100 Royalty-Free Audio Tracks for "Pitch B"

00:00
00:10
*16 steps in 19TET on C = B♭. Equal-tempered: 216/19:1 = 1010.53 cents. MIDI pitch bend: 47,67
Author: Hyacinth
00:00
00:10
*18 steps in 19TET on C = B♯ (Easley Blackwood's notation). Equal-tempered: 218/19:1 = 1136.84 cents. MIDI pitch bend: 101,75
Author: Hyacinth
00:00
00:09
*Lesser just minor seventh on C = B♭- (Ben Johnston's notation). 16/9 = 996.09 cents. Limit: 3-limit. MIDI pitch bend: 96,62
Author: Created by Hyacinth (talk) in Sibelius with midi pitch bend on 96,62 for 996.093750 cents rather than 1000.
00:00
00:09
*Pythagorean major seventh on C = B+ (Ben Johnston's notation). 243:128 = 1109.78 cents. Limit: 3-limit. MIDI pitch bend: 16,67
Author: Created by Hyacinth (talk) in Sibelius 5 with midi pitch bend on 16,67 for 1109.765625 cents rather than 1100.
00:00
00:09
*Just augmented seventh (125th harmonic) on C = B♯+++. 125:64 = 1158.94 cents. Limit: 5-limit. MIDI pitch bend: 110,50
Author: Created by Hyacinth (talk) 09:45, 15 January 2012 (UTC) using Sibelius 5.
00:00
00:09
*Two-hundred-thirty-first harmonic on C = B↑♭. Just: 231/128 = 1022.10 cents. Limit: 11-limit. MIDI pitch bend: 9,71
Author: Hyacinth
00:00
00:09
*Neutral seventh on C = B. Equal-tempered: 21050/1200=21/24:1 = 1050 cents. MIDI pitch bend: 0,80 Preceded by:
Author: Created by Hyacinth (talk) in Sibelius 5 with midi pitch bend on 0,80 for 1050 cents rather than 1000.
00:00
00:08
Acoustic scale on C in just intonation. Harmonics 8 through 15, which are the source of the name. C D E F↑ G A B♭ C. Pitch bend matches intervals.
Author: Hyacinth
00:00
00:09
*Hundred-nineteenth harmonic on C = B. Just: 119/64 = 1073.78 cents. Equal-tempered: 211/12:1 = 1100 cents. Limit: 17-limit. MIDI pitch bend: 78,87
Author: Hyacinth
00:00
00:10
*19 steps in 21-et on C = B♭↑ (Easley Blackwood's notation). Equal-tempered: 219/21:1 = 1085.71 cents. MIDI pitch bend: 54,59
Author: Hyacinth
00:00
00:09
*14 steps in 17 equal temperament on C = B♭ (Easley Blackwood's notation). Equal-tempered: 214/17:1 = 988.24 cents. MIDI pitch bend: 30,60
Author: Created by Hyacinth (talk) using Sibelius 5 with midi pitch bend on m6 on ~31,92 for 988.26 cents.
00:00
00:09
*Thirty-first harmonic on C = B. Just: 31:16 = 1145.04 cents. Equal-tempered: 211/12:1 = 1100 cents. Limit: 31-limit. MIDI pitch bend: 53,78
Author: Hyacinth
00:00
00:11
*15 steps in 16-et on C = B (Easley Blackwood's notation). Equal-tempered: 215/16:1 = 1125 cents. MIDI pitch bend: 0,72
Author: Hyacinth
00:00
00:09
*Hundred-seventeenth harmonic on C = B♭. Just: 117/64 = 1044.44 cents. Equal-tempered: 28/12:1 = 800 cents. Limit: 13-limit. MIDI pitch bend: 28,78
Author: Hyacinth
00:00
00:09
*Major seventh on C = B. Equal-tempered: 211/12:1 = 1100 cents. MIDI pitch bend: 0,64
Author: Hyacinth at English Wikipedia
00:00
00:09
Just diminished seventh in just C scale: B and A♭.
Author: Created by Hyacinth (talk) 05:45, 6 January 2012 (UTC) using Sibelius 5.
00:00
00:09
*16 steps in 17 equal temperament on C = B♮ (Easley Blackwood's notation). Equal-tempered: 216/17:1 = 1129.41 cents. MIDI pitch bend: 53,73 Created by Hyacinth (talk) using Sibelius 5 with midi pitch bend on M7 on ~54,73 for 1129.44 cents.
