15 Royalty-Free Audio Tracks for "Phasing (music)"

Pattern (or Basic Unit) of 5 notes of Reed Phase, Steve Reich, on soprano saxophone

Made by scraping a drum stick through a metal music stand, no effects appliedsean smith + alistair beecham.

String instrument from india and nepal,been used for indian classical and folk music. This sound is composed of three parts:-attack phase (from emu emulator 3)-sustain phase- string noise (done with filtered noise).

Sorry, if this music weren't made by me. This is "sonic. Exe - green hill zone" i guess. . . But i made it low pitched because yes. So, please don't flag this song. It's just mr incredible becoming uncanny phase 15 full music. You can use it if you wanna to. You can credit me for low pitched sonic. Exe green hill zone song. You can enjoy this music i guess. So, should i make mr incredible becoming canny phase 16 and 17 music?tell me in the comments. I hope this music is not cringe or something like that. And i hope there is nothing wrong with this music.

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A chord progression in c minor made on lmms, played on bells put through phasing and delay. If you make music using this, please leave a link under this post.

Light string sound without melody. Made with a keyboard improvisation midi, processed through virtual synth in music maker as acoustic guitar, disguised with reverb, delay, echo and fx phasing into something that sounds almost like a gypsy cimbalom.

Ocean waves recorded from between two rocks. Recorded on a zoom h4 with the mics covered in zeppelin fur at 44100 hz 24-bit. There's some slight wind noise that can be filtered from 150hz downward. This is part of a series of recordings for an ambient music project i'm working on. There are some excellent ocean recordings on freesound if you're looking for a more traditional ocean sound, but my intent with these clips was to try to capture some natural phase-shifting by placing the h4 in cracks and crevices for a more hollow, "closed-in" sound.

Items used:• electric guitar: cort x100 open pore black• guitar pedal: ksr ceres (ceres – 3ch preamp pedal – ksr amplification®). The file is phased. The right channel is delayed 25 ms (milliseconds). It is part of my death metal guitar folder pack.

Support my musicdonate now. Https://www. Paypal. Com/paypalme/giovi82this and other. Ableton live. Free music slap house dance edm loop electro clap drums kick drum snare bassdance club psytrance drumroll trance trance sample compressed tight drum.

A jazz sample at 130 bpm composed on fl studio. The left channel preceding phase shift was implement by the removal of a sinelike oscillation. I deleted a left channel sinelike oscillation after the attack (and actually i omitted one more oscillation, because i didn't want to remove the very energetic ones).

This wa maybe my first attempt at doing something that i would describe as steve reich-y (not knowing very much about steve reich) which is a method i got slightly obsessed with. Basically (for me) it was creating a short measure for a few instruments (apso uploaded here) but then layering them, slightly and increasingly out of time, so that they go out of phase and create a huge trippy musical canvas that you couldn't have predicted from the opening measure (well i couldn't, but i know nothing about music).

Stereo recording of a group of street musicians playing circus style music in paradise circus, birmingham uk. Recorded on a zoom h2 digital recorder in wav format walking past the musicians. Trumpet does some phase effects as the reflected sound from a large building mixes with the direct sound. Recorder was in bag so sounds of movement, and plenty of street noise. Short extract so as not to deprive performers of any rights - this is a field recording of a street soundscape.

This is a very small part of a song of mine called cyanean rocks. I used. Tempo: 140 bpmsguitar: prs se santana - guitar strings: ernie ball rps 10 slinkybass: vst cobra satin - bass strings: 3 vst, 1 fenderamp: yamaha thr 10 - select aco,a gentle amount of chorus & delayprogramms: fl8, wavelab 6drums: dw, tama. I do not tune my guitar and bass with the standard tuning. Veiler's personal tuning for guitar. Mi bass -remains-> mi bassla -becomes-> sol thin string - it is a sol string like the classic solre -becomes->do# the closest to re stringsol -remains-> sol, and it is exactly the same with the upper sol- buy extrasi -becomes-> do# the closest to si stringmi cantini -remains-> mi cantini. You must perform intonational adjustment to the bridge saddlesif your guitar has permanent bridge saddles - it sounds like ass. If you don't know what intonational adjustment of the bridge saddlesgo ask a guitarist because you are not - even if you say so. [we fix the harmonics - we focus in the octave tuning usually usinghex key = allen key]. In some guitars we may have to fix the harmonics once a month. If you don't know anything, search it on wikipedia. You have to throw away the la string. You have to purchase an extra sol to replace the unused la string. If you don't understand that, please don't speak to me, i hate idiots. Effects: phase deleting 25 ms of the right channel(if you destroy a critical drum-attack remix it to the right channel). Please brush your teeth!!!.

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.