410 Royalty-Free Audio Tracks for "Stretching"

An almost similar snare sound to that of idioteque in radiohead's 2000 album kid a. Though it is meant for experimental style, i think it would work with any form of electronic music. It was created by resonating noise from audacity, filtering it, fading it out, stretching it and compressing it. It has a characteristic sustain to it. Imagine it as a mix of a gunshot, cymbal, shaker and snare. Feel free to use it in any way you like. If you ever use it publicly or commercially, notify me so that i can hear how you used it.

For this sound, i generated a square wave at a frequency of 440 hz and an amplitude of 0. 80 and a duration of 1 second. I choosed the following effects:1- wahwah with frequency f=1. 5hz , amplitude= 70 %, resonance = 2. 5 and offset frequency = 30%2. Repeat3- compressor (x2)4- fade in (half of the sound)5- fade out ( the other half of the sound)6 - phaser with 10 phases7 - paulstretch with the stretching factor=5 and resolution = 0. 258- echo with 1 second delay , decay factor=0. 59 - cut (to arrange the sound). After all this effects, the sound is like a sound recorded in space with echos.

I recorded the sound of my wooden, squeaky screen door opening and then bouncing shut with a couple bangs. You can hear the squeak of the hinges as the door is opened, then again as it starts to close. The stretching and retraction of the spring is slightly noticeable. The door bounces a couple times as it closes, and you can also hear the latch rattling at this time. Recorded with audacity on my computer using a cheap, hand-held piezo mic. (i recorded this for use in a theatrical play i was working on [ daddy's dyin'. . . Who's got the will? ] because i couldn't find anything suitable elsewhere. ).

A suspenseful riser made from a wet mix of a rate-shifted bed frame being hitted and reversed after it has been "glued" or rendered as is, producing a deep, "mega-marvin" similar sample. A sample that was created from utilizing chromatic tones, stretching, reverb and the use of the wet/dry filtering to get the mix "just right". If you aren't aware of what the mega-marvin is. Mega-marvins are essentially instruments containing extremely heavy string, woodwind and varying density of materials that generate strong noises, trailing ambiances and brass-like sound qualities quite suited to the horror genre, generating a daunting and sorrowful sounds. Very fascinating stuff, look it up if you can - they're big and quite technical.

Me squeezing a crumpled bag of doritos, recorded with an sm57 going into an m-audio mobilepre usb audio interface. I recorded this because i needed a good rubber stretching sound, but couldn't find one that looped well. When i crumpled the bag up to throw it away, i realized it kind of sounds like what i wanted, and with some eqing and clever layering i could get a sound that's pretty close to what i wanted. I've uploaded the final result under my "processed sounds" pack, but here are the raw sounds for you to use, completely unprocessed. I've left some silence/noise at the beginning/end of these so that you can easily remove the noise if you so choose.

Our neighbors fought a lot. Usually at around 2am and it would go on for about an hour or two. Besides being angry and annoyed, my girlfriend and i were always curious as to what they could possibly be fighting about. I had the idea to record them via a long mic cable stretching down the hallway, strategically hidden behind a few pieces of wood, to their apartment door. My plan was to one day play this from my stereo at a loud volume around 2am. As i later thought this through i realized that this would only disturb my other quiet neighbors and was a fairly selfish act. Anyway, i used a $100 audio-technica stereo mic and recorded it directly into my computer as an. Aiff. They seem to be arguing about a stereo and someone not loving the other. It's rather sad. We no longer live in that building so i have no idea what became of them. I hope they are happier now. Enjoy.

This replica of my tinnitus was created using the free program called audacity. Http://audacityteam. Org/i had to generate 3 different 'tones' and combine them before i felt the high-ish noise was close to what i hear. I then had to search freesound for something that i only hear beneath the high pitch noise when my house is very quiet, which is something like the sound of strong wind outside a closed window or a power station a mile away. It took me a few hours, and even then i had to manipulate the sound considerably. Thanks to felix. Blume forhttp://freesound. Org/people/felix. Blume/sounds/167684/#commentsthis natural wind sound file was equalized and leveled several times, then the sound level was reduced to blend with the high pitch. But it still wasn't right. So, not being an expert with audacity, i just went down the list of 'effects', trying each one, until i found "paulstretch", which somehow increases the time length of your sound file, without stretching as in 'elastic', which would deepen the existing tones, and apparently, without copying and pasting. The sound does change somewhat, becoming just slightly ragged, but it's a very interesting effect for this application and actually got used on both elements to produce the final sound. . I hope no one enjoys this sound and can't imagine that anyone will. It makes me feel slightly sick. . Info edited 28 oct 2021: with my tinnitus at it's current level, i will never, now, be able to reproduce it again, primarily because i can't hear any sounds i create in a detailed way. And secondly, because hearing this version of the sound these days is just too uncomfortable. 🥲.

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 :).

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.

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.