361 Royalty-Free Audio Tracks for "Patch"

A request for freesounder neilreynolds1980, intended as a soundtrack for the play dr faustus at the point the eponymous character is sucked into hell. A bit of technical information: the basic sound is a stacked set of ‘devil’s intervals’ (augmented fourths) with doubling at the octave, playing an instance of calf organ set to a truly horrifying demonic choir patch i created. The rest of the effects are accomplished using automation of this instrument as well as calf pulsator and calf filter in ardour. This sounds much better when downloaded than it does in the freesound player. The stereo image and sample rate are much reduced in the version you hear in the player.

Formatted for use in the make noise morphagene eurorack module. These recordings were taken from 28 self generating custom unit patches i designed on the er301 eurorack module called autogen301. The sounds have elements of glitch, church organs, melodic phrases, zaps, abstract clicks and alien sounds inspired by buchla, serge and ciat lonbarde instruments. For users of the er301, the complete custom patches can be freely downloaded and edited as well as viewing instagram videos of the patch sounds here - https://forum. Orthogonaldevices. Com/t/autogen301-a-collection-of-self-generating-custom-units/1959/72?u=mudloggeri record music as "mudlogger" using buchla easel/200e, serge 4u and eurorack instruments and as "hoan kiem chess team" using ciat lonbarde instruments. Https://mudlogger. Bandcamp. Comhttps://hoankiemchessteam. Bandcamp. Com/.

This one was also made in sylenth1, its a pretty dirty gritty sounding patch i made. Has a bit of the 'decimate' bitcrusher (sylenths', and i also added a bass amp in logic to fatten the sound up, its played in g. I always name my loops with the first letter on its key hence the name ghost chord=) , and is a loop made at 128bpm. Feel free to use it in any of your works + more importantly let me know why you like it?i take quite some time into adding details in my sounds. I find making a loop can be very good for tuning your ears & production techniques, because like an artist if your painting something small u add a lot more detail. No need to credit me but its always nice(the more u do this the more u get i say=)enjoy. Dw.

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.

Some cafe ambience severely altered with blok modular fx. Was originally a long jam cut up into a bunch of individual files but i figured searching through them would be a pain so i merged them back into one file. So listen through and pick the sounds you like with a wav editor, or enjoy it in its own regard as abstract sound sculpture or something. I don't want to divulge too much of what the patch looked like but it random note values with each keyboard press which were then ran through a waveshaper. Later on i add some reverb and use various things to alter the panning for some strange stereo effects. Edit: you might want to use a dc eliminator on the samples because the waveshaper creates some dc offset (basically useless low/zero frequency noise for those not in the know). But maybe it has some aesthetic value for you to keep it intact? you decide. Http://www. Meldaproduction. Com/plugins/product. Php?id=mutility this free vst has a dc eliminator included.

I recorded this in my living room with mics in an x-pattern on the couch very close together, using a tascam dr-70d and behringer dyynamic microphones with patch cables for optimal volume. I recorded this at maximum gain on the tascam as two stereo files, then conjoined them to a 6-channel audio file properly and mixed the front two channels to a monaural center channel for added effect. The final result is what can be downloaded here. Tghe music in the background is part of the star trek: generations expanded complete score, and is coming from my computer to the rear of the recording, which lasts just over a minute in length, and the music was just background noise for testing purposes only. No copyright infringement was intended. Credit for the music goes to the now late jerry goldsmith and also dennis mccarthy, who is still alive. I hope you like this audio demonstration, and find it useful when considering rigs like the holophone, or comparible 5. 1 surround sound microphones / rigs. I take no credit for this recording, as it was done for demonstration purposes only. Have fun!.

I have built a nonlinearcircuits sloth lfo, the regular version. Sloth is a chaotic lfo. The output is based on the lorenz system. It is a system of ordinary differential equations. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the lorenz attractor is a set of chaotic solutions of the lorenz system which, when plotted, resemble a butterfly or figure eight (very much from wikipedia). The sloth has two outputs x and y. Think of them as coordinate pairs. The output will probably never repeat itself but there is a pattern. I have built the regular sloth it usually takes approx 15 seconds to make a rough figure 8, one cycle in the “butterly”. Now i’m testing the module in different ways. In this sound i have connected white noise to a filter. The filter frequency is controlled by sloth (x output). In this patch i have set the initial frequency low. That’s why there is a low humming wind noise between the “tops”. The output sound from filter goes to reverb. The sound is more a study of sloth behavior than an attempt to create a great wind sound.

