1,119 Royalty-Free Audio Tracks for "No Signal"

Signal from a poorly tuned a. M. Radio station on a digital receiver, so no waver to the tuning just the sounds of a distant signal capturing mostly interference from the ionosphere.

Sunday Church Ambiance sound effect field recording. This is a great collage of church bells ringing, and small birds chirping ever so lightly. Great sound, and it public domain as well.

Sound is me being gross! setup: mic, into eq, into stereo pedal (used as a signal splitter-- one signal went to one multi effect on a pitch-down setting, the other into a second multi effect on a pitch-up setting. ), into stereo delay (no delay added, though. ) burp. . .

The nightly visit of something unidentified object, got a new and historic aftermath. Jay prusse at nasa happened to have his radio scanner on and captured a strong but short signal that was repeated for one minute. Specialists found that the signal actually formed this word 'mirabut'. No one has a clue what this word means.

Just some experimenting around with my modular. . . . . I take a signal from an lfo and split. I invert one of the signals and mix them.

No, i cant really describe what this is! but i use a ring modulator. Two audio signals goes in. I guess the side band frequencies goes out??? or?! anyway the original frequencies are also in the mix. So, two audio signal and the result from a diy ring mod. Have to learn more. . . Read below!!! in this sound you are listening to, the result, the ring modulation, carrier signal and modulator signal. After some research. . . I write this for myself. . . Correct me if i'm wrong!!!from youtube (audiocollage)ring modulation is the sum and the differences of the carrier and modulator signal. Feed the ring modulator with 261,626hz and 391,995hz and you get (261,626 + 391,995) 653,621hz and (391,995 - 261,626) 130,369hz. From wikipedia". . . Neither the carrier nor the incoming signal is prominent in the outputs, and ideally, not at all. "". . . In the basic case where two sine waves of frequencies f1 and f2 (f1 < f2) are multiplied, two new sine waves are created, with one at f1 + f2 and the other at f2 – f1. The two new waves are unlikely to be harmonically related and (in a well-designed ring modulator) the original signals are not present. It is this that gives the ring modulator its unique tones. ". Above is true when using pure sine waves! waves with no harmonics. I have a passive diy ring modulator. I guess it's not acting "perfect". . .

This signal was not from space. No, it came from our planet and seemed to be directed by a extremely powerful transmitter. It seemed as the beam was directed at the cyclades. The sender position was somewhere on the yucatan peninsula, but the exact place was never found.

This sound is an audio file that slowly breaks up the further it is played. I recorded this with an in-built microphone, no idea what make though. I recorded this on audacity, and added gradual distortion. Warning: you may need to turn down the volume for the last 6 seconds!.

Studio technologies - stereo simulator (generation ii). Https://studio-tech. Com/products/generation-ii-stereo-simulator/. The generation ii stereo simulator from studio technologies creates a convincing stereo imagefrom a mono audio source. The fully mono-compatible signal simulates space withoutreverberation by using random, non-recursive filter techniques. The mode switch (found on the hardware unit) controls the overall sound of the generation ii. In the music position, the full audio bandwidth of the input signal is simulated. This mode isappropriate for audio material with little or no voice-only content. In the music & voice position, the input signal is sent through a band-reject filter prior togetting sent to the simulator circuits. This creates stereo simulation over the low and highfrequency range, while limiting simulation in the voice band. This mode is appropriate for audiomaterial that contains voice-only content, such as a film track or television show. The stereo intensity control determines the amount of stereo simulation that is produced. Inthe fully counterclockwise position (ir files “0” – included for process comparison), no simulatedstereo is produced. The mono input signal is sent equally to the left and right outputs. As thecontrol is turned clockwise (ir files “1 – 6”), the amount of stereo simulation increases.

This is the recording of an audible pedestrians traffic light in paris, france. These devices are here to help visually impaired people cross the streets in a safe way. They come under the form of a little beige box with a hidden button underneath. You have to push the button to hear the annoucement. You can find them all over the city. The sequence goes as follows: first, an annoucement in french says "red light for pedestrians", followed by the street name, then a jingle goes on, followed by a series of bell-like sounds, signaling a green light. I maed this recording because i needed that particular sound for a show i was working on and couldn't find it on freesound. Recorded with a zoom h2n in stereo m/s mode (set to mono).

Electronic descending tones, could be used for a game over or lost a life for a game, or perhaps for a digital signal for another kind of event in a game?. I make other sfx and short musical compositions for games/apps, i release all sounds here under creative commons no restrictions to do as you wish with, so check out my other sounds.

A recreation of a lavalier microphone pop. Useful for reality or documentary where an interviewee may rip off their mic or you simply want to create the illusion of that drama. Also useful to incorporate into a "signal lost" effect, etc. Processed with some limiting so it's tamed and ready to throw in a mix. Recorded with an mxl lsm-3 dynamic mic, no reason to abuse my real lav mics.

Birds of paradise displaying in their usual frantic manner. Uses the dpo and edorphin. Es furthrrrrgenerator as sound sources. Mimeo phone and qpas- erbe-verb for effects. Part of signal passed trhrough morphagene, variable grain size and speed. Thanks to the guys and gals at endorphin. Es and make noise. No sponsors, just great inventive people, like all other modular manufacturers out there!. Stay safe and healthy,best,. Jim bretherick.

This sound is a 1-sample long impulse at 48 khz. It covers the whole frequency range with equal power. This is a perfect sample for exciting your guitar amp or reverb unit to capture it's impulse response (ir). You can also play it through a speaker in a reverbant room to capture it's reverb characteristics. Remember that the ir sample will be no flatter than your speaker's performance multiplied by your microphone's performance (frequency response characteristics). The sample has exaclty 1 second of silence, then the impulse, then another second of silence to ensure the impulse will be played clean and untruncated on any sound system or device. My test with ir lv2 convolution plugin have proven, that this sample has absolutely flat frequency response - convolved signal was identical to the source signal. After normalization and sample-alignment of the sound clips i have inverted the polarisatin of one of them and summed them - result was absolute silence, even no hiss was present as a result. This shows the accuracy of the convolution process and proves this sound to be perfect for sampling ir. The impusle was generated with c* dirac ladspa plugin. Created using audacity.

This is the sound of a spaceship's underbelly cargo hatch closing mid-flight after receiving a cargo transfer. The sequence begins with a warning alarm indicating the hatch closing, followed by the sound of the giant servos rotating the dual bay doors up and inward until the bay is sealed shut and locked. An all clear signal is given, reverberating into the dark, silent chamber. Made in logic pro, completely synthesized with es2 and mac's built in speech synthesis for vocal alarm. No unoriginal samples or sounds were used in the creation of this sound. Use freely as desired, but i would appreciate credit.

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.

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.

I recorded this today (1/12/23) from atlanta, where we had a bunch of heavy rain and tornado warnings this afternoon. The radio station i recorded this from is am 750. The first part of the recording isn't very interesting, but the part where she started talking about how you can't see any tornados coming was really interesting to me. I think this would make for some really good ambience in like an environmental horror track. I decided to include the whole recording anyways in case anyone wanted it. Here's the backstory to this thingey if anyone really wants it:we were on tornado watch as i was speeding trying to get home from work, when the sirens started to go off. I had to pull into a disheveled looking parking garage, as that was the closest place i could get to. The garage only had one level, so i had no way of getting to lower ground. I sat there in my car, terrified that i might be stuck there, in a shitty parking deck, in the middle of a giant ass storm, with very little cell signal, for hours on end. I decided to turn on my radio and record it from my phone. Fortunately, i was only in there for 30 minutes, and i managed to get home after the rain cleared up a bit.

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.