scores where the strings do that erratic pizzicato thing that sends tingles up your spine. Tell me what you come up with, i'd love to know!!.
Author: Afamiliarletter
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05:01
While working on another audiobook, i decided to make this sound. It's 38 voices, each saying different things, panned around and mixed together, creating a "wall of sound" that speaks like 38 radio channels at once. Recorded with a zoom h2 via usb into ardour2. Mixed and exported to flac with ardour2. Ps: it's all polish (with some possible german shout-outs), but the amount of noise makes it almost completely incomprehensible. Only a few words that are being yelled in a different voice can be understood. No sound repeats here, no recycling - every voice and every second of this recording is unique. Yes, it required quite a lot of work to record so much talking in quality! it's almost an entire audiobook squeezed into 5 minutes. Strangely (or not) listening to this makes my mind rest, because the noise blocks all other sounds from the environment - making my mind free of stimulation, allowing for sleep-like rest state. The signal is so much modulated that it appears to be not modulated at all - like static you get from a fm radio of you tune it wrong. The brain receives less data when you listen to this, than when you sit in a room hearing even faint (but distinct) noises from outside, other rooms, other people or yourself. This is sound masking in action. A very interesting psychoacoustic property of human hearing. Also: this is an interesting material to study of my voice's spectral energy distribution while speaking (as opposed to singing). As you can see using the spectrogram view, most energy is present in the band below 600 hz.
Author: Unfa
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00:04
This is an updated (improved is debatable) version of my previous electric contact stun gun firing sound, except longer and without peaking. Oh and higher sampling rate so you can hear all the higher frequencies better when you pitch it down. You'll immediately notice it sounds like the boring buzz of a bee. Oh well, not like you'll get a lightning storm. That's about it. Don't forget to have fun. Copy pasta---also commonly and incorrectly referred to as a "taser" which is on the same level as calling a magazine a "clip". See google for more info. I can't help that it sounds like a bee. Also if it's too short, you'll have to make it longer in your daw. Uses (apart from videos that involve a stun gun or maybe a real taser brand taser): magic lighting zaps? a game show buzzer?. Possible vst modifications. Reverb: sound impulses for speakers. Distortion (guitar style): military style radio noise. Chorus/flange: science sounding things. Pitch: at -30 semitones you get some low pitched sound similar to a airsoft aeg which may be ideal for montage airsoft videos where piles of tokyo marui m4s traditionally muffled by the gopro waterproof case. // at -45 semitones you resemble gun fire at a distance. Mathematically at 10 rps (600 rpm) you could use this as a sit in for a distant fired ak-47 rifle ideal for video games, war movies, mods, etc. Apply a resonant filter and some reverb for appropriate outdoor acoustics. And nobody will know your distant machine gun sound was a civilian stun gun except for us semi colon right parenthesis. Or you could also apply ringmod at ~9000 hz to simulate ear ringing for those ptsd scenes. Or some gau-8 avenger. Trimming + looping + pitch: if you can loop this properly in a daw you could even create a saw style bass for electronic dance music.
Author: Anthonychan
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00:01
Start sound of mac ii iix iicx iici se/30. Create by dissessemble rom code and use wave table algorithm write c program write wav file. C program below:. /* mac_ii. C *//* boot beep mac ii *//* 2558/09/06 */. #include. #define knumber_samples 30000#define kdelay_note 300#define kwave_table_value 0x30013f10#define ksample_rate 22257 // hz. Void preparewavetable( unsigned short *wavetable, unsigned int value );void updatewavetable( unsigned short *wavetable, unsigned short chiso );void savesound( char *filename, short *sounddata, unsigned int numberframes, unsigned int samplerate );. Int main () {. // ---- wave tableunsigned short wavetable[256];// ---- sound data, stereoshort sounddata[knumber_samples << 1];// ---- increment array (16/16 bit fix point integer)int arrayincrement[] = {3 << 16, 4 << 16, (3 << 16) + 0x2f2, 6 << 16};// ---- prepare wave tablepreparewavetable( wavetable, kwave_table_value );. // ---- array phase (16/16 bit fix point integer)unsigned int arrayphase[] = {0, 0, 0, 0}; // set all = 0. Unsigned int samplenumber = 0;while( samplenumber < knumber_samples ) {. // ---- calculate sampleunsigned int channelleft = 0;unsigned int channelright = 0;unsigned char notenumber = 0;while ( notenumber < 4 ) {// ---- see