345 Royalty-Free Audio Tracks for "Sine"

You can use this sound in any project you want, but please also consider supporting me via patreon (1$) : https://bit. Ly/patreon22.

Done by sound forge fm synthesizer. Basically four added sine waves, each has some percentage of self-modulation(feedback). The sound effects chain applied over the initial sound is: reverb, chorus, upward compression(sound forge wave hammer), pitch shift(down) and finally vibrato, to simulate a varying speed tape machine.

This is made by feeding homemade images to audiopaint 3. 0 while its oscillators are tuned to randomly-selected scales. Some of them use sine waves, while others use custom waveforms.

Reel for the makenoise morphagene. Recordings from the analog studio in den bosch, the netherlands. Old electronic measuring tools used to test rf equipment. Oscillators through a bandpass filter and ring modulation with a lot of feedback. Switching noises. Pure sine. Phase locked loop. Things like that. Enjoy.

Still random frequency transformed with plugins. This time it's a saw waveform moduled by a sine lfo. Add a little of this and a little of that. Make me thing at a the sound of the rain on a strange planet!.

110 bpm, c notes, middle c, with a 1/4 wobble, half as sine, half as sawtooth descending, with random sounds and filters. Used : http://www. Freesound. Org/people/spankmyfilth/sounds/214265/with one more note.

A recreation of the sound effect made when a communicator beeps. This is not the same as the "chirp" made when the communicator is flipped open, but the "ringtone. ". A simple sine wave at the appropriate frequency, beeped twice.

As usual. . A triple osc was used. I played with the different possibilities. . . Sine, triangle, saw, square waves were used here. It may cause damage on high volume (maybe?). Effects: phaser, reverb. After recording, the entire soundshape was inverted.

Jim, according to technology, this person is dead. 1200hz sine made in audacity. 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.

110 bpm, c notes, middle c, with a 1/4 wobble, half as sine, half as sawtooth descending, with random sounds and filters. Compressed a bit to give ti the full sound. Useful for games or music.

Makenoise in all its glory qpas x-pan morphagene, erbe-verb,mimeophon,processing dpo sine and square wave outputs. Sequenced by 0-ctrl. Recorded into reaper and rendered at 48khz 32 bit fpwith markers for all you morphagene fans out there. Enjoy the wierdnes!.

110 bpm, c notes, middle c, with a 1/4 wobble, half as sine, half as sawtooth descending, with random sounds and filters. Compressed a bit to give ti the full sound. Useful for games or music.

Idea for a base for a radio bumper. I found another track in which someone had said, "du bist der hörer. Wir sind das radio. " so i recorded myself repeating these sentences, which translate from german into english as, "you are the listener. We are the radio. " i also overlaid it over a track of generated sine waves, one in each channel (l-r), chosen to be discordant (like a radioactive effect). Sine waves are 10. 5 seconds, i left 4. 5 seconds at the end to overlay your content (maybe an ident or whatever). Have fun!. Created for my online radio station (sscr tampa), but released in the public domain/creative commons zero/"copyleft" to the maximum extent allowed by law. Voice is my own, tones generated on my computer.

Generated in audacity, this sine tone has an elevated pitch with lowered gain to emulate a generic censorship tone you would hear on public television. The tone is suitable for use in any field, most notably in video games, films or animations. Whether it's comical, functional or both, this tone is a viable resource for censorship detail.

The loop was created with one of reaktor 5's instruments which was modified to create 4-second loops that sounds something like techno or general electronica. The drums are all created using a subtractive synthesizer, most of them sine waves and were modified several times.

I'm trying to create a sound that resembles captain america's shield from the marvel movies. I took a recording of a metal garbage can ringing and brought it into iris 2. I cut the attack from the envelope and added light amplitude sine wave modulation. I also set a short decay. I also layered a clean sine wave underneath the recording sample in order to give the recording more umph and body when it resonates. This is the base of captain america's shield. Layer this with metal impacts and sub sonic stings and you're all set. Please post a link if you use this file. I'm excited to see what you can do with this!. Text me if you want to have fun and talk gear. I love hearing what people are up to!702-860-9869.