Author: Hyacinth at English Wikipedia
00:00
00:09
*"Semitone" in the Bohlen-Pierce scale on C = Db to D or Bb to B. Just: 625/567 = 168.61 cents. Limit: 7-limit. MIDI pitch bend: 122,53 Title refers to number of semitones (unison=0).
Author: Created by User:Hyacinth (13:39, 1 September 2008) in Sibelius. A m2 on 104,78.
00:00
00:09
*Fifty-seventh harmonic on C = B♭. Just: 57:32 = 999.47 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 19-limit. MIDI pitch bend: 106,95 on M6
Author: Hyacinth
00:00
00:09
*Hundred-twenty-first harmonic on C = B↑↑♭-. Just: 121:64 = 1102.64 cents. Equal-tempered: 210/12:1 = 1000 cents. Limit: 11-limit. MIDI pitch bend: 108,64
Author: Hyacinth
00:00
00:09
*Bohlen-Pierce eleven steps on C = A♯/B♭. 311/13 = 409.35 cents. MIDI pitch bend: 126,66
Author: Hyacinth
00:00
00:09
Just dominant seventh chord on C. C E G B♭. 20:25:30:36. Greater just minor seventh.
Author: Created by Hyacinth (talk) 12:56, 8 April 2011 (UTC) using Sibelius 5.
00:00
00:02
Recorded on an ipad from a musical box played very slowly to get a single note. Then topped and tailed in audacity. I made it for use in the program sonic pi eg https://soundcloud. Com/scrbn/march-of-the-tin-soldiers-musical-box-version-played-by-sonic-pi.
Author: Rbnuser
00:00
00:09
*Bohlen-Pierce twelve steps on C = B. 312/13 = 1755.65 cents. MIDI pitch bend: 103,49 1755.65-1200= 555.65 cents.
Author: Hyacinth
00:00
00:03
Fx laser shoot (medium pitch range) made with adobe audition.
Author: Bolkmar
00:00
00:19
Istrian mode as subharmonics 14 through 7 on C: D-, E↓, F, G↓, A♭, B♭-, C, D-' = D, E, F, G♭, A♭, B♭, C, D'.
Author: Hyacinth
00:00
00:17
Istrian mode as subharmonics 14 through 7 on C: D-, E↓, F, G↓, A♭, B♭-, C, D-' = D, E, F, G♭, A♭, B♭, C, D'.
Author: Hyacinth
00:00
00:12
Diatonic scale on C in 15 equal temperament. C, D, E↓, F, G, A↓, B↓, C. If C=0: 0, 3, 5, 7, 9, 11, 14, 0. MIDI pitch bend matches intervals.
Author: Hyacinth
00:00
00:09
*Minor seventh on C = B♭. Equal-tempered: 210/12:1 = 1000 cents. MIDI pitch bend: 0,64
Author: Hyacinth at English Wikipedia
00:00
00:09
*Greater just minor seventh on C = B♭. 9/5 = 1017.60 cents. Limit: 5-limit.
Author: Hyacinth
00:00
00:09
*Pythagorean diminished seventh on C = B--- (Ben Johnston's notation). 32768:19683 = 882.40 cents. Limit: 3-limit.
Author: Created by Hyacinth (talk) using Sibelius 5 with midi pitch bend on 2,79 for 946.923828 cents rather than 900.
00:00
00:02
This track was a voice recording of me saying "freesound. Org" using my laptops internal microphone, and then edited audacity®. The gverb filter was applied. The pitch was changed from the original tone which was c to b.
Author: Mtthwmntnz
00:00
00:09
*Pythagorean augmented seventh on C = B♯+++ (Ben Johnston's notation). 531441/262144 = 1223.46 cents. Limit: 3-limit.
Author: Hyacinth
00:00
00:36
Recorded with audacity 1. 2. 6, then normalized, echo (. 03,. 5), pitch (b to g#/ab, down, -15), delay (10,. 1, 10). Klaxon made using sony acid music studio 8 and sony sound loops.
Author: Poka
00:00
00:09
*Undecimal neutral seventh on C = B↑♭- (Ben Johnston's notation). 11:6 = 1049.36 cents. Limit: 11-limit.
