12 Royalty-Free Audio Tracks for "Slow Rhythm"

Sample of circuit bent roland dr-550 drum machine.

Slow funk/jazz simple rhythm. Keyboard and guitar through audacity.

Gloomy, moody, slow tempo loop. A dejected sounding melody.

Off balanced slow hvac fan. Slow rhythm at 2 per second. From street. Downtown lansing michigan.

The sound of the bed springs creaking as i rocked back and forth. Could be used for music tracks or video where bed springs creaking would be appropriate. Possibly sounds like sex?. This is a slow rhythm.

Midi recorded at the keyboard and processed through music maker's virtual drum synth. One of ten electronic drum loops with a tribal beat and human sound.

Stone beat (120)a common 120 bpm beat with a slow stoner feeling, but also a downtempo trip-hope texture.

A reversed piano beat loop i quickly made in audacity,. Uses a modified fl studio piano melody sample taken from the open-project 'exoplanet' by eric kauffmann,. Edited and processed in audacity. 112 bpm.

A fidgety drum and bass loop with a cowbell, a bunch of claps, shakers and tambourines, arranged in fl studio, run through fl studio's gross beat plugin, which was set to 1/2 speed slow, and this is what the original and the processed drumloop sound like combined.

Coming hair: you can hear the typical crunch of tangled hair being combed out. You can hear the hairbrush gliding through the hair. It varies in tempo and rhythm to add realism to this sound. As she struggles with the knots it is slow but picks up tempo as her hair becomes less tangled. Recorded with the zoom h6, rode ntg in a recording studio. Great for any make-over montage or scene.

In this recording you can hear book pages being turned manually at a slow but stable rhythm, at the library la fraternitat in la barceloneta. You can hear the page sliding agains other pages, creating a sound that almost reminds us of a knife; and the noise of the page being laid down. At some point there is also the sound of fingers rubbing on the page. Recorded with a zoom h4n pro by kalina and irene, students at esmuc in the framework of the etno3 class.

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.