A simple sine-generator piped through a slew of wacky effects automated with randomized lfos. I added some cabinet emulation to give it a 'living room' feel but left it dry enough to add additional stereo/reverb processing. P. S. It loops cleanly. Software: bitwig studio.

Basically i connected one lfo to the polivoks in. Now when i think of it. Wonder if that added something…. And how much. And to cv1 i connected a square wave and to cv2 a wide frequency sine wave. Resonance at max. Think i have to reanalyse this patch later… i’ll be back!.

A simple recreation of the "flint phone" sound effect using sine waves. This effect originally appeared in the film, "in like flint" as the presidential "red phone" sound effect. It later appeared in the film, "austin powers: the spy who shagged me," as austin powers' car phone ringtone.

No, i cant really describe what this is! but i use a ring modulator. Two audio signals goes in. I guess the side band frequencies goes out??? or?! anyway the original frequencies are also in the mix. So, two audio signal and the result from a diy ring mod. Have to learn more. . . Read below!!! in this sound you are listening to, the result, the ring modulation, carrier signal and modulator signal. After some research. . . I write this for myself. . . Correct me if i'm wrong!!!from youtube (audiocollage)ring modulation is the sum and the differences of the carrier and modulator signal. Feed the ring modulator with 261,626hz and 391,995hz and you get (261,626 + 391,995) 653,621hz and (391,995 - 261,626) 130,369hz. From wikipedia". . . Neither the carrier nor the incoming signal is prominent in the outputs, and ideally, not at all. "". . . In the basic case where two sine waves of frequencies f1 and f2 (f1 < f2) are multiplied, two new sine waves are created, with one at f1 + f2 and the other at f2 – f1. The two new waves are unlikely to be harmonically related and (in a well-designed ring modulator) the original signals are not present. It is this that gives the ring modulator its unique tones. ". Above is true when using pure sine waves! waves with no harmonics. I have a passive diy ring modulator. I guess it's not acting "perfect". . .

This is a classic theta brainwave entrainment sound made by two sine waves. The pitch shifts gently to produce some slow variation of the actual speed of the pulse. You can use it as a track and add voice (like relaxation or visualization), or just use as is to promote deep relaxation or trance. The pulses are about 8 hz (cycles per second).

Made using two synths. One is a noise generator that has been pitched down three octaves. It has a 12-hertz sine tremolo on either side, one of which is offset by half a wavelength. The other synth is a deep organ playing e3 and g3. I cut the sound in audacity, and the waves line up perfectly, so you don't need to worry about looping it badly.

Simple synth snare + 3 higher speeds. ⸻ "how do you make a classic synth snare, do you just take white noise and go like. . . " *goes like* ". . . Huh" yep you just go like. (going like consists of setting an oscillator to sine with just a release tail and noise + a lowpass snapping up and trailing off gently + compression/distortion of some sort + high frequency shelf snapping down from high gain and then back up).

Night vision turn on sound for video games. Made with rutgermuller's light switch sound https://freesound. Org/people/rutgermuller/sounds/51156/ and audacity generators and effects (three sine waves 1000hz/2000hz/4000hz, sliding pitch shift, fades, reverb, low pass filter, normalization in not that order and exact details i did forget).

Created from an altered version of the "sine jingle" audio i uploaded,this clip is meant to mimic the sound of casting an escape/dungeon exiting sound in an rpg. -----------------------------------------------------------------------. This sound, like everything i upload here,is completely free for anyone to use. You may use it however you please. I hope it is useful. 🎶.

Created from an altered version of the "sine jingle" audio i uploaded,this clip is meant to mimic the sound of casting a healing spell in an rpg. -----------------------------------------------------------------------. This sound, like everything i upload here,is completely free for anyone to use. You may use it however you please. I hope it is useful. 🎶.

