656 Royalty-Free Audio Tracks for "Place"

I recorded this rainy ambience from my balcony at around 2:00 am. This place is located on the outskirts of delhi, india. Although it never happens that it rains in winter, but sometimes it does. The rain started at 1:00am and continued till around 6:00am. Best strike @ 05:30. Location : sonipat, haryana, india. Equipment : zoom h1n. Do not hesitatefeel free to use !!. ------------------------------------------. बारिश के इस माहौल को मैंने रात के 2 बजे अपनी बालकनी से रिकॉर्ड किया। यह जगह दिल्ली, भारत के बाहरी इलाके में स्थित है। हालांकि ऐसा कभी नहीं होता है कि सर्दियों में बारिश हो, लेकिन कभी-कभी ऐसा हो जाता है। बारिश सुबह के एक बजे शुरू हुई और सुबह छह बजे तक जारी रही।. संकोच न करेंउपयोग करने के लिए स्वतंत्र महसूस करें !!.

Label: His Master's Voice Cat. no.: DB 3225 Order number: 2EA 5256 Matrix/StamperID: 2EA5256 -II- 1st release date: 1937 1st recording date: 28 May 1937 Place of recording: unknown Author(s)/Composer(s): Giacomo Puccini (1858-1924) Lyricist(s): Luigi Illica (1824-1893) and Giuseppe Giacosa (1847-1906) based on Scènes de la vie de bohème by Henri Murger (1822-1861) Conductor: Walter Goehr (1903-1960) Performer(s): Beniamino Gigli (Tenor) (1890-1957) and Maria Caniglia (Soprano) (1905-1979) with orchestra accompaniment Vocal range: Tenor and soprano with orchestra accompaniment Title/Work: La bohème (opera) Content: Act 1: O soave fanciulla Genre(s): Opera terminology (aria) Comments: RCM and ELP

Label: Disque "Gramophone" Cat. no.: DB 3703 Order number: 2EA 7144 Matrix/StamperID: 2EA 7144I / M6-97965 1st release date: 1939 1st recording date: 23 November 1938 Place of recording: EMI Studio No. 3, Abbey Road, London (United Kingdom) Author(s)/Composer(s): Antonio Vivaldi (1678-1741) Music arranger(s): Johann Sebastian Bach (previously attributed to Wilhelm Friedemann Bach)[1] Performer(s): Piano: Alexander Brailowsky (1896-1976) Vocal range: instrumental Title/Work: Concerto in D minor (original work: Concerto in D minor from L'Estro Armonico, Op. 3 No. 11) (published 1711) Content: Part 1: Maestoso Genre(s): Organ work (concerto) Comments: RCM and ELP

Title/Work: Madama Butterfly Content: No.13: Perchè con tante cure Genre(s): Opera Author(s)/(Composer(s): Giacomo Puccini (1858-1924) Music arranger(s): none Lyricist(s): Luigi Illica (1857–1919) and Giuseppe Giacosa (1847-1906) based in part on the short story "Madame Butterfly" (1898) by John Luther Long (1861-1927), which was dramatized by David Belasco (1853-1931) Performer(s): Professori d'Orchestra e l'intero Corpo Corale della "Scala di Milano", Rosetta Pampanini (Soprano), Conchita Velasquez (Mezzosoprano), Ferrari Cesira (Soprano), Alessandro Grando (Tenore), Gino Vanelli (Baritone), Giuseppe Nessi (Tenore), Aristide Baracchi (Tenore), Salvatore Baccaloni (Basso) and Lino Bonardi (Baritone) Conductor: Lorenzo Molajoli (1868-1939) Place of recording: London (United Kingdom) 1st release date: 1929 1st recording date: 25 April - 11 May 1929

Recording was taken in the night from 22. 04. 2000 to 23. 04. 2000 in the so called 'leine masch' what is a floodplain of our river called leine. I was on the way back from our easterfire, an old german tradition in the night before easter sunday. Similar to the bonfire in august in britain. I heard the nightingale singing, went at home took my sennhiser me80 with the windshield basket and recorder zoom h4. I returned to the place i heard the nightingale and the bird was still singing. On the recording you can hear the ambient of chemical factory of honywell seelze, a street with cars sometimes, a second nightingale far away answering our nightingale near by. And some frogs. At the beginning of the recording there is also some handgrabbing noise, later i fixed the mic on the saddle of my bike and there is no longer the handgrabbing. Enjoy the beautyful singing, cheers.