Author: Created by Hyacinth (talk) using Sibelius 5 with midi bend on Bb on ~87,79.
00:00
00:09
*Lesser undecimal neutral seventh on C = B↓ (Ben Johnston's notation). 20:11 = 1035 cents. Limit: 11-limit.
Author: Created by Hyacinth (talk) in Sibelius with midi pitch bend on 75 for 1034.375 cents rather than 1035. New version a m7 on 26,75 for 1035.009765625 cents rather than 1035.
00:00
00:09
Created in Sibelius. Major sixth (Diminished seventh) on C = A (B). Equal-tempered: 29/12:1 = 900 cents. MIDI pitch bend: 0,64
Author: The original uploader was Hyacinth at English Wikipedia.
00:00
00:10
A12 4 7 10 on C. Traditional notation: C B♭ E. MIDI pitch bend matches intervals. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include twelve steps in the tritave, named A12 by Enrique Moreno [1] and based on the 4:7:10 chord.
Author: Created by Hyacinth (talk) using Sibelius 5.
00:00
01:51
I put this recording through a 'pitch looper' a program called cecilia, really cool program if you want to produce something similiar. The original recording i've also uploaded separately was taken with a rode nt4 mic and with a didge of mine in the key of b from northern queensland (kuranda).
Author: Olliehahn
00:00
00:17
Musical scale called "Ishartum" by Lou Harrison, often called the "Flamenco mode", in Pythagorean tuning on E, as follows: (by fifths) F-, C-, G-, D-, A, E, B (F♯+, C♯+, G♯+, and D♯+), or (in order) E (1/1), F- (256/243), G- (32/27), A (4/3), B (3/2), C- (128/81), D (16/9), E (2/1), with G♯+ being 81/64 and D#+ being 729/512. The final F- has an augmented sixth chord, B7b5/F (B D# F A), which resolves to a major chord that touches on the minor third.
Author: Hyacinth
00:00
00:07
5 7 9 chord on E, eight steps in the octave. Other non-octave tunings investigated by Bohlen besides the Bohlen-Pierce scale include eight steps in the octave, based on 5:7:9 and of which only the just version would be used. Traditional notation: E B♭ D.
Author: Created by Hyacinth (talk) 06:34, 25 November 2010 using Sibelius 5.
00:00
16:41
Warning: files can not be undeleted, not even by administrators!i re-uploaded the sound because there was an error connecting to the https://freesound. Org server. Estimated start pitch: a♯/b♭1 (59. 940 hz)this is an impulse of 59. 94 fps video (see why tv is 29. 97 fps and the horizontal frequency is 15734. 266 hz). I created this in audacity!. Silence: 1001 samples at 60000 hz, except the first sample is of amplitude 0. 25. Attribution is not required, which means that i, therandomsoundbyte2637, need not be attributed to use this!. Sample rate is 60 khz because of the 59. 94 hz.
Author: Therandomsoundbyte
00:00
10:15
Algorithmic modular music program (man2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem -------------- man2_2019 --------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 if (lfo_2 = high) then goto 01 [= reset]03 rnd frq lfo_1 (run speed)04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)06 trg long env (vco_2): rnd pitch @ eoc (vco_2)07 trg long env (vco_3): rnd pitch @ eoc (vco_3)08 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)10 goto 01.
Author: Gis Sweden
00:00
00:16
Regular diatonic tuning 72-tone. A regular diatonic tuning is five "whole tones", T, and two half tones, S, arranged in any rotation of TTSTTTS. In 12-tone, T=200 cents and S=100 cents. In 72-tone, T=233.3 cents and S=16.6. This is that scale: C = 0 D = 233.3 E# = 466.6 F# = 483.3 G = 716.6 A = 950 B# = 1183.3 C = 1200
Author: Hyacinth
00:00
01:03
A set of orchestral hits with different instrumentations. All instruments play the note c. A: full orchestra with cymbals and bells (*1)b: full orchestra without cymbals and bellsc: no untuned percussiond: col legno strings (*2)e: no woodwindsf: no brassg: no percussionh: only brass & percussioni: only woodwinds and percussionj: only strings and percussionk: only col legno strings and percussionl: only strings and woodwindsm: only strings and brass. (*1) the cymbals tend to sound weird when you change the pitch (in my opinion) so all other samples don't use them. (*2) col legno is when the strings are hit with the wooden back of the bow. These are very dry samples with no additional reverb or any other processing.