For this sound, i generated a sine wave at a frequency of 440 hz, an amplitude of 0. 80 and a duration of 1 second. I choosed the following effects:1- tremolo2- repeat (x2)3- fade in (half of the sounds)4- fade out (the other half of the sounds)5 -studio fade out6- cut a part7- repeat8- cut to have the song 3 times. After all this effects, the sound is like an alarm.

This helicopter sound design was created at fl studio, in the sytrus synthesizer. The sound consists of four layers. 1. Sine wave frequency of 44 hz. Simulates the low frequency noise of propeller blades. 2. White noise passed through the svf filter. Simulates the noise of propeller blades. 3. Saw wave. Simulates the sound of an engine. 4. The sine wave. Imitates a high-frequency whistle of the engine. Various modulations are applied to all waves through the envelopes of the synthesizer. Next, the signal on the mixer channel is processed by a multi-band exciter and equalizer. Then a signal was sent to two channels with delay processing. One of them imitates reflections. In the lower-middle frequency range. On the second in the upper-middle frequency range. As you approach the sound source, the volume parameters of the direct and reflected signals are automated, low pass filter, pan width and equalization of direct sound. The helicopter performs strange maneuvers, as if making constant circles during the approach to the listener. I did not seek to create the veracity of these maneuvers.

This is a trnsformation of the original sound: http://www. Freesound. Org/people/xserra/sounds/254374/ , with the parameters:. For synthesis:window type: hammingwindow size: 801fft size: 2048minimum f0: 160maximum f0: 260number of harmonics: 80threshold: -100minimum length of harmonics:. 1stochastic decimation factor : 0. 2minimum sine duration : 0. 1. For transformation :frequency scaling factors : [0, 0. 4, 1, 0. 4] <- (make frequency lower)frequency stretching factors : [0, 1, 1, 1] <- (no change)timbrepreservation : 1 <- (no change)time scaling factors : [0, 0, 1, 0. 7] <- (faster).

Inspired by a discussion on the ambient online forum:https://www. Ambientonline. Org/forum/ambient/sound-design/92341-how-to-synthesize-drum-sounds. Used the subtractor synth from reason. Please refer to the pack description for a full list of the sounds synthesized. Ao_subtractor_snare_2_1. Reason subtractorosc 1 is off (set balance 100% to osc 2 + noise). Osc 2 set to sine wave, oct = 3. Noise decay = 127, noise color = 127, noise level = 127. Filter set to low-pass 12 and completely open (=127). Amp env decay = 44.

Noise of a solar power dc-ac inverter on a sunny day. A static hum with some kind of a rhythmic modulation. Sometimes other noises like a bird singing outside, however mostly the pure sound of the inverter. Recorded x/y stereo with at4041 mics into a pmd661 recorder. Eqed in fabfilter, there used to be a sine beep at 15. 8khz, inaudible for many people but it would have been even more annoying for those who can still hear it.

This is a trnsformation of the original sound: http://freesound. Org/people/ricemutt/sounds/23933/ , with the parameters:. For synthesis:window type: blackmanwindow size: 801fft size: 1024minimum f0: 100maximum f0: 2500number of harmonics: 20 (we don't need too many harmonic here)threshold: -100stochastic decimation factor : 0. 1minimum sine duration : 0. 1. For transformation :frequency scaling factors : [0,1,0. 4,1,0. 6,0. 9,1. 0,0. 5,1. 2,0. 3,1. 4,0. 6] <- (make frequency variation steady)frequency stretching factors : [0,2,0. 5,1,0. 51,0. 7] <- (create a frequency variation, high->low )timbrepreservation : 1 <- (no change)time scaling factors : [0, 0, 0. 8, 1. 5,1. 0,2] <- (make some "free fall" feeling).