On March 11, 2018, the Marine Band presented a Living History program titled Marine Corps Women’s Reserve Band Tribute. The program told the story of the talented and adventurous women who served our country in a most unique and unprecedented manner. Author of the book Bands of Sisters: U.S. Women’s Military Bands During World War II, Dr. Jill Sullivan served as a guide through the personal accounts of those very women who blazed a trail for many to follow. The Marine Corps Women’s Reserve Band of Camp Lejeune was established under the watch of 'The President’s Own' to support bond drives and was active during World War II from 1943–45. In 1944, the ensemble even sat in for one of the Marine Band’s popular 'Dream Hour' broadcasts, a program that will be reenacted in its entirety as part of this concert. The performance took place in Schlesinger Concert Hall at Northern Virginia Community College in Alexandria, Va. Conducted by Capt. Michelle A. Rakers.

The new hope & ivyland railroad is located in new hope, pennsylvania, usa. Basically, it's a tourist railroad that gives visitors the experience of riding in an old fashioned train. You take a short trip out (too short in my opinion) and a short trip back to the station. Since i wanted clean sound, my wife decided to surprise me by paying for the private seats on the very back (outside) of the train. Think of old pictures of presidents waving from the rear of a moving train. . . That place!. So, with zoomh4n pro in hand, i recorded the entire trip from station to station. There's lots of good, old fashioned, clickity-clackity track in this one. A rarity these days as most tracks are now put down with out breaks for miles at a time. Enjoy!. Christopher.

Stereo ambience of people passing by at the kulturforum in berlin. This is a large open concrete space next to the berlin philharmonic hall. It's a warm summer evening and the berlin philharmonics have just finished an open air concert. The recording starts about 15 minutes after the end of the concert while everyone is leaving the place, maybe about 1000-1500 people. The crowd is generally in a happy and talkative mood. There are lots of international folks and tourists, so you'll not only hear german, but also english and lots of other languages. After six minutes or so there is also a police siren in the background. Recorded with a zoom h6 (xy mics). In the same pack there is also a second recording starting directly at the end of the concert with people applauding. It is can be found here.

Beijing the imperial palace hall beat copper cylinder sound10 large uranium cylinder qianqing outside on both sides of the eye-catching. The large copper cylinder glittering, against the red wall under the red line, rich hall after the emperor, gas blood is very strong. However, these large copper cylinder and the big iron old palace was not installed hungry activities, fire appliances but for water storage. Cylinder usually note huang wang water, ready to fire. In winter, was to prevent freezing, exclusive interior palace eunuch in charge of in cylinder jacket insulation and affix the colonel wind sleeve, cylinder bottom also ene charcoal fire, until the next spring when the withdrawal of the fire. After the establishment of the imperial palace museum, in order to prevent the water in the cylinder, cylinder bottom leakage holes are drilled. These large cylinder, bronze and cast iron for the ming dynasty. Gold casting in a copper cylinder are in the qing dynasty.

A recording of flushing the toilet’s water, followed by a groaning door closing sound. Production stages : this sound was originally recorded by a group of students at university lyon 3. Then it was imported to audacity where few modifications were made. First of all, the record was precisely cut so there are no human voices in the background. Then, the sound was normalized and slightly compressed before applying the noise reduction effect. Last, but not least a constant gain was added at the beginning and lightly fading effect took his place at the end. Son du type x (continu complexe)c’est un groupe nodal des sons saturés avec une hauteur variée, suivis d’un bruit d’une haute hauteur. Le son est cannelé et constant et finisse par le son de la porte qui est métallique et aigul’attaque du son est rapide et forte, plutôt abrupte. Le grain est frémissement et rugueuxet l’allure est naturelle, désordonnée et aléatoire.

