49 Royalty-Free Audio Tracks for "Reverb Tail"

A kick drum with a massive reverb tail.

A kick drum with a massive reverb tail.

Reverb tail off a synth chord. Used to make pertiverbhitbuiltfrompiece. Wav.

An uncut recording of reverb tails generated from a half-second sound.

Ir-like sounds that were made digitally via buffer priming.

A full bodied explosive boom with a long tail out reverb.

A stretched crash with reverb tail.

Pretty-sounding mix of layers of verbhitbuildypiece. Wav.

Designed in serum using lfo and cutoff manipulation24bit 44. 1khz wav. This variation includes a reverb tail.

Low metallic impact with tail out reverb.

Big metal hit with long reverb tail.

Soft synth with a huge reverb tail made with ubermod.

I played a staccato chord into a reverb unit with an infinite delay time. The signal from the reverb was sampled into an akai s612, looped and then resampled into the computer.

Advanced analog hardware snippet. Recorded feedback of a reverb tail.

Industrial sounding heavily distorted sweep with a big reverb tail.

Rising swell that sounds like processed strings: but is not. It also has a delayed tail that goes off into the distance.

A simple synth pad with a long reverb tail.

A short hit with long reverberant tail. Processed audio recording.

A single deep splattering synth hit followed by a long reverb tail.

I have this drummer's stool that creaks when you rotate it. So this is that sound. Metal scraping against metal through reverb, echo, and harmony pedals into a delay/looper.

Duby sample with long tail. Dubtechno piece of puzzle.

Spectral synth chord made with sunvox's spectravoice + reverb.

Registered with zoom h5 + lr integrated mic (48khz - 24bit)a trip in naples inside a train in garibaldi's station.

One shot recorded through fl studio and pitched down. Tail is created by convolution reverb.

Fireworks recorded on july 4th, 2013. ~. 25 miles from launch site in a neighborhood. Recorded with tascam im2 into rode rec. Small sweetening done to augment cracks and reverb tail.

I make this sound with serum on ableton live 10. Royalty free!if you like, follow me on my soundcloud:-> https://soundcloud. Com/user-777960719.

Just a little pluck i made i wanted with sylenth this is the reverb tail of the saw that i made and i just chopped it up by half and it made a pluck.

Chord progression played on a kurzweil 2500rs synthesizer in a-minor key. The mood is dreamlike, melancholic and nostalgic. The instrument is a mix of piano and strings and ends with a long reverb tail. Could fit a soundtrack or an ambient track.

These are some short loops i made, they each have a tail included but it should cut fairly cleanly if you do it right on the last hit.

A soft texture for synth pads in a3. Built by layering several sine-wave generators to create the note a and some of its overtones. It was then drowned in reverb. The sine-generators played just a short impulse, what you hear is the tail of the reverb, to give it more richness. Post-production: reverb.

A short deep pulse sound that can be used as an effect for a distant weapon discharge. Wide spatial image. Dolby 5. 1 ready; 6 channel wave. Created with audacity 2. 0.

This is a sine-wave that sweeps from low to high. Cassette emulator is added and some reverb. A long high pitched tail is at the end, which i forgot to remove. Inspired by the film "wavelength" by michael snow.

Single gunshots with three different guns, 9 mm, 7,5 mm and. 22 mm. All recorded at close distance with an sony pcm m-10.

Field-recording of a 9mm pistol at 25 meter distance 180 degrees off axis on a shooting range using a sony pcm m-10.

Recorded a guitar being plucked and slowed it down to 0. 1% speed. This creates the nice initial pluck sound. Then copied and resampled the copy and slowed down again by 0. 1% speed, this time preserving the original pitch. This created the ultra-long decay tail. Added eos reverb.

Free!. A recording of an old coffee grinder. It begins with the raw recording which then moves into more creepy and eerie aesthetics and design examples. Easy to cut up and fade off the reverb tail. Perfect for psychological/horror/thriller games or animations, cut scenes or flashbacks of live action productions. Feel free to message me if you would like anything tweaked and we can work something out.

Http://www. Myspace. Com/capashen2note : please show me your composition when you used this sample, i would to listen it !:d. Very usefull sample for transition within two parts. To bring the chorus for example. Made with : white noise filtered, drum layering, big plate reverb. . . I use it all the time hehe. Tip : it was not very processed in order to make your own process like sidechain on reverb tail, envelope. . . . Etc.

