26 Royalty-Free Audio Tracks for "Slope"

Sample of the doepfer a-110-1 sawtooth output. Here's a link to the module: http://www. Doepfer. De/a110. Htm. Captured using a rme babyface and cubase.

A snowboarder is quickly crossing the sound space from left to right. Then his dog running after him in the snow: dog paws, breath and metal necklace. France, 2021. Recorded with a pair of clippy em172 in ab set-up (40 cm)recorded on sounddevice mixpre6wave stereo, 24 bits 48khz. Part of the sound work "dur la neiz":https://soundcloud. Com/user-876924050/dur-la-neige.

the krell patch was conceived by fab wiggler vgermuse, who can be found in the buchla forum!(dcramer, muffwiggler. Org). This is some sort of krell-ish patch. But i don't have an envelope generator with eoc function. . .

Down the slopes with famillies in a french ski ressort. Children are playing and laughing, adultes are talking, sledges are sliding on the snow. Some rare understable french words. Light faraway musical ambiance from a cafe. La clusaz, france, 2021 during covid-time (no ski lift). Recorded with a pair of clippy em172 in ab set up (40cm)recorded on sounddevice mixpre6stereo wave, 24 bits, 48khz. Part of the sound work "dur la neiz":https://soundcloud. Com/user-876924050/dur-la-neige.

Small boulders crashing and rolling down a short slope. Mostly clean; faint wind noise. Olympus ls-14, stereo.

Laffik's bebop. Processed a bit. Generic mic and equalization - taming 500hz and adjusting slope upwards.

Recorded with an audio technica at822 stereo microphone into an edirol r-09. Cleaned up gently using a high pass filter (-6db slope).

Recorded with an audio technica at822 stereo microphone into an edirol r-09. Cleaned up gently using a high pass filter (-6db slope).

Beijing airport luggage wheels humming down metal slope - perspective - there are some recordings of individual passes and "onboard" perspectives. . .

A small rock slide event occurs on cathedral mountain. Clear, separating pops and clicks are audible as the rocks cascade down the slope.

Trying to create a small "engine" for use in generative patches. I use doepfer a-147-2 and alm pip slope. Here i use them in a two voice patch.

Walking down a gravel path, then a steep slope to get to the river bank. Early morning, february 21 near clark fork river. No credit necessary, but as always, it is greatly appreciated.

A group of skiers riotously descend a slope in the don sheldon amphitheater of denali national park. Sounds of their skis scraping the snow and laughter ring out over the mountainous glacial environment.

The entrance / exit of this parking garage is a slope, so drivers have to drive hard against it in order to reach the street level. Recorded with schoeps cmc6 mk41 into sound devices 633.

Three looping envelopes 2 on quadra and one pip slope. Forming a minimal rhythm. It's not stable. I make it even more unstable by injecting some cv to one of the envelopes. Maybe i injected a little to much? cool anyway.

A recording of page turns and riffles. Recorded right up near the grille of the mic so perhaps not the most natural sounding recording out there. 80hz high-pass filter was applied with a 12db an octave slope. Normalized to -3db. Signal chain: cad e100s and a focusrite scarlett 2i2.

Sounds from barton musical circuits dual logic going though doepfer a-101-1 vactrol vcf. Dual logic is modulated by bartons 2lfosh, via bastl-instruments tromsø. The vfc is also modulated by 2lfosh. The other sound is from alm pip slope in loop mode and modulated by a nonlinearcircuits single jerkoff, with an injection of cv from 2lfosh.

Real recording of a distant train rolling on an old canadian railway. Ran it through a low pass filter to remove unwanted noise, gentle 12/oct slope. Use this for whatever you want, for free. Feel free to credit me if you feel compelled to. Find me here:https://geoffreybremner. Wixsite. Com/gbaudio.

A patch generating triggers not that random. . . The triggers are triggering an envelope generator and a sample and hold. The sample and hold cv is quantized following a minor 7th chord rules. Hope you understand. . . Pardon my english. Why this. Answer. I have to start adding something like this to my patches. But i use 3 lfos for this :-/ thats about all i got - right now. The alm pip slope works fine as an lfo too. Square wave this time. Take a close look.

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. . .

A third version of https://www. Freesound. Org/people/gis_sweden/sounds/352940/. Now i let the alm pip slope affect a filter. I play a little sequence made with cvlfo , clock divider, attenuverter, quantiziser. The way i usually do…. But the interesting thing is the cvad (?) voltage controllable envelope generator. But in the case of alm pip slope you just control attack and decay. Seems to be enough. As in the other versions of this sound i connect one lfo to attack and a second lfo to decay. But this time i connect the vcad to control the frequency of a filter. Interesting. I wish i had two more cvlfos… should open up for rhythmical usage. I use no vca or adsr. I have connected the vco straight to the vcf and the vcf to mixer. In the beginning i have the frequency pot at 2 a clock then i gradually move it clock wise and let the vcad take control. 1 minute in the pot is fully clock wise. The vco is playing a sawtooth wave. If you dl and inspect the wave you can see that in the beginning and the end it is a sawtooth wave, but in the middle part the filter affects the wave form.