Sounds from making holes in the ground to place a mortar in it, it could also be used for preparations of building a tent. What i envision most is though that a real time strategy worker is harvesting coal, iron, metal, gold or stone resources using a pickax or shovel on hard ground. It could also be a massively multiplayer role playing game with the harvesting features. Extracted from a video (http://img. Youtube. Com/vi/bibflvh5qjq/2. Jpg) by a us government agency, thus public domain. This sound is cc0/public domain but i highly recommend that you include a link to this page when using it, to avoid misunderstandings. Find many more military sounds in my military sounds pack, also located on freesound. Http://farm9. Staticflickr. Com/8070/8213683889_517a10ef52_o. Pngon flac and ogg vorbis audio file formats. Contact me if you have interest in specific sounds for open source or commercial purpose.

Label: Parlophone (Carl Lindström Company) Cat. no.: P-9317 Order number: 20932 Matrix/StamperID: 2-20932 1st release date: 1929? 1st recording date: 23 November 1928 Place of recording: Carl Lindström AG, SO.33, Schlesische Straße 26, Berlin (German Reich) Author(s)/Composer(s): Franz Schubert (1797-1828) Lyricist(s): Alfred Maria Willner (1859-1929) and Heinz Reichert (1877-1940) Music arranger(s): Heinrich Berté (1857-1924) Conductor(s): Walter Sieber (unknown birth/death date) Performer(s): Parlophon choir with soloists and large orchestra; Soloists:Ilse Wald (1898-?), Elisabeth Kühnlein (unknown birth/death date) and Hans Clemens (1890-1958) Vocal range: various Title/Work: Das Dreimäderlhaus (House of the Three Girls) (operetta) Content: Act 4: Potpourri - Part 2 Genre(s): Operetta terminology Comments: RCM and ELP

1st release date: 1932 1st recording date: 18 May 1931 Place of recording: Teatro alla Scala, Milan (Italy) Author(s)/Composer(s): Georges Bizet (1838-1875) Lyricist(s): Henri Meilhac (1831-1897) and Ludovic Halévy (1834-1908) Music arranger(s): none Conductor: Carlo Sabajno (1874-1938) Performer(s): Gabriella Besanzoni (1888-1962), mezzo-soprano, Enrico Spada (1885-?), basso, Nerina Ferrari (1907-?), soprano, Tamara Beltacchi (1898-?), mezzo-soprano and members of the La Scala Theatre Orchestra and Chorus Vocal range: Bass, Mezzo-Soprano, Soprano, choir and orchestra accompaniment Title/Work: Carmen (opera) Content: Part 15: Act 2: Or ben, Pastià desia (Senor Pastia declares) Genre(s): Opera terminology

09. Jorge Mario Zuleta - 09 - Sand Places

Jaroslav Jezek was born in Prague 1906 and studied at the Prague Conservatory, graduating in 1927. He studied music during the period of the new freedom with its' influence of American jazz and dance on Czech composers which can certainly be seen in Jezek's works. From '28-38, Jezek composed music for 20 plays and revues performed at the Liberated Theater where absurdities of the times-moral hypocrisy, the mistakes of democracies and the inanities of totalitarianism-especially of the Nazis, were humorously skewered. He composed waltzes, tangos, charlestons, rhumbas, and jazz for his admiring Czech audiences. During WWII he moved to New York, possibly because his past criticisms of the Nazi Party would have landed him in prison. He continued to compose there in 1939-41. He died in New York in 1942. The Bugatti Step was written to commemorate Czech racing car driver Eliska Junkova's 2nd place finish in a Swiss mountain race in '27 in her huge Bugatti touring car, seen at 2:08 in this vid. Thanks to former yt contributor KSPM who originally uploaded this music and introduced me to Jezek.

Theme scary siren :. Production step :i record a scream. I cut it and extract two different sounds from it. I change the pitch to get the sound more high-pitched. I also change the tempo to be more slow. I separate the track in two and invert the last part. With the enveloppe tool, i change some part of my track manually. I amplify the track. I also use the reverb effect and amplify the size of the room of 60%. I used the noise reduction. At the end i fade out. I used the noise reduction. Description :this sound look like a siren or an alarm. Because the sound is high-pitched, it award an horrific aspect to the track. For me this siren can take place in an old and creepy factory. In some aspect, there is some metallic noise in this sound. The no-regularity of the siren also participate to this strangeness feeling. Typologie de schaeffer :. Masse: toniquetimbre harmonique: acidegrain: itérationallure: naturelledynamique: violenteprofil mélodique: descendant puis ascendantprofil de masse: aminscicement.

