113 Royalty-Free Audio Tracks for "Swell"

This is a chord progression from rachmaninoff's elegie in eflat minor played on music maker's virtual cinematic synth. Starts with a bang and swells. Attention-getting, has the sound of brass.

A peaceful fall soundscape of the swelling of the wind as it blows through the leaves of the cottonwood tree, plus, the melancholy sound of some blue jays calling out -- to me blue jays are the iconic sound of fall. Recorded using my handy zoom h4-n portable digital audio recorder and my rode nt-g 2 shotgun microphone. Enjoy.

A long walk at night through the redlight city district in amsterdam, build in the 13th century. International mostly young, male audience. English, chinese, danish, spanish, dutch & other voices. Various swells from intimate to more crowded settings. Happy, aroused, drunk, stoned. Narrow alleys and wider streets. Might hear some words not suitable for children.

Original description: very low key, down-tuned bass sound with long sustain and release/tail. Sounds good in higher pitches too. Came from two highly tweaked tom and click sounds in flstudio's edison.

In fact, this record i added is not a carefully watched record. It's an arrangement i made overnight. I did, though, because i thought the lovers would come out. It's a little nervous. Maybe a mysterious event can be used in a documentary or presentation. If you want to improve it i can make some effects and editing. Bon appetit :).

A series of wind rivers rushing through the turning oaks and hickories in illinois. Plenty of beautiful, swelling winds. Plus, a lot of dried leaves skitting across an asphalt parking lot. . . Makes a person peaceful at the upcoming autumn and winter season, while, at the sametime, adds a bit of sadness to summer's memories, now gone. Recorded on wednesday october 23rd, 2019. Equipment: sound devices 702(1) sennheiser mkh 416(2) sennheiser mkh 8060.

I'm attempting to create a controllable thunderstorm for a film, and this is my first legitimate attempt. This recording consists of 4 samples of rain, and another 3 samples of rain+thunder that i recorded one afternoon. Equipment used was the inbuilt mics on a roland r-26, and a sennheiser me66 into a sound devices 702. The clips were recorded at 96khz/24-bit, and they were processed at 48khz/24-bit. For processing, i put the samples into kyma, and crossfaded for texture. The howling wind sound is an analog-style low pass filter's frequency, level, and resonance being controlled by a wacom intuos4 pen/tablet. The rain slowly swells, which was done by changing parameters of a granular reverb. The thunder was also controlled by the wacom tablet, with x, y, and z (pressure) dimensions mapped to making the thunder swell in level, density, and texture. This could have been output in surround, but i don't have that many monitors ;). This style of "rain-synthesis" can also go on indefinitely. Please let me know what you think of the quality of this track; eg, if it sounds real, if the wind sounds ridiculous, too much thunder, etc. Use this sound (wherever) if you want to, or let me know if you'd like an mp3 of this, or for it to last longer. I'd like some credit if you do use it, but it's no big deal. A blog is up explaining the method of creation here:http://www. Kylehughesaudio. Com/2/post/2013/02/tempest. Html.

A late summer soundscape that is a favorite of mine. . Microphones set up in some mature woods about 60 feet from a large lake on labor day weekend. Most of the background is the insects, which are very obvious during this time of year. The swelling of their volume is nap-inducing (*at least to me in my opinion. )here is the midwest this swelling and subsiding of the insect wave tells me that summer is just about starting to go back downhill, after a feverish peak. Despite the covid-19 of the year, nature does not seem to have changed her soundscape. Life goes on in the forests. The birds, whose job of raising young is over, are still there. . . They're just resting and relaxing and listening to the insects as well i'm sure. Now of course you will hear a few prominent birds in this captured moment:(1) a great blue heron squawks out starting at 1:17 into this piece. (2) the alarm call of a red-headed woodpecker can be heard at 2:14. Other than that, just the insects singing their hearts out and the assortment of birds taking secondary place during this time of year. This was recorded on sunday september 6th 2020 at 8:30 in the morning in the forest in southern illinois. Equipment: zoom f4, microphone: sennheiser mkh 8060. Enjoy this audio snapshot of the subdued -- yet vibrant - sound color of late summer, finding comfort in the fact that, within four weeks, the colors of the leaves will be changing to oranges and reds and yellows. But, for now, there is still life to live in the insect and bird world.

I recording made near some woods of the wind ebbing and flowing on an unusually mild day in late november of 2013. What i find unique about this recording is a lone cricket calling out at various times of this recording. . . Makes for a nice, almost melancholy feeling. It is almost like the cricket is not quite ready to hide away for the winter and is taking advantage of a rare 70-degree november day to call out as if to say "hey, i'm still here, waiting. . . In the grass. ". With headphones on, works wonders in clearing your head. . . Recording made at 6:30 at night with my handy / zoom h4 n recorder using the internal microphones, and of course using a very very stout wind screen. Enjoy.

Late august here in the midwest is the time for the loud choruses of insects. This recording, done in the backyard of a small town, features the classic"ebb and flow and swell" of the dusk insects. Since a park is nearby, you also hear in the background the excited voices of kids playing---maybe these youngsters do realize that soon they will be back in school and that the joyous, careful time of summer play and reflection will soon be over. Recording made with my zoom h4n recorder using its built-in internal microphones. The volume was set on 80. Enjoy, and maybe you too can use this sound-file for your own meditation, or simply thinking and taking stock of the accomplishments and blessings during the outdoor seasons and comfortably contemplate the upcoming dark, and bare and gray seasons ahead.

I'm back with another binaural. I am attempting to capture the sounