18 Royalty-Free Audio Tracks for "Slinky"

The sounds were created by dragging a fork against the inner metal workings of an opened computer.

Slinky being used to make laser sounds.

Used a slinky a chair and a contact pickup to record this sound.

Holding a slinky wide and moving it up and down and back and forth.

I recorded this sound back in 2002. Made taking this coiled wire which looked like a giant slinky, shaking it.

The foley sound of the laser guns in star wars.

Slinky contact pickup swinging and flicking technique.

A stretched out slinky with a contact mic adhered to one end being struck, resulting in strange laser-like "zwap" sounds and other even stranger noises.

A stretched out slinky with a contact mic adhered to one end being struck, resulting in strange laser-like "zwap" sounds and other even stranger noises.

Slinky laser. Www. Daleaudio. Com@dalegrins.

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.

Sound of a plastic "slinky" toy.

Plastic slinky bounced in hand back and forth in an audio-technica mic.

I sound recorded my metal slinky springing up and down as i was holding it. If you put your recorder on the slinky you should end up hearing the following sound, like an armada of storm troopers.

I decided to experiment with a metal slinky, with the intention of creating some science-fiction sounds. Here is a string out of what could potentially be used as "laser gun shots". There are a variety of individual shots, and at the latter-half of the clip i attempted to create a cross-fire gun fight. Some editing, including noise reduction may improve what i've done here. *recorded on may 09, 2021 using a sennheiser shotgun mic and a zoom h4n pro (and a shower, of course).

On the workbench is a spool of springy wire, which in this case happens to be nickel-chrome. It gets used sometimes for repairs; presently a few turns of the wire are sticking up above the spool, resembling an extended slinky. This is the metallic sound of twanging that coil of wire.

A guitar chord, probably a d. Recorded for the purpose of testing out guitar dsp effects. Recording details:. Gibson les paul junior, p90 pickup, mahogany neck, ernie ball beefy slinky 11-54, dunlop 88mm. Recorded through the instrument input of a focusrite saffire pro 24. Edited in ableton live, no processing other than gain and fade.

This is from a recording session trying to create laser weapon sounds. I just used the same technique as ben burtt used in wall-e (with the slinky and the contact mic). This is unprocessed, no eqs, compression, reverb or anything was added. I used a long piece of curled up aluminum wire which i hung from a tall structure at my house and the main object i used to oscillate the wire was a drum stick. For the recording i used the blue icicle and recorded into reaper. The contact mic is my own creation from a diy i found online (roughly €5 to make). I hope you find this useful! please feel free to use it, whenever and however you want to. If you create something awesome and you're proud of it i'd love to see it!.