Http://www. Myspace. Com/capashen2 note : please show me your composition when you used this sample, i would to listen it !:d. Very usefull sample for transition within two parts. To bring the chorus for example. It sounds a bit electric with an sound effect made with synth. I use it all the time hehe. Made with : white noise filtered, drum layering, big plate reverb. . . Tip : it was not very processed in order to make your own process like sidechain on reverb tail, envelope. . . . Etc.

My first little attempt at making some film-like sound effects. Alot of bass in this one, tried to cut it below 30-50hz. I just want to point out to the people having a listen, that the sample that streams on the website has a small static-like noise in it. . The download version will not have this noise, i believe the compression for streaming degraded the sound a bit.

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.

This one is an attempt to replicate the ww2 enfield bolt action rifle the british used through world war 1 all the way to world war two and is even still used in some paramilitaries today. I used mostly recordings of the actual enfield rifle and just stacked them together, processed them with eq and multiband compression and several transient designers to bring out the snap and attached a reverb tail to it. Made this in ableton live.

A classic movie punch sound recreated by hitting a leather car seat with a cricket bat. Recorded using a rode k2 tube mic and a schoeps cmc6, driving the preamps hard and compressing the input, then heavily compressing a number of takes using analog-emulation plugins (including a fairchild 660) and running the mix through waves maxxbass. Then limiting some more and finally adding the swoosh of a riding crop and a non-linear reverb noise tail.

Lean minced beef frying in the pan recorded with olympus ls 12, sounding like hard rain. Thunder-esque sounds recorded by blowing into the mic of my olympus ls 12. Mixed with segments of dry thunder3. Wav by juskiddink https://www. Freesound. Org/people/juskiddink/sounds/101948/ for the tail of my blow thunder and thunder! by netaj https://www. Freesound. Org/people/netaj/sounds/193170/ for the last clap of thunder. Reverb and delay added and mixed with ableton. As crap or good as it sounds i had loads of fun with this.

This jump scare sound was created by playing 2 dissonant chords on a single coil telecaster mic'd up w/ a vox ac 10 amp. The two guitar tracks are panned left and right- reverb and delay are added. The delay tail you can hear oscillates between left and right speaker as it fades. Additionally, frequency enhancers were added between 4khz - 6khz which adds a higher tonal energy in the upper range of the guitar. Gain is added which can be heard as signal noise mostly at the end of the clip. Enjoy. Bainmack.

Pitched the reverb on some tuned dolaks in a particular manner to get a fuzzing bassline to pop out of the tone tails from the drum hits.

Novation supernova's vocoder working on a vocal sample. Marries well with your own reverb and has an interesting cadence if you loop it at about 2. 16s, just cutting off the delay tails.

Sound made by bowing a detuned guitar tied to a clothes hanger. Recorded with two contact microphones. No effects were added, the apparent reverb tails are the waves resonating within both the guitar and the metallic clothes hanger.

Made in ableton live this time, it is a multilayered loop consisting of recordings of an ak47, a 30 caliber 1918, and an m60 machine gun to make a rediculous powerful sound. A very short clicky kick drum with the high end reduced is added before the initial gunshot to make it punch more, otherwise it would sound weaker. There are two mechanical bolt sounds, one covering the upper mid range, and the other covering the extreme highs. Shell ejections and two reverb tails were mixed in at the end with some simple automated panning to make it move around the stereo field. The tempo slowly decreases to simulate barrel heating. Lots of processing. The layers were eq'ed, then ran into a software amp that is gently distorting the low and mid range. Then smashed together with ott multiband upward/downward compression to bring out the details. A maximizer was used to bring up the loudness some. Enjoy.

Made in ableton live. A slow firing heavy weapon. 19 layers were used to create this one. Eq was used to select different frequencies from various weapon samples and compressed together for the inital transient or pop. Time based fade in/out layering was used for the sustain and reverb tails so they fit nicely together. The single shot that was layered together was then printed as a new audio sample. I created a loop and pitched every shot by a few cents or 1 semitone to add variation. Each sample was then manually shifted on the timeline forward or backward by milliseconds to give a more realistic feel in timing rather than sound robotic. Each shot was sidechained to duck down in volume when a new shot triggers for more clarity. Mechanical trigger and bolt movement samples were add in before/after the initial transient of the shot. Shell hit floor samples were used for added detail. I felt the shots lacked a good sub bass so an eq was used to filter out the sub and replaced with a rapidly decaying 808 kick drums sub. Once the loop was formed, all shots were then grouped together and processed with a transient designer into a clipper, a compressor, a maximizer, ott multiband, gluing reverb, stereo spread and then into a final limiter. Enjoy.