The sound of an ice maker on a water cooler doing a few cycles. My amazing aunt harriet amazes again by sending me this sound of her ice maker. She taped her old iphone to the inside of the door on her new water cooler/ice maker combo, and let the ice maker run for a few cycles. She even typed up a description of what it does for me so i could post this here on freesound:the water is pumped from a reservoir underneeth the ice tray into a tray above that houses 9 pegs. The water is then cooled to freezing, while the 9 pegs are simultaneously cooled to hold the ice in place. More water is then pumped into the tray to thicken each piece of ice. After a few minutes, excess water is dumped back into the reservoir and ice falls from the pegs into the ice tray. The process then repeats. Enjoy and use however you like!.

Label: Parlophone (Carl Lindström Company) Cat. no.: P 9116 Order number: 20258 Matrix/StamperID: 2-20258 1st release date: 1927? 1st recording date: 5 May 1927 Place of recording: Carl Lindström AG, SO.33, Schlesische Straße 26, Berlin (German Reich) Author(s)/Composer(s): Giuseppe Verdi (1842-1898) Lyricist(s): Francesco Maria Piave (1810-1876) based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas (1791-1865), with a scene adapted from Friedrich Schiller's Wallensteins Lager. Conductor(s): Frieder Weissmann (1893-1984) Performer(s): Orchester der Staatsoper Berlin, Meta Seinemeyer (1895-1929) Vocal range: operatic soprano with orchestra Title/Work: La forza del destino (opera) Content: Sono giunta! Grazie, o Dio! (Aria di Leonora) Genre(s): Opera terminology Comments: RCM and Reloop

Sitting an the bar of the blind mule in mobile, alabama. April 24th 2011.

Well, i was walking aloong in the riparian forest in leipzig, where you have to cross a small bridge. There is often a guy feeding te ducks. I was there with my mic in the backpack and asked him if he could continue to feed the ducks while i could place the mic in the middle of the feeding spot. At first the ducks were scared because of this strange microphon standing there. So i put some autumn leafs on it to camouflage it. So, this worked and the ducks started to walk around the mic and eat the bread. What you can hear ist the giggling of the mallards and the sonourus sound of the mandarin ducks. Also you have quite the rush of a near located highway in the back :-/ i had to cut a little bit, because the "duck man" was talking along and some passers-by, but i wanted to keep it clean from human voices. Thats also wy the duck take of in the middle is cutted off. But in the end you will have a clear complete take off again :-). Greetings and all the best.

The first sunday of may is the international dawn chorus day! on the 3rd of may 2020, artists and field recordists in different parts of the world recorded the birdsong around the time of the local sunrise, and then the sounds were put together in a synchronous collage. The sounds you hear in the recording at the same time happened at the same time, but not necessarily in the same place: for example, you can hear owls calling in the spanish night at almost the same time as kookaburras in the australian day. Many thanks to all contributors!. Part 1: 2nd may 2020, 19:55 - 23:30 gmt. Karthic ss, dunedin, new zealand (also part of the reveil7 podcast) https://soundcloud. Com/karthicss/dawn-chorus-day-nz-full-recording. Susan gould, wallis lake, new south wales, australiahttps://soundcloud. Com/sue_gould/international-dawn-chorus-day-2020. Tim duck, currawang, new south wales, australiahttps://www. Youtube. Com/watch?v=djqfiapjeec. Not dawn choruses, but simultaneous recordings:frederic font, l'ametla de valles, barcelona, espanahttps://freesound. Org/people/frederic. Font/sounds/516565/. Karsten koehler, cambridge, united kingdomglobaldawnchorus. Blogspot. Com/.

