87 Royalty-Free Audio Tracks for "Overdrive"

Rfi caught on an empty channel input on my sound devices 664.

Guitar riff with medium overdrive. Recorded with usb sound card - no noise. Should be in emaj scale?. This is one nice sound i found with several hours of work with my guitar equipment.

A series of percussive and harsh stabs, distorted and with little tonality. I sampled these when i crashed a 303 softsynth and the buffer started to fxxk up.

Just hitting the same chord over and over again but ending up in an almost march like beat. Probably good for an intro or breakdown.

Electric guitar being routed from the output of a bass amp into a danelectro "honeytone" miniamp with maximum volume and distortion on both. Full sustain, miked 24bit wide-stereo.

A few hits of a distorted heavy tom & rim-shot mixture drum. License: cc 0.

Made for me by ice cream factory studio in austin tx: a reverend guitar into a blackstar overdrive into a blues jr. Into an sm57 with a transformer mod into a manley force four preamp into an ssl converter.

Maybe this is a bit too loud. The overdrive and the crazy percussion instruments adds a bit too much on this loop. I think it needs to be refined.

I made. . . Something. If any of you are out there making harsh noise music. . This will be perfect for you.

How does earth should sound? uh. . . I don't know, but i started to my make some noise with this old dead plant. I duplicated 6 times the track with different treatement on each ; pitch, overdrive, lo-pass, delay etc. . It's now sound more like earth quake than anything else. . .

Heavy gain but not super high gain. Think loud marshall amp with the guitar player teasing you to the start of the song. And yeah it sounds almost like that one song you all know.

Wildest/ western acoustic guitar soundtrack. I thought it sounded as a sounded for a wild west/western film. Akkoords played are em, am, e and g on an acoustic guitar. Capo is on the 4th.

A decade later from not using reason. . . Made this sinthe first thing : ) this diddy is at 115 bpm somewhat in the key of c. Please destroy. . . I mean enjoy. O. O.

A variation on breakbeat 1,a few more snare hits and an extra kick to shuffle it up a bit. A bit of fuzz across the whole drum mix really does make a difference!normalise for extra volume.

Just stumbled across the recording of me scraping all of my guitar strings while adding headphones from my amp (with distortion) to my phone when i recorded the sound and i decided to share this with you.

Little breakbeat with skippy snares using one of the chemical kits in reason. Kick and snare were processed separately. A bit of fuzz used across the board to dirty it up a bit and some gentle re verb on the snares and hats.

An improvised stoner riff played on an archtop guitar passed through pharaoh fuzz then through an orange amplifier with overdrive enabled. After that the signal goes directly into the computer. Recorded using an alesis io/2 interface with input set to "line" and gain to the minimum.

An amplified version of thrusters_loop for a more intense effect. Has some nice rumbling and stereo sound. Created in fl studio with two white noise components, both with a low pass filter and one with an overdrive plugin. Edited in audacity.

This was made with kontact and a korg ea-1, mixed with a behringer mixer with light dirt and overdrive. Sampled into an mpc. Left and right are separate channels processed differently. So each sample is actually 2 different sample, 3 if you combine them. 44. 1k, 16-bit.

Wild west sound made in fl studio. You can use my sounds freely. It would be great if you credit me. Leave a comment and tell me for which project you used it. Daniel lucas, danlucaz. 2021.

Listened to let me blow ya mind from back in the day and made me want to come up with my own kinda cool r&b line, if you use it let me please listen i'd like to hear!.

While outputting a file of sound effects, i ended up with a severely corrupted file. Playback results include incessant shrieking and slight pitch alterations. To create more variety, i used a lowpass filter and long reverb.

Basicly the same patch ashttps://www. Freesound. Org/people/gis_sweden/sounds/395016/. I let it play for a while then i start "doing things". . . It's not beautiful but its what it sounds like when you playwith a modular synth. Think i'm done with this patch. Unpatching time.

A short and simple tapping riff. All guitar tracks were recorded with an ibanez rg7321 plugged directly into an m-audio fast track pro. I used cubase as my daw and plugins by tse audio and lepou for overdrive and amp simulation, respectively, some stock cubase plugins (eq, compression, delay, etc. ) and some drum hits were added using superior drummer.