Dubstep bass: 110 bpm wobble at 1/8th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Dubstep bass: 110 bpm wobble at 1/8th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Dubstep bass: 110 bpm wobble at 1/16th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Dubstep bass: 110 bpm wobble at 1/16th note, half of the samples as a sine lfo and saw lfo descending. Sampled in ableton using massive, compression using psp compressor2. Random presets with lfo settings on key parts, and very little other effects used, mostly so this sample can be re-sampled. 110 bpm so it can be pitched up which is usually better then having to pitch samples down.

Ambient echo sound. This sound required the combination of operator using the triangle wave and plenty of reverb. I layered this sound by using two different octaves to cover most frequency ranges that sounded best and to fill any gaps in the sound effect. This sound is inspired by scene transitions and wide shots where there may be a lack of other sounds so this frees up a space for a calm ambient sound that uses plenty of sustain and reverb. The triangle wave in the operator gave it more of a high pitched calm flowing sound. The other options for example sine wave sounds to harsh and sharp for this type of sound.

Wrote/recorded a free dance tune at 120bpm using ableton live 9. The notes revolve around: c, g, d, e, dableton stock drum rack w/ stock samples for the percussion section. Mod amp sine bleep for the side toms. Ableton stock grand piano for piano. Muggy stock plugin for the synth-like parts w/ pitch bends in the midi. Synth1 vst64 for the long sustaining notes during the rhythm synth parts. Other notes about this recording:-14. 0 lufs integrated. -1. 4 db true peak max. Hope this helps and is useful for your next project. Cheers,bainmack. Youtube. Com/bainmack.

Lazer sound. I made this lazer sound with the use of operator in ableton as well as adding a few effects to help round it out. I started with a basic sine wave and then began to adjust the frequency range to cut out some of the low end of the sound and enhance the high end to make it more realistic and movie accurate. I also had to shorten the decay time so it is more of a short zap sound than a prolonged note. Another step was giving it an initial high pitched sound and this was achieved by having the sound start higher up the scale with semitones and then dropping down giving the effect of shooting and something traveling from the source sound.

Not gonna explain about this one much. Basicly i just made a simple patch on my virus c hardware synth which consists of 2 osc's (sine / saw), osc2 slightly detuned from the osc1. Fast pitch envelope on both osc's to get the "punch" part in the kick. Ran through virus's lowpass/bandpass filters, lowpass cutting from 100% to 0% with a speed of 1/4 beats to get a "filtering down" effect to the kick, bandpass rejecting slightly frequencies from a range of 400-600hz. Then i sampled it, many times and picked the best sample. Eq->distort->eq->distort million times and this is the result. Ofc i did some cutting and added some lowpass/bandpass filters with various mix levels @ some points and did some other shit also but basicly it's just eq & distort. Hf, its a decent kick but needs some fixing still since the punch is too separate from the bass.

Yes! så nöjd att detta ljud hände, typ! let me take this info in swedish, okay. Buchla style slow krell. En modulerande osc och en som moduleras, men man hör bägge i mixen! ena osc går via en lpg den andra via vca/mix. Till det "skrynkliga" ljudet använder jag en pip slope modulerad av jerkoff och sloth. Ljudkällan är en sinus som går via en lugnt modulerad wave shaper. En envelope follower plus sloth ger en trg till en s/h ibland och då byts tonen. Skrynkelljudet går även till mitt analoga delay. Tonen är även liiite modulerad av en env. Ganska west coast och buchla. . . Google translate :-)buchla style slow krell. A modulating osc and one that is modulated, but you can hear both in the mix! ena osc goes via a lpg the other via vca / mix. To the "creepy" sound i use a pip slope modulated by jerkoff and sloth. The sound source is a sine that goes through a quietly modulated wave shaper. An envelope follower plus sloth gives a trg to an s / h sometimes and then the tone changes. The cry sound also goes to my analogue delay. The tone is also liiite modulated by an env. Pretty west coast and buchla. . .