If there is one man, white western historyhas neglected, it must be james baldwin (1924 - 1987)known to many as writer, novellist, essayistplaywright, poet. . . Surely unknown to all asactivist, as frontfighter, as luchador of theanti-xenophobic anti-discrimination discoursin general & more specific of the north-american'negro'. His father was a slave & as a childat the tender age of 10, he was teased and abusedby 2 new york police officers, an instance of the racistharassment by the nypd that he would experience againas a teenager and document in his essays. Why isn't his history & discours teached at school ?. Anno 2020, i learn to know him & his eloquent rhetoricalcapabilities through the also fenomenal moving & breath-takingperformance of tawiah + myrrh for the refraction festival, takingplace online of course, due to the ever infamous covid-19. . . An audiovisual délice, in which visual artist myrrh, places tawiahin subtle superposition with james baldwin & his 1965 debate with mr. Buckley ! in the cambridge union ! !! ! ! ! while performinglive one of the most delicate concerts i have seen during corona. . . A must see+hear _ _ _ https://www. Youtube. Com/watch?v=h5l2lssdzro. Being totally absorbed by this performance, i discover as an artist myselfone of the reasons i bind so much with this piece of music is that i myselflike to use the same harmonies, apparently, which i did indeed in 2015https://soundcloud. Com/torturado/eternal-void-the-fall-back& in the mid nineties, that is 1990's. . . A long forgotten piece of me, performed that time during my ritcs studies, as my band torturado, no recordings from then helas online, but gracias a la discovery of tawiah+myrrh & james baldwin picked up again what i remembered from that time & made a 2020 version of it. . . A small visual document of this: https://vimeo. Com/450004585. As from the moment, i discovered james baldwin, i integrated also his powerful 1965 debate in my performances during covid times. . . To spread his word ! to inspire others, to confront others. . . I told myself covid or corona is not going to stop me playing & performing music, which comes natural to me, so i looked for ways to perform outside, in plain nature, with batteries. . . Guitars, 9v fx, fx without 9v compartment, battery based amplifiers, battery based kassette walkmans. . . & it is on kassette that i put an edited full version of the james baldwin vs buckley debate of 1965. . . For this exercice of the sound design formation, we had to upload a sound that intrigues, well, james baldwin eloquent voice, litteral & metaphorically inspired & triggered me. . . Also the sound of electro-magnetic technology called tape is something i have always been fond of. . . So i made an edit of an edit of the james baldwin debate of +- 10 minutes !. Spread the word !a+. Actually this could also serve the exercice of recording a sound that comes from a certain place, or is part of a bigger thing , or personificates a certain place. . .

From selimiye in turkey, nice places, nice sounds. . .

Record de la plaça del pobleremembrance of the village square.

Recorded. . . Somewhere, with some sort of recording device!.

Label: L'Anthologie Sonore Cat. no.: FA 805 B Order number: JF 7 / M3-102732 Matrix/StamperID: JF 7-1 / M3-102732 1st release date: 1942? 1st recording date: 20-24 September 1941 Place of recording: Paris (France) Author(s)/Composer(s): Wolfgang Amadeus Mozart (1756-1791) Lyricist(s): Friedrich Wilhelm Weiskern (1711-1768), Johann Heinrich Friedrich Müller (1738-1815) and Johann Andreas Schachtner (1731-1795) based on "Les Amours de Bastien et Bastienne" by Justine Favart (1727-1772) and Harny de Guerville (17?-17?) Conductor: Gustave Cloez (1890-1970) Performer(s): Bastien: Paul Derenne, Tenor (1907-1988), Bastienne: Martha Angelici, Soprano (1907-1973) and Pauline Aubert, Harpsichord (1884-1979) with the Orchestre du Conservatoire de Paris Vocal range: Tenor and soprano solo with orchestra and harpsichord accompaniment Title/Work: Bastien et Bastienne (opera) Content: 10. Récit de Bastien: He quoi? tu ris de ma prière; Duo de Bastien et Bastienne: Va, berger perfide Genre(s): Opera terminology Comments:

