70 Royalty-Free Audio Tracks for "Slight Reverb"

An atmosphere made just for fun. I recorded it live, with pro tools, through a beringher b1 microphone, connected to an ur22 mk2 sound card. I used a church reverb and a slight delayfeel free to use it, just add me to the credits of your project :).

Recording of my voice attempting a japanese kabuki noh cry. Recorded in audacity with slight reverb and simulating ohkawa clicking sticks, created because i've noticed theres very few resources for these sounds, unusual vocal sound that may be used as you wish.

I needed this synth part for this song i'm working on right now. . . So i decided to create one instead of getting one from here. Saw wave, with a gate, and a saw lfo low pass filter down, with full delay and slight reverb. Areppegiating on a c#6.

File recorded in goldwave, buzzer portion generated by formula, don't even ask me. . . Speech synthesizer used was innoetics john. File might be useful as part of a project or in a game, or audio production. Light flanger applied to speech. Slight reverb applied to entire project.

Dubstep beat programmed with caustic 3 and mixed with ableton. 4 bars at 150 bpm big kick with snappy snare. Reverse snare and reverse spacey crash for extra effect. Busy hi hat pattern. Some gentle eq and mix compression and reverb and slight delay on hats and reverse effects. Ready to go.

A bird was singing close to a chimney early in the morning. I had my recording gear ready to go. It took quit a bit of processing (= noise-removal & filtering) to get rid of rubbish. I added a slight reverb to it. The recording is made in zoetermeer, a city close to the hague.

Processed version of:https://freesound. Org/people/toiletrolltube/sounds/422056/which is itself a processed version of:https://freesound. Org/people/gis_sweden/sounds/417382/. Signal chain was as follows:1) gate (otherwise the quiet parts would have a lot of digital sounding noise after processing)2) spectral processing (frequency reversing) applied using unfiltered audio's specops vst plugin. 3) reverb4) slight compression. Effects 1), 3) an 4) above were applied using ableton live's built in effects.

Recording of a door being opened and closed, and then opened and closed again. Very slight footsteps (on carpet) can be heard. The microphone (sennheiser mkh-50) was intentionally placed about 5 feet away from the door and aimed slightly off-axis so as to capture more of the natural room sound/reverb. I have another recording available of the exact same door and mic setup, but aimed on-axis for a more direct recording (it still has a slight bit of room sound - that was what i wanted for these two recordings). Recorded into a tascam 208i audio interface and into adobe audition. Very minor processing (low-cut at 80hz to remove low-freq rumble).

White noise fades in to climax with slight reverb at end. Atmospheric - an unsettling transition or sudden ending. Generated with audacity on a mac - 16-bit wav. I made this from scratch very quickly (after hours of searching for just the right sound!).

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. .

I made this pad sound by starting with a traditional saw wave and mixing various effects together such as reverb and chorus. The wav file also has pre-defined loop points that can be used in samplers that support the functionality. Note: there is a slight static noise that is present when the sound is played through the freesound player on the website, however, the static is not present when played outside of the freesound audio player. Made with fl studio 11. Enjoy!.

This was originally a friend's cat meowing but it has been processed heavily. First, it was put through a granulizer and the pitch was dropped -2 octaves. The sample was then panned l-r using automation, and bitcrushed. Lastly, to get a slight detuned feel, i added a chorus effect. This sample sounds even better with some convolution or hall reverb but i left this effect out since it's usually a effect users want total control over. The end result is a strange, alien sounding noise.

Variation of the loop from:http://www. Freesound. Org/people/maxndee/sounds/106962/. Placed each hit on beat of 125, then put it through a saw tooth transformer, then slight reverb and compression. Other little details like raising one side by 2 decibels to even things out. Also, arranged the rhythm according to a phrase i thought made some more sense, added a couple of variation percs of my own to fill in the gaps. Put either a different eq on them or changed the pitch. Enjoy.

Recording of a door being opened and closed, and then opened and closed again. Very slight footsteps (on carpet) can be heard. The microphone (sennheiser mkh-50) was intentionally placed about 5 feet away from the door so as to capture some of the natural room sound/reverb (which is very subtle). I have another recording available of the exact same door and mic setup, but aimed slightly off-axis to capture just a bit more room sound. Recorded into a tascam 208i audio interface and into adobe audition. Very minor processing (low-cut at 80hz to remove low-freq rumble).

Sound of footsteps (hiking boots) in an artificial stone tunnel about 4 to 5 metres in diameter in brezzo di bedero (northern italy). The tunnel is part of the structures of the 'cadorna' defence line, dating back to wwi, and leads to an artillery emplacement in a cave. Sound of footsteps and crunching gravel under the soles, with a slight echo and reverberation from the cave environment. Perfect for creating eerie, natural and industrial backgrounds and first-person vr experiences. Recorded with a zoom h1n held in hand while walking and pointed towards the feet.

This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 70 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.

Sample of a metallic percussion hit. The sound is quite dark and muffled. I call it underwater drum, because it sounds to me like it's underwater. This sample is tuned to a1 but there is a very dominant overtone at b1, which is the musical interval of a minor second. The source of the sample was the platter of a dismantled hard disk drive, hit with a wooden mallet. It was then pitched down a lot. The sample is almost raw, i just added some slight eq. The sample was intended to be used with a sampler, you may want to add some reverb for this and filter the previously mentioned overtone, when you use it in combination with other tuned instruments. Also, the pitch is probably not perfectly tuned. Microphone: akq perception 120post-processing: pitch manipulation & eq.

The same as my other fire whoosh sound, but i used a hi-pass eq at the 50hz mark to take out some of the "mud. ". --. This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 165 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.

Clean recording of various sounds that would occur when maneuvering around an office space (specifically a desk) and manipulating common office objects. Recording features lots of paper rustling and sliding across a wooden desk, handling pens and a stapler, stuffing manila folders and plastic binders, and towards the end there are some sounds of small-medium sized personal bag being unzipped and zipped and then being filled with some of the office materials. Should work great for filling in general office noises in a scene or reinforcing actions that involve any of the materials featured in the recording. There should be enough variety to allow you to glean more isolated sounds or just use assortments of layered sounds. Recorded with an akg p170 into a tascam 208i audio interface at 48khz/24-bit. Microphone was positioned roughly 1. 5 - 2 feet away from the source. There is some slight room reverb present, which is intentional, and should match common office workspaces well. An 85hz high-pass filter was applied to remove any unintentional, unnatural low-frequency rumbling that may have been picked up during recording.