It becomes clear when i record with audacity and can actually see the attack and decay. I’m playing with alm pip slope. With this module you can cv control the attack and decay. As oscillator i use intellijel μvcf in self-oscillation mode. I fm-modulate this filter/oscillator with a tone from uoki-toki polivoks vcf. The semi random trigger is really two triggers connected to an or gate. Pitch is from analogue systems rs-40 (sample/hold and noise). I can listen to this for a looong time. Retro sound.

Field-recording of the creek found in old ellicot city, md. The creek is located in a suburban town, and is surrounded by a man-made rock moat about a story below street level. Recorded using a sony pcm-m10 at 24bit, 96k. The sound has been gently processed!!- hpf (6db slope) to remove rumble- compressor (ni supercharger gtx) with a minimal 1db gain reduction in m/s mode and a bit of warmth added. - ozone 5 for a little m/s eq to alleviate some of the watery pops on the sides and a little stereo widening to compensate for the pcm-m10's built in omni mics.

Version 2. . . Of https://www. Freesound. Org/people/gis_sweden/sounds/352940/. . . Or maybe version 34. . . . It's not better but a little different. More dynamics. Softer. But still i have the clicks :-/have to work on that. It becomes clear when i record with audacity and can actually see the attack and decay. I’m playing with alm pip slope. With this module you can cv control the attack and decay. As oscillator i use intellijel μvcf in self-oscillation mode. I fm-modulate this filter/oscillator with a tone from uoki-toki polivoks vcf. The semi random trigger is really two triggers connected to an or gate. Pitch is from analogue systems rs-40 (sample/hold and noise). I can listen to this for a looong time. Retro sound.

Privatedareno2 - 3patches - 3min. A challenge kindly started by alienxxx \(^_^)/. Patch 1: the patch that was… a patch i did yesterday. Got that one for free, so to speak. Patch 2: inspired by distant airplanes. Had this in mind. Now i patched up my idea. The wind (or what you decide to call it) is controlled by alm pip slope. New module – for me. Used an external effect, the zoom ms-70cdr. Patch 3: read about feedback. I decided to do a feedback patch. First i made one using oscillators, but i did not manage to do something nice. So i used filters. The first filters feedback is generating triggers. Oh, yes, and i used my sampler (soundmachines ul1uloop). So three patches. I merged/mixed them together in audacity. All sound unedited. Just normalized and i have applied fade in/out – and mixed them together - as written.

This is a sci-fi ambient drone sound i made. It's creative commons cc0, so please treat it as public domain. You can use it in any commercial or non-commercial media for free, no restrictions. For those curious how i made this, i took a quick 8-second drum loop from my pocket operator po-33 (ko) and ran it through a free time-stretching/pitch-shifting program called akaizer. The program's based on old samplers like the akai s1000 that had extremely artifact-heavy time-stretching and pitch-shifting features. If you slow a sound down enough, the final product tends to sound harsh and electric. Akaizer turned my 8-second drum loop into 2 minutes and 38 seconds of harsh, bassy noise, pretty damn close to the final. Then i imported the file (we'll call it file a) into reaper, my daw. Track 1 has reaeq with a high-shelf acting like a low-pass. Its curve is set at 1386. 2 hz, gain at -inf, and bandwidth at 2. In retrospect, i have no idea why i didn't use a low-pass. Track 1 has a send to a blank track 2, which has a fab-filter pro-q 3 high-pass filter with a 12db slope. It's at 320. 57hz, q is 1. 096. After the eq, track 2 has valhalla shimmer set to the black hole preset with no changes. Track 3 is the default file a with valhalla shimmer on the black hole setting, but with two tweaks. Low-cut is at 30hz, high-cut is at 6630hz. Everything else is the same. That's followed by fab-filter pro-q 3 with these eq settings:-0. 72db at 69. 463hz, q at 1. 007. -1. 11db at 536. 64hz, q at 1. 013, dynamic eq (click "make dynamic" and leave everything as-is). The point of this dynamic eq is to give a slight drop in gain in the 500hz region, which tends to get muddy in larger mixes. I wasn't sure if i'd use this for a larger project, and i didn't want build-up in that region from the already large-sounding track 1 and 2. The ocassional eq drops here also adds a warble to the final mix that helps sell an analog, electrical sound. +0. 85db at 3697. 3hz, q at 1. 009. This is to add subtle airiness to the drone. It seems weird to have "airiness" in the 3-4k region, but it's the sort of rumbliness of the sound traveling away and dissipating in the atmosphere after the lowest drone sounds. My volume fader settings for all 3 tracks:. Track 1: -8. 59 dbtrack 2: -6. 46 dbtrack 3: -6. 43 db. On my master bus, i have izotope imager 9 with these settings:. Band 1: width at -100 (mono) for 59hz and below. Band 2: nothing at 60hz to 525hz (width at 0). Band 3: width at 48. 1 for 526 to 1. 4khz. Band 4: width at 49. 4 at 1. 4khz and above. Stereoize is set to 6. 4ms on mode i. And that's it! no compressors or limiters anywhere, since i liked how dynamic the actual tracks were and i figure you can always add your own compressor or limiter to the final if you want. I've also added the original po-33 drum loop on my page, as well as the loop after it was run through akaizer but before it hit reaper in case you want to do your own processing. Enjoy :).