I was just going through my sounds, when i decided "hey. . . I'm gonna release this. " so here you all go! i'm really proud of how this turned out. This, as you can tell, is a deep eerie ambience loop. It can be used for anything you want. I like to leave things up to the imagination of the audience. How it was made:. Software used:-fl studio 20-harmor-harmless-fruity parametric eq 2-valhallaroom. So basically what i did was get a low pitch sawtooth waveform, put it through some effects like harmonization, a low pass filter with high resonance, a phaser, and a load of distortion. The main synth is made with harmor. (yes, this is all one synth. It just has a lot of dynamics. ) i then processed it with some eqing. What made this sound what it is would be the reverb. I put 2 layers of valhallaroom on the synth. One has a very short decay time, and gives it texture. The other gives it the atmosphere. To add some more depth, for the final touch, i layered a sub-bass underneath it. Which is just a low sine-wave with reverb on it, which i used harmless to make. I hope you enjoy this!.

This is my recreation of the noise in the background of a video shot on a consumer grade minidv camcorder (a well used one). I haven't had a minidv camcorder on hand for a few years and nobody i knew would give me a recording of just tape motor noise so i went to create the noise myself. This sound is a combination of a very badly pressed dvd in my computer's drive mixed with a tone made in audacity (up one octave from the tone that the disc ended up creating), all mixed down and brought down in volume. I know it's not a prefect recreation, but i don't have a minidv camcorder on hand so this is about as good as i can get it. If anyone has access to an anechoic chamber, a fresh tape, and a well used consumer grade minidv camcorder, please get in touch with me. I'd like the real deal better than my recreation that i did in my spare time. Note on recreating the noise out of hdv camcorders. They have slightly different hardware and as such will create different bearing noise (most times, there's an extra whine on top of the familiar bearing whine heard from standard dv camcorders). I forget the exact frequency, but it's somewhere in the neighborhood of 840hz-860hz and it's a sort of sine wave, but a modest bit more jagged. You'll have to provide your own stock camcorder mic hiss as each camcorder is different (not for definite sure on sony camcorders, but canon camcorders have a pink-ish white noise in about that era).

This is a collection of "small room reverb" impulse responses that i sampled in a new england home known as butternut lodge, built and owned by actress bette davis back in 1940. It consists of all wooden rooms with many non-parallel surfaces, rugs and furniture and includes 3 round-shaped "silo" rooms! these rooms sound clean and do not have the irritating "ping" of many rectangular rooms. Short history/pictures of butternut (https://www. Airbnb. Com/rooms/24692769?source_impression_id=p3_1659215694_liuasyfxoceab5fn). Although these round shapes (and some of the other very small rooms) could potentially wreak havoc with phase at specific frequencies when summed to mono, i recorded this using the mid/side mic technique; therefore, the "side" channels fully cancel out, leaving a clean monaural reverb signal. These irs are stored as flac files. They can be used directly by any daw without conversion and have the added feature of being id3 tagged with a photo of the room each ir is taken from. After downloading, select view -> large icons in the folder to view the rooms. I sampled each room using a swept sine wave into a jbl flip 6 bluetooth speaker; recorded through a tascam tm-st1 m/s stereo microphone, feeding a tascam dr-07 recorder @ 24-bits 44. 1 khz and deconvolved using reaper. As of this post, i've been using these rooms for about 2 weeks. So far, i've found the "garage" to sound fantastic on drums! the drum sound! also, many of the other smaller rooms have a great effect on guitars, keys, and hand percussion. Each room varies in tone and brightness, so i've found that selecting/tuning the reverb send works well if approached like an eq. Increase the effect send until the instrument "feels" right (then perhaps back off slightly). A close-miked acoustic guitar, for instance, will take on a nice brightness and 3-d quality; not particularly reverberant, just big. At that point, i recommend applying any eq, compression, and bigger-sounding reverb effects. Hopefully you enjoy this. Please let me know how you like it and if you have any suggestions. Cheers!. Ken.

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.