52 Royalty-Free Audio Tracks for "Parallel"

Parallel fifths from German sixth resolution in Mozart - Symphony K.453.

Example of playing two tones at the same time by adding their samples. Sound generated using the go-sound golang programming library:https://github. Com/padster/go-sound. As part of the demonstration program:https://github. Com/padster/go-sound/blob/master/runthrough. Go.

Performed by Dick Justice.

Performed by Bascom Lamar Lunsford.

Written by Jim Jackson. Performed by Jim Jackson.

Performed by Kelly Harrell.

Performed by Mississippi John Hurt.

Performed by Dock Boggs.

Performed by Buell Kazee.

Performed by Buell Kazee.

Performed by Jilson Setters.

Performed by Coley Jones.

Performed by Clarence Ashley.

Performed by Burnett And Rutherford.

Performed by G B Grayson.

Written by Charley Patton. Performed by The Masked Marvel.

Performed by The Carolina Tar Heels.

Performed by Bill And Belle Reed.

Performed by 'Uncle Bunt' Stephens.

Performed by Prince Albert Hunt's Texas Ramblers.

Performed by Buster Carter And Preston Young.

Performed by Kelly Harrell And The Virginia String Band.

Performed by "Chubby" Parker And His Old Time Banjo.

Performed by Charlie Poole With The North Carolina Ramblers.

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

Dominant and dominant parallel in C minor: Gm and BM chords.

Dominant and dominant parallel in C major: GM and Em chords.

Subdominant parallel in C major. Created by Hyacinth (talk) 04:21, 1 May 2010 using Sibelius 5.

Power chords in progression create parallel fifths, though the prohibit is not relevant since there is not intention to create independent voices. Created by Hyacinth (talk) 03:21, 29 January 2012 (UTC) using Sibelius 5.

Urban ambience recording at avinguda parallel with ronda sant pau, barcelona, september 2020 during covid post-lockdown. Using a zoom h-1 recorder.

Oberheim sem pad chords at 120 bpm with delay and parallel shift.

Parallel universe track with nice sound. It can be perfectly used in cinematic projects. Track features plucked. Space pad. Plugins omnisphere 2, serum. Bpm 109. Ableton 9. 12 midi channels. Project file here: https://evaluationrecords. Com/shop/ regards, andrew kn.

Just a quick loop i made with the amen break, some samples and a little parallel processing. Enjoy.

Basically its a synthesized snare bottom, with a real clap layered with a white noise burst, eq'd and also filtered with what i can only really call "parallel- saturation. ".

Mapex mars big rock recorded with one dynamic sennheiser e835 over the kick facing the snare (also known as "wurst" by moses schneider) with parallel compression and eq.

A very simple beat useful for many styles. . . Heavily processed recorded with various microphonesprocessing involves eq, reverb, and 3 compressors working in parallel(hi tom is panned 30 right, low tom is panned 30 left).

Very bass harmonics for kick (to be played in parallel) and at lower volume for snare and tom bass harmonics. It was created by filtering a 60 hz sine wave (remove all the high frequencies but also the extreme low).

A recording of a noise of a polish train running, slowing down with the specific metalic sqeaky sound, stopping, accelarating and then running slowly. At the end of the clip there is a motorcycle passing by no the road parallel to the train tracks. Recording was made using zoom h4n on 48khz and 24bit settings.

Several musicians are rehearsing at the same time on a street in kotor, 25 / 9 2014. Recorded with a zoom h1 and edited with audacity. Please, contribute voluntarily to freesound if you download this and other files of me. I will be happy and grateful if you share some response!.

Graham cracker foley recorded with a pair of mics in xy stereo arrangement (close), and small diaphragm condenser mic (far) running parallel. Processed in reaper with ambient noise reduction, compression, and eq. Each file mixed according to the title ("far" or "close" dominant).

