56 Royalty-Free Audio Tracks for "Processor"

I just tested the recently released plugin moscillator (by meldaproduction) and fiddled around with the parameters. It's always the same fundamental. But i automated the parameters for the harmonic's post-processor (sharpen, clean, harmonize, noise, compress). In the end i just put a reverb (eareverb [preset: "under the city"], 100% wet) after the oscillator.

An abstract sound created with bosca ceoil and audacity. The sound has been pitched shifted repeatedly. It is noise, but hopefully you'll find it to be a pleasant sort of noise. If memory serves, some forms of (non-audio) computer data can produce sounds like this if imported into an audio processor.

After many months- and a trip to san clemente, ca and back- my qu-bit nebulae v1 is working! this is a snippet from qu-bit’s own double bass sample, run through a mimeophon and qu-bit’s own fdn reverb, with lashings of modulation wherever possible. My wonder at the sheer madness of the sonic experience here is only matched by my joy at having a working granular processor at last.

Five minutes of rain, artificially created. Using a blue yeti usb condenser mic on the cardioid pattern, i made a 30-minute recording of sounds from my sink (drips, splashes, different faucet pressures) and cut them up into 60 files, later edited down to 20. These were layered together and mixed with white, pink, and brownian noise. Slight noise removal done. Recorded some basic mic noise, and used a subtractive processor (reafir in reaper) to remove that sound from the final mix. Convolution reverb was added for a fairly realistic set-it-and-forget-it option. I've uploaded a dry version as well.

Five minutes of rain, artificially created. Same mix as my other "five minutes of rain" upload, but without the reverb in case you want to add your own. Process:. Using a blue yeti usb condenser mic on the cardioid pattern, i made a 30-minute recording of sounds from my sink (drips, splashes, different faucet pressures) and cut them up into 60 files, later edited down to 20. These were layered together and mixed with white, pink, and brownian noise. Slight noise removal applied. Recorded basic mic noise, and used a subtractive processor (reafir in reaper) to remove that sound from the final mix. .

A slinky spring toy stretched out and plucked once from the end, recorded with a zeppelin design labs cortado impedance-matched piezo contact microphone. The resulting recording is a classic spring-based sci-fi "laser sound" with a massive, lengthy, rumbling decay tail. This was recorded at 24 bit 96 khz. In addition to its use as a sound effect, this waveform works well inside a convolution reverb as an offbeat spring reverb impulse response, provided one has the processor power and ram to support a 2 minute 13 second convolution. The cortado's bass response is exceptionally large for a contact mic, so high pass filtering may be desired if used as an impulse response.