Label: L'Anthologie Sonore Cat. no.: FA 805 A Order number: JF 1 / M3-102726 Matrix/StamperID: JF 1-1 / M3-102726 1st release date: 1942? 1st recording date: 20-24 September 1941 Place of recording: Paris (France) Author(s)/Composer(s): Wolfgang Amadeus Mozart (1756-1791) Lyricist(s): Friedrich Wilhelm Weiskern (1711-1768), Johann Heinrich Friedrich Müller (1738-1815) and Johann Andreas Schachtner (1731-1795) based on "Les Amours de Bastien et Bastienne" by Justine Favart (1727-1772) and Harny de Guerville (17?-17?) Conductor: Gustave Cloez (1890-1970) Performer(s): Bastien: Paul Derenne, Tenor (1907-1988), Bastienne: Martha Angelici, Soprano (1907-1973) and Pauline Aubert, Harpsichord (1884-1979) with the Orchestre du Conservatoire de Paris Vocal range: Tenor and soprano solo with orchestra and harpsichord accompaniment Title/Work: Bastien et Bastienne (opera) Content: 10. 9. Air de Bastien: Oui, da! je ris de tes outrages; Air de Bastienne: Il n'est besoin que d'un sourire Genre(s): Opera terminology Comments: -

Short street recording in london, close to london bridge/shard.

I recorded this today (1/12/23) from atlanta, where we had a bunch of heavy rain and tornado warnings this afternoon. The radio station i recorded this from is am 750. The first part of the recording isn't very interesting, but the part where she started talking about how you can't see any tornados coming was really interesting to me. I think this would make for some really good ambience in like an environmental horror track. I decided to include the whole recording anyways in case anyone wanted it. Here's the backstory to this thingey if anyone really wants it:we were on tornado watch as i was speeding trying to get home from work, when the sirens started to go off. I had to pull into a disheveled looking parking garage, as that was the closest place i could get to. The garage only had one level, so i had no way of getting to lower ground. I sat there in my car, terrified that i might be stuck there, in a shitty parking deck, in the middle of a giant ass storm, with very little cell signal, for hours on end. I decided to turn on my radio and record it from my phone. Fortunately, i was only in there for 30 minutes, and i managed to get home after the rain cleared up a bit.

Hitting of a metal railing in several places with my hand.

A simple loop, approx 11 seconds, slightly dissonant in places, 3 synth parts.

Has a very loud beginning, starts essentially in the middle of one loud siren. An ambulance and a firetruck flying by on a street one day, with other cars in the background. Recorded with a zoom h1.

Children playing in a english village playground. Swings & seesaw can be heard amongst the voices. Recorded 18th july 2014 using a zoom h2, edited via cool edit pro, some mastering processes applied.

An ambient recording of a park in the city during the summer.

This is the soundscape i've recorded in my neighboorhood of cidade tiradentes, a district from são paulo, brazil. We name these events as pancadão (big punch) or fluxo (flow). When a flow occurs, you know that the sound is very high and it invades all surroundings. It happened in april 4, 2021, during our worst period in the the global covid-19 pandemic. Plent of people, vehicles, multiple speakers and so on in a street. I'm writing in the exact moment police came to repress, but in my conclusion only education can solve city problems, not repression, not paliative atitudes. I think this is interesting to share it here, as a cultural manifestation, showing that when the state fails, everyone fails. This is disrespectful at all, but i try to look it as a construction of city. In a country where its president goes for a for a swim at a crowded beach amid 200 thousand pandemic deaths, how can i criticize suburban people?. I'm not conservative, i like the kind of music playing known as"brazilian funk" or "funk carioca", this is our culture, even if i do not participate actively. Plot twist: i was working in a asmr video. *-*. Recorded in mp3 320 kbps, using a zoom h1n and compressed in ableton live to bring on the dynamics.

Outside cafe seating area, some pedestrians passing by.

Ceramic rapping and tapping on metal door. Mostly rhythmic, with varying body reverb. Slightly flangy sounding in places.

Waves lapping and smacking against concrete wall. Stereo recording on zoom h1. A little wind noise in places.

Bass sounds, heavily filtered, slight clipping in places! be careful your ears/equipment!. Might be useful, who knows.