My original dw toms, mixed with themselves 1 octave up [the octave up is lowered -6db and the envelope reshaped to allow loud only the attack]. Then for that resulting mixdow again the same thing [so i used the same method two times]. At all steps i was using the simple compressor[not multiband] for not allowing overlimiting. For the two general mixdowns [because it was a double process] i used hard compressor at -0. 45 dbs. And for the two octavic parallel channels i used hard compressor -3. 60 dbsbecause the octave doesn't sound realistic if not well compressed. For all my dw octavic tomsed i used the same exact method. My original dw toms are here if you want to read data or mics. These toms do not sound realistic as stand alone sounds. These harmonics work better only in a complete mixdown, and have increased audibility than the original recordings [for silent music parts use the original because low velocity of parallel instruments will expose the supportive tom-harmonics].

This is how lost my shoes at the mexico city metro, it was almost like the scene in the harry potter's movies when they get into a looping parallel dimension until you get out in another dimension, yes i really felt i went into another dimension inside the metro and that's the exact sound from when it happened. Enjoy this crazy sample, and feel free to use it to rebuild other sounds. I am on bandcamp if you would like to discover more crazy sounds like aparatar :).

Here are some drums i made, on the synthesizer again. In order they are: parallel compressed kick, regular kick, snare, closed hi-hat and open hi-hat. The set before the break is mastered, while the set after the break isn't (i did throw a little limiter in there though just to boost 'em up a bit easily, but they're still not mastered). Enjoy. Credit is appreciated but not at all needed, i just like synthesizer-ing.

I went for a more realistic gun sound without the hollywood subbass and a lot cleaner than my previous work. Made in ableton live, i just layered an ak47, an m16, an enfield rifle and an acoustic kick drum together with eq and used parallel compression to gel them together. Transient designers were used on the layers to make them snap harder. A bolt slide forward sample and a bolt slide back sample were added to give some mechanical feels to the gunshot. Enjoy.

Travel to the depths of parallel worlds to bring you these 100 sounds never heard before. . . They will hear sounds of the flight of strange birds if they can be called that, of strangely shaped beings that emitted sounds i do not know where, of echoes coming from, who knows one. The ship that i take with me is the sirius quasimodo works station, the fuel to be able to move the ship and transport me is biotek the audacity travel recording log enjoy it; =). Ps: i have to give up the pills they produce a weird effect on me jajajajaja.

Acid bass: 110 bpm c2 note, not your typical saw/square basslines. High sweeping filters in parallel sampled in ableton using massive, compression using psp compressor2 and psp warmer. Random presets, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down. Check out my songs on soundcloud :d.

Acid bass: 110 bpm c2 note, not your typical saw/square basslines. High sweeping filters in parallel with lfo routed to certin parts sampled in ableton using massive, compression using psp compressor2 and psp warmer. Random presets, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down. Check out my songs on soundcloud :d.

This recording was made at a canal when it was reasonably dry. The canal has a road running parallel to it and above it. The side of that road has a largish (30cm?) pipe that drains water into the canal. I made this recording by holding my zoom h5 portable recorder in this pipe, and recording with the inbuilt stereo pair of microphones. You can hear the traffic passing above with the zoom of the occasional fast truck, but it's muted and it's echoing around the pipe. There's a hollow rumble running through the whole track. I made the recording in august (spring) of 2021 in brunswick west, australia.

Approaching army? rising nightmare?. Wrote/recorded an eerie nightmare approaching in the distance sound. The sound starts soft and builds to a crescendo. Ezdrummer2 was used w/ a low pass eq filter. Panned left is ableton stock plugin glass cave mirror. Panned right is polar pad. Center is the ezdrummer2 w/ a low pass eq filter combined with the all alone pad stock plugin. Each track is sent to a return track w/ heavy reverb and adjusted for parallel processing. Additional notes:-13. 4 lufs integrated-2. 1 db true peak max. Want something more customized? send me a note or visit my youtube. Com/bainmackhope this helps and is useful for your next project. Cheers,bainmack.

. . 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).