I have built a nonlinearcircuits sloth lfo, the regular version. Sloth is a chaotic lfo. The output is based on the lorenz system. It is a system of ordinary differential equations. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the lorenz attractor is a set of chaotic solutions of the lorenz system which, when plotted, resemble a butterfly or figure eight (very much from wikipedia). The sloth has two outputs x and y. Think of them as coordinate pairs. The output will probably never repeat itself but there is a pattern. I have built the regular sloth it usually takes approx 15 seconds to make a rough figure 8, one cycle in the “butterly”. The knob changes the chaotic pattern. At some settings the signals will spend more time in one strange attractor than the other. Now i’m testing the module in different ways. In this sound i have connected white noise to a filter. The filter frequency is controlled by sloth (x output). In this patch i have set the initial frequency at 12 o'clock. . . The output sound from filter goes to reverb.

Yes! så nöjd att detta ljud hände, typ! let me take this info in swedish, okay. Buchla style slow krell. En modulerande osc och en som moduleras, men man hör bägge i mixen! ena osc går via en lpg den andra via vca/mix. Till det "skrynkliga" ljudet använder jag en pip slope modulerad av jerkoff och sloth. Ljudkällan är en sinus som går via en lugnt modulerad wave shaper. En envelope follower plus sloth ger en trg till en s/h ibland och då byts tonen. Skrynkelljudet går även till mitt analoga delay. Tonen är även liiite modulerad av en env. Ganska west coast och buchla. . . Google translate :-)buchla style slow krell. A modulating osc and one that is modulated, but you can hear both in the mix! ena osc goes via a lpg the other via vca / mix. To the "creepy" sound i use a pip slope modulated by jerkoff and sloth. The sound source is a sine that goes through a quietly modulated wave shaper. An envelope follower plus sloth gives a trg to an s / h sometimes and then the tone changes. The cry sound also goes to my analogue delay. The tone is also liiite modulated by an env. Pretty west coast and buchla. . .

Recording made by fabian esteban beltrán with a smartphone on may 6, 2020, at 5:30 am in a peri urban area of facatativá, colombia (4 ° 48'47. 84 "n, -74 ° 20'11. 88" w). This locality has a patch of secondary vegetation mixed with eucalyptus plantations and very close to a main road. Numerous birdsongs in the andean scrublands, including great thrush, rufous-collared sparrow, yellow-backed oriole, sparkling violetear, white-sided flowerpiercer and the endemic specie of the highlands, the silvery-throated spinetail, among others. In the background some roosters crowing and barking dogs. Grabación realizada por fabian esteban beltrán el 6 de mayo de 2020 a las 5:30 am en una zona periurbana (4°48'47. 84"n, -74°20'11. 88"o). Esta localidad posee un parche de vegetación secundaria entre mezclada con plantaciones de eucaliptos y muy cercana a una vía principal. Numerosos cantos de aves en los matorrales andinos de esta zona en los que se destacan mirla patinaranja (turdus fuscater), copetón (zonotrichia capensis), turpial de montaña (icterus chrysater), colibrí orejivioleta (colibri coruscans), pinchaflor flanquiblanco (diglossa albilatera) y la especie endémica del altiplano el chamicero cundiboyacense (synallaxis subpudica) entre otros. En el fondo algunos gallos cantando y ladridos de perros.

Autumn is a time for slowing down and allowing yourself time for reflection and contemplation. The accomplishments and mistakes from the previous year. Especially if you make it a habit of getting out all year long and exploring nature, autumn can be a much-needed change in sensory soundscape. . . . After a busy spring listening to the many different warblers which come to visit and a busy summer immersed in the busy sounds of life----both human and natural----autumn's subtle, quiet muted soundscape can be almost like a re-birth for the ears and the soul. The insects, which had taken over center stage since august, are still singing---though now with a quieter volume and a more even sleep and though-inducing tempo. . . . . . . . Brisk winds from the north can be heard more clearly now----swishing, rustling the weedy, tan edges of fields. . . . . Hinting at the bite of much colder masses of canadian air waiting on deck for their turn in the months of november, december and january. . . I made this recording on the evening of october 4th 2014 at the edge of a field which was bordered by thick stands of oaks and pines of a major national forest. . . . . I couldn't help but pretend i was linus waiting in the pumpkin patch for the great pumpkin to arrive!. Recording made with my marantz pmd661 and a rode ntg-2 shotgun microphone on a tripod about 3 feet above the ground. My input volume was 6. I hope you enjoy this soundscape as much as i do.