Author: Mathewhenry
00:00
01:03
A set of orchestral hits with different instrumentations. The chord c major is played. A: full orchestra with cymbals and bells (*1)b: full orchestra without cymbals and bellsc: no untuned percussiond: col legno strings (*2)e: no woodwindsf: no brassg: no percussionh: only brass & percussioni: only woodwinds and percussionj: only strings and percussionk: only col legno strings and percussionl: only strings and woodwindsm: only strings and brass. (*1) the cymbals tend to sound weird when you change the pitch (in my opinion) so all other samples don't use them. (*2) col legno is when the strings are hit with the wooden back of the bow. These are very dry samples with no additional reverb or any other processing.
Author: Mathewhenry
00:00
01:03
A set of orchestral hits with different instrumentations. The chord c minor is played. A: full orchestra with cymbals and bells (*1)b: full orchestra without cymbals and bellsc: no untuned percussiond: col legno strings (*2)e: no woodwindsf: no brassg: no percussionh: only brass & percussioni: only woodwinds and percussionj: only strings and percussionk: only col legno strings and percussionl: only strings and woodwindsm: only strings and brass. (*1) the cymbals tend to sound weird when you change the pitch (in my opinion) so all other samples don't use them. (*2) col legno is when the strings are hit with the wooden back of the bow. These are very dry samples with no additional reverb or any other processing.
Author: Mathewhenry
00:00
02:40
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.
Author: Makenoisemusic
00:00
00:03
88 piano keys, long natural reverb: up to 13 seconds per note. This is me giving back. I love freesound. You guys saved my bacon back in the day. Recently i searched for free piano notes for a game i'm making, but the only ones i could find ended too quickly. I need long reverb! luckily i have an old piano, so i made my own. So this is me giving back. This is an old piano!!!. We had the piano tuned a year ago, but it is well over 60 years old, so be warned! these notes have character! if you want perfect tone, either edit them individually, generate something artificially, or buy a professional set. But if you want a piano with personality, this is for you. Being an old piano, it only has 85 keys. So i created the highest 3 notes by speeding up previous notes, to make the modern standard 88 keys. How the notes were created. The notes are created on an old (well over 50 years) steinhoff upright piano. It only has 85 keys, so i faked the highest 3 keys by taking previous keys and changing their pitch. I opened the top, balanced my trusty everesta bm-800 condenser microphone across the top near the high note end, and held down the "loud" pedal. Each note was then hit and kept pressed down until i could no longer hear any reverb. Notes were saved as mp3 using my laptop, using free sound recorder on the highest quality settings. Yeah, i know it isn't flac, but i am strictly amateur with budget to match, and that was the best i could do. After that, all editing was of course uncomopressed until the final save. How the notes were edited. Editing was kept to a minimum, mainly to enhance the reverberation. All editing took place on audacity on linux mint. First i cropped any silence from the start. Next, used the envelope function to gradually increae volume to 200% over a couple of seconds. That is, the quietest part of the reverb is twice as loud as you might expect. Because for my game i sometimes need a single piano key to last ten seconds. Next i maximised the volume. If there was just a single stray waveform that stuck out then i reduced that by 2db or so then maximised again. Because like i said, i want to hear that reverb! i then found the part where background noise starts to be noticeable, and faded out over 1 second or so. This meant that the lowest notes had as much as 13 seconds of reverb, whereas the highest notes might only have 2 or so. Finally i checked the result, and edited three or four notes that i felt were just too ugly (badly tuned, or for some reason the software suddenly got hissy when the note became too quiet. Weird. ) i also slightly changed the pitch of a couple of notes that were slightly out of tune but otherwise ok. No doubt a better ear than mine could teak all of the notes. But as i said, it's an old piano and we're keeping it real. Finally, files were compressed to ogg at the highest quality setting, using soundkonverter. Why not flac?. I live in the countryside with very slow broadband, so i apologise for including more of the original files. But as it was, uploading this zip file took about an hour. Enjoy. Legal. Use this for anything you want, commercial or not, credit me or not. Consider it public domain. My main concern is that i had completely legal sound for my game, with nice long reverb and character. Uploading it here provides proof that i created it first, just in case anybody comes back and says "those are mine" (it happens).
Author: Tedagame
51 - 100 of 100
/ 2