A simple arpeggiated chord. Spaghetti-western guitar is a set of distorted, semi-ambient electric guitar. It was made with stereotypical cowboy themes in mind, but could be adapted for other uses. All sounds are public domain and do not require credit, but i'd love to hear about how you use them!.

Formatted for use in the make noise morphagene. Eight chords from my fender rhodes, each on its own splice, based around an f-minor root. The rhodes is running through an mxr zw-44 for some mild overdrive, and was boosted with a focusrite scarlett dynamic octopre. See a video of this reel here: https://youtu. Be/ybhmx38n5oo.

This is an attempt to recreate the sound of a gunshot. At a distant and medium distance. The sound consists of two layers. In the synthesis, white noise with different filtering by layers was used. Reverb was not used. The final processing is equalization and a bit of overdrive.

Some goa synth i created in fl studio a while ago using the pro 53 vst synth. Basically a saw wave form with glide or portamento, this nice lfo lpf in fl studio called fruity love synth, slight hpf, slight distorition (blood overdrive), a little compression, a little pannomatic, the right amount of delay and reverb. Presto!.

This is a sound make with this sound taken on this website :. 184598__qubodup__monster-roar. I took one of the monster very deep voice sound and tweaked it to sound like some kind of raging infected because i had to do it for a game. It's kind of like the sound zombies make in movies where they are not really zombies but raging infected people. I used : pitch shift, time shift, octaver, eq, overdrive.

This is a simple sketch, where i played on electric guitar just for fun through a little guitar amp [pignose], some simple rock riff with solo part. It`s not a quality record, so i adding "lo-fi" in a name trek. Temp 77 bpm.

Virtual analog (linplug albino) lead multi-sample with a big and upfront sound. Perfectly suited for uptempo dance music and synthpop. The samples have been processed with the nomad factory blue tubes dr2s overdrive and compressed using the sonalksis sv-315 compressor. Sample resolution is 24 bit, 44. 1 khz. All samples in this multi-sample have looppoints added for sustained notes.

I used bdx for the kick, sent through disto-fx and various eq plugins. Cymbalistic was used for the hihats, with further eq and gating placed on it. The snare was from a free sample pack (i can't remember the name of) sent through a resonator, eq plugins and some soft-clippers to give it a bigger sound. Clipmax was used on the master channel.

Several breakbeats i made using sliced samples of cyberia's breaks. Mostly cut&paste in audacity, so i'm not sure of the bpm, but i normally ignore that anyways. . . Processed with overdrive, chebyshev, and various other distortionate effects, and compressed. I'm somewhat new to making drum breaks, i'm used to making loops, so tell me how i'm doing! any suggestions for improvement appreciated also, thanks, and enjoy the b-b-b-breaks!http://freesound. Iua. Upf. Edu/usersviewsingle. Php?id=164285.

Formatted for use in the make noise morphagene. Seven chords from my fender rhodes, each on its own splice, centered around a bb-minor root. The rhodes was running through an mxr zw-44 for mild overdrive, and the signal was boosted with a focusrite scarlett dynamic octopre. This reel was originally created for a guest post on the noise engineering blog: https://www. Noiseengineering. Us/blog/2017/9/18/modular-tips-and-tricks-guest-post-rheyne. Here's a video using this reel: https://youtu. Be/cyhpcbu71rc.

A version of greensleeves, played on a music box with distortion and reverb, to imitate the speaker of an ice cream van. In australian ice cream vans most commonly play greensleeves for some reason, and they all use crappy amplifiers cranked up as loud as they'll go, so the result is something like this. Created in ableton live. The music-box sequence is created using a sampler with sounds from https://freesound. Org/people/folkman/packs/4540/ put through an expander-compressor and an overdrive filter with reverb.

Layered synthesis of the sound of a big hit. 1 layer. Recorded sound of a blow to the pillow (take with a percussion tint)2 layer. Recorded sound of a blow to the pillow (double low kick)3 layer. Recorded sound of a blow to the pillow (variation of a low-kick double with a low pitch and a different attack phase)4 layer. The sound of a low-frequency sweep, like in a synthetic bass drum, obtained on a synthesizer. )an additional layer of metal impact (recorded by me) is not present in all variations of the sound presented. Each layer was subjected to quite extreme compression and equalization. A bit of overdrive is present. Well, convolutional reverb.

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.