2,353 Royalty-Free Audio Tracks for "Spring Reverb"

Spring reverb fender amp guitar.

Recorded with tc electronic 24d 24bit 48000.

Door spring recorded with boom microphone and sound devices mix pre 10 recorder.

A recording of a re verb from a british spring put through a convolution re verb loaded with a tunnel impulse made in bristol.

Fostex 31801980's spring reverb studio effect. Impulse response taken with sine wave sweep and deconvolved using reaper. 44. 1khz 24-bit flac.

I opened my fostex 3180 spring reverb and hit the springs. Useful for that dub track of yours.

An unsilent patch to celebrate that my spring reverb now is silent - when i want it to be silent. Spring reverbs can be sensitive to electricity. No my spring tank is hidden away!.

Heavily processed vst synth sounds using various phasers, reverbs and filters.

An impulse response i made of the spring reverb found in the roland re-301 chorus echo (1977) running into a mackie 8bus desk at "optimum" levels. Made and processed in reaper.

For those who like a vintage sound, this impulse response tries to be the most faithful in the type of spring reverb used in the 60s, on vocals, on guitars, and mainly as a mixing reverb as an alternative to plate reverb if do you want the sound of a garage rock or dub. Depending on the context, you can leave the reverb in mono which reinforces the vintage character.

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.

This is a sum of two units, a digital reverb ams rmx16 and spring reverb fisher k10 with gate, this was an experiment i wanted to do and by the way, it worked well.

Working with my spring reverb.

Using an lfo, mixer, exp vca, envelope generator, cycling envelope generator and spring reverb to create strange sounds. Evaluation of patch/soundone cycle is about 28 sec - cycles. . . Dont knowonly short sounds - goodamplitude variation - goodpitch variation - mediumtimbre variation - mediummusical value - low to mediumentertaining - medium?.

Using a bass drum module to get not that bassdrummy sounds. . . Combining this with different types of feedback. I didn't know how to end the recording, as you will notice. I'm using an analog delay and spring reverb. Maybe the ending in it self is interesting? i find it hard to "tag" this sound :-)how useless is this sound on a scale from 1 to 5? 5 is totally useless. . .

Crashing noise from the spring tank reverb with tiny sounds. Made with the koma elektronik field kit fx.

The three parts are following the sam chaotic lfo.

Sounds made with the legendary vcs3 synthesizer in the lindblad studio at gothenborg academy of music and drama, 2011. 11. 06. The charactere of the sound is like a bouncing ball.

I made changes in the impulse response of the fisher k-10, i used a demo of the fisher spacexpander on youtube that had a warmer sound, i did eq match using small sections of the video where the audio is dry or wet, i did this sin several times and the result was fantastically similar. The reference used: https://youtu. Be/17x9fqbjbfw.

A combination of several tube spring reverb units with a dark vintage character.

It’s a mix the 80s gated reverb and the fisher k10 stereo (gated), this is an experiment that i did combining a thicker reverb with low frequency, with an impulse response from a 60s spring reverb unit, which brings a movement nice in the mix.

Doepfer a-100 modular system recorded with a zoom h-5. Cut and transcoded with audacity.

The giant 1000 liter wine tank at red maple vineyard in the hudson valley - west park, ny. This sounds amazing for "old vocals"a very springy plate tank reverb. Complex and colorful. White and pink noise was played through two speaker exciter transducers attached the outside of the tank. 12gaugemicrophones black212 blumlein microphone inside the tank into behringer xr18, logic pro. Feel free to use as you like but please do mention the source if you can. @manysounds.

Tube spring reverb unit compressed on the tape.

Pulse responses from great british spring reverb processed with equalizers, tube preamps and compressed with analog tape.

A sequence in a minor. Spring reverb feedback. Filter sweeps controlled by nlc sloth. I'm not using a sequencer. There are other was to obtain a sequence on a modular synth.

A krell.

Atonal modular synth melody.

5 quantussy cells controlling 2 oscillators, 1 wave folder, 1 filter and 1 drum module (bmc analog drum). Even the pitch of the drum is controlled by one of the quantussy cells. The drum sound to fed to the feedback in on doepfer a-199 spring reverb.

Sounds nice to me. Variable tempo. Made with analog modular synth.

It's fun to patch up a kind of analog shift register (3 stages). Doepfer a-160 controls the stages. On a-160 i use /2, /4 and /8. I sample slewed noise. No quantizer.

Algorithmic modular music program ver. 2 (man2v2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. Admit, the spring reverb makes a nice job!. 00 rem -------------- man2_2019 --------------00 rem ------------------ v2 -----------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)00 rem line 08 in ver. 103 rnd frq lfo_1 (run speed)00 rem [less secitive for cv change]04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)00 rem [added some offset with attenuverter]06 trg short env (vco_2): rnd pitch @ eoc (vco_2)00 rem [long env in ver. 1 - with long env i seldom reach eoc]07 if (lfo_2 = high) then goto 01 [= reset]00 rem line 02 in ver. 108 [07] trg short env (vco_3): rnd pitch @ eoc (vco_3)00 rem line 07 in ver. 100 rem [long env in ver. 1 - with long env i seldom reach eoc]10 goto 01.

Could need some sounds in the middle spectrum and better eq. . . Background soft minimal techno?.

After some confused techno days i'm back with machine composition. This is a basic patch on my analog modular synth.

No it didn't. Well cool patch anyway? it's what i like. Small variations on a simple theme. Sloth lfos and a jerk off (both from nlc) are the engine. Yes and a comparator. Using an or/gate-combiner to create a trigger-ish for quadra to react on. Analog delay and spring reverb. Why did i do this patch from the very beginning? when the voltage on x from sloth reaches a specific value a trigger is generated and i sample the value on y and uses to select pitch on an oscillator. The one playing the long tones. Chaos creates my variations. Sh1t, now when i've stopped recording cool thing are happening. Promise. . .

In my bag i have had this little not with a patch on. Today it was time to patch it. I dont know why i once draw it down. If its supposed to be a part of a bigger patch. . . This is the result. Noise.

Impulse response of a 60s tube spring reverb unit, fisher k-10 in stereo at 96khz. It is very versatile it looks good on drums, guitars, percussions, synthesizers and vocals, in addition to the beautiful spring sound in stereo.

A patch with a changing sequence made on analog modular synth. Spring reverb and analog delay. The changes are made with an chaos lfo. Its 10 min loop!.

Sound of a loose metal spring being plucked with heavy reverb, could be a good sting for a horror sequence. If you find this handy, feel free to use for your project!.

Yes, my wasp-filter is alive again!.

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.

Yep, i'm reading allen stranges "electronic music: system, techniques and controls". Interesting from start. This is a patch made with lessons from chapter 4.

Yep, i'm reading alen stranges "electronic music: system, techniques and controls". Interesting from start. This is a patch made with lessons from chapter 4. Changed pitch on one osc and added some drums. Some editing in audacity compressor and limiter.

More sounds made with my analog modular synthincludes spring reverb feedback :-)more ring modulation noise.

A self modulated a-110. A self modulated bermuda through filter with some res. Barton analog drum, spring reverb and analog delay stompbox. Sxxxe (you know what) sound is imperfect wave forms, or. . . ?.

Out of my control. . . . Let the synth decide.

This is to the moon. A track made with analog modular synth.

Feedback drone made with doepfer a-199 sprv.

Old-school sound made with analog modular synth - the old way. . . The reverb is a spring reverb - what else. . . ?.