if should update phase for note, only do if play noteif( samplenumber >= notenumber*kdelay_note ) {// ---- up date phase beforearrayphase[notenumber] += arrayincrement[notenumber];// ---- not let out of range [0; 255]if( arrayphase[notenumber] > 0xff0000 ) // 0xff0000 == 255 << 16arrayphase[notenumber] -= 0xff0000; // return to begin of wave table}unsigned short mauvat = wavetable[arrayphase[notenumber] >> 16];. // ---- add sound componentsif( notenumber < 2 ) // ---- first 2 notes left channelchannelleft += mauvat;else // ---- last 2 notes right channelchannelright += mauvat;// ---- next notenotenumber++;}// ---- save left and right samplessounddata[samplenumber << 1] = (channelleft << 9) - 0x8000; // use << 1 for 16 bitsounddata[(samplenumber << 1) + 1] = (channelright << 9) - 0x8000; // use << 1 for 16 bitupdatewavetable( wavetable, samplenumber & 0xff );samplenumber++;}// ---- save wav filesavesound( "mac ii. Wav", sounddata, samplenumber << 1, ksample_rate ); // multiply 2 because stereo. Return 1;}. Void preparewavetable( unsigned short *wavetable, unsigned int value ) {. // ---- prepare wave tableunsigned short index = 0;unsigned short wavetablevalue = value & 0xff;while( index < 64 ) {wavetable[index] = wavetablevalue; // << 8; // for 16 bitindex++;}. Wavetablevalue = (value >> 8) & 0xff;while( index < 128 ) {wavetable[index] = wavetablevalue; // << 8; // for 16 bitindex++;}. Wavetablevalue = (value >> 16) & 0xff;while( index < 192 ) {wavetable[index] = wavetablevalue; // << 8; // for 16 bitindex++;}wavetablevalue = (value >> 24) & 0xff;while( index < 256 ) {wavetable[index] = wavetablevalue; // << 8; // for 16 bitindex++;}}. Void updatewavetable( unsigned short *wavetable, unsigned short index ) {// ---- get value from wave tableunsigned short value = wavetable[index];// ---- calculate new value for wave tableif( index == 255 ) { // careful at last element of wave tablevalue += wavetable[0];value = (value >> 1);wavetable[0] = value;}else {value += wavetable[index+1];value = (value >> 1);wavetable[index+1] = value;}. }. #pragma mark ---- save wavvoid saveheader( file *filename, unsigned int samplerate );void savesounddatainteger16bit( file *filename, short *sounddata, unsigned int numbersamples );. Void savesound( char *filename, short *sounddata, unsigned int numberframes, unsigned int samplerate ) {// ---- open filefile *file = fopen( filename, "wb" );if( file ) {// ---- "riff"fprintf( file, "riff" );// ---- length sound file - 8unsigned int lengthsoundfile = 32;lengthsoundfile += numberframes << 1; // một không có một mẫu vạt cho kênh trái và phải// ---- save file lengthfputc( (lengthsoundfile) & 0xff, file );fputc( (lengthsoundfile >> 8) & 0xff, file );fputc( (lengthsoundfile >> 16) & 0xff, file );fputc( (lengthsoundfile >> 24) & 0xff, file );// ---- "wave"fprintf( file, "wave" );// ---- save headersaveheader( file, samplerate );// ---- save sound datasavesounddatainteger16bit( file, sounddata, numberframes );// ---- close filefclose( file );}else {printf( "problem save file %s\n", filename );}}. Void saveheader( file *file, unsigned int samplerate ) {// ---- name for header "fmt "fprintf( file, "fmt " );// ---- header lengthfputc( 0x10, file ); // length 16 bytefputc( 0x00, file );fputc( 0x00, file );fputc( 0x00, file );// ---- method for encode, 16 bit pcmfputc( 0x01 & 0xff, file );fputc( (0x00 >> 8) & 0xff, file );// ---- number channels (stereo)fputc( 0x02, file );fputc( 0x00, file );// ---- sample rate (hz)fputc( samplerate & 0xff, file );fputc( (samplerate >> 8) & 0xff, file );fputc( (samplerate >> 16) & 0xff, file );fputc( (samplerate >> 24) & 0xff, file );// ---- number bytes/secondunsigned int numberbytessecond = samplerate << 2; // multiply 4 because short (2 byte) * 2 channelfputc( numberbytessecond & 0xff, file );fputc( (numberbytessecond >> 8) & 0xff, file );fputc( (numberbytessecond >> 16) & 0xff, file );fputc( (numberbytessecond >> 24) & 0xff, file );// ---- byte cho một khung (nên = số lượng mẫu vật * số lượng kênh)// ---- number bytes for sampleunsigned short bytesoneframe = 4; // short (2 byte) * 2 channelunsigned char bitsonesample = 16; // shortfputc( bytesoneframe & 0xff, file );fputc( (bytesoneframe >> 8) & 0xff, file );. Fputc( bitsonesample, file );fputc( 0x00, file );}. Void savesounddatainteger16bit( file *file, short *sounddata, unsigned int numbersamples ) {fprintf( file, "data" );unsigned int datalength = numbersamples << 1; // each sample 2 bytefputc( datalength & 0xff, file );fputc( (datalength >> 8) & 0xff, file );fputc( (datalength >> 16) & 0xff, file );fputc( (datalength >> 24) & 0xff, file );unsigned int sampleindex = 0;while( sampleindex < numbersamples ) {short shortdata = sounddata[sampleindex];fputc( shortdata & 0xff, file );fputc( (shortdata >> 8) & 0xff, file );sampleindex++;}}.
Author: Sieuamthanh
00:00
02:45
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 :).
Author: Niedec
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