1st release date: 1935 1st recording date: 7 September 1934 Place of recording: London (United Kingdom) Author(s)/Composer(s): .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

1st release date: 1935 1st recording date: 7 September 1934 Place of recording: London (United Kingdom) Author(s)/Composer(s): .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

Ambience in a supermarket. Recorded with a zoom h2. Http://farm9. Staticflickr. Com/8070/8213683889_517a10ef52_o. Pngon flac and ogg vorbis audio file formats. Contact me if you have interest in specific sounds for open source or commercial purpose.

Now you know i had a problem in a shopping mall, of all places.

Symphony No. 3 in E-flat major, Op. 55 (Beethoven) - 1st Movement (Part 2) - Allegro con brio 1st release date: 1935 1st recording date: 7 Septemper 1934 Place of recording: London (United Kingdom) Author(s)/Composer(s): .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

Symphony No. 3 in E-flat major, Op. 55 (Beethoven) - 4th Movement (Part 1) Finale (Allegro molto) 1st recording date: 7 September 1934 Place of recording: London (United Kingdom) Author(s)/Composer(s): .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

Symphony No. 3 in E-flat major, Op. 55 (Beethoven) - 2nd Movement (Part 2) Marcia funebre (Adagio assai) 1st release date: 1935 1st recording date: 7 September 1934 Place of recording: London (United Kingdom) Author(s)/Composer(s): .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

Symphony No. 3 in E-flat major, Op. 55 (Beethoven) - 2nd Movement (Part 3) 1st release date: 1935 1st recording date: 7 September 1934 Place of recording: London (United Kingdom) Author(s)/Composer(s): .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

Symphony No. 3 in E-flat major, Op. 55 (Beethoven) - 2nd Movement (Part 1) Marcia funebre (Adagio assai) 1st release date: 1935 1st recording date: 7 September 1934 Place of recording: London (United Kingdom) Author(s)/Composer(s): .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

This is a submission for sarah belle reid's collaboration prompt for her forthcoming electroacoustic opera. It comprises a dry recording of a male voice reading the following original text describing a moment from a dream:. "this is a story about dreams. It is not about a specific dream, or rather while it takes place in one dream it is about many. From time to time in my dreams i am in a city. Not a particular city, like paris or chicago, but the events of the dream happen in a setting which includes tall buildings and crowded streets and views of the sun setting behind a busy skyline. One time, while having such a dream, i was standing on an arcing bridge over a body of water like a river or canal. The late afternoon sun was to my left, and the warmth of the sunlight contrasted with the cool breeze off the water. As i looked across the curving expanse of water, i was mesmerized by the bright reflections of the sun on the water, on the glass of the windows, across this expansive space. I realized with a start that i recognized a cluster of buildings across the way. I had seen them before, in another dream. In that dream i had been a different person. Rather, in most all of my dreams i am in some way myself, but entangled in a moment from some other life, surrounded by characters and pursuing concerns that are alien to my waking being. In that moment, in this dream, i came to understand that all my dreams that happen in a city are happening in the same city, the same geography and architecture holding dozens of episodic lives i may have between sleeping and waking. ".

A late summer soundscape that is a favorite of mine. . Microphones set up in some mature woods about 60 feet from a large lake on labor day weekend. Most of the background is the insects, which are very obvious during this time of year. The swelling of their volume is nap-inducing (*at least to me in my opinion. )here is the midwest this swelling and subsiding of the insect wave tells me that summer is just about starting to go back downhill, after a feverish peak. Despite the covid-19 of the year, nature does not seem to have changed her soundscape. Life goes on in the forests. The birds, whose job of raising young is over, are still there. . . They're just resting and relaxing and listening to the insects as well i'm sure. Now of course you will hear a few prominent birds in this captured moment:(1) a great blue heron squawks out starting at 1:17 into this piece. (2) the alarm call of a red-headed woodpecker can be heard at 2:14. Other than that, just the insects singing their hearts out and the assortment of birds taking secondary place during this time of year. This was recorded on sunday september 6th 2020 at 8:30 in the morning in the forest in southern illinois. Equipment: zoom f4, microphone: sennheiser mkh 8060. Enjoy this audio snapshot of the subdued -- yet vibrant - sound color of late summer, finding comfort in the fact that, within four weeks, the colors of the leaves will be changing to oranges and reds and yellows. But, for now, there is still life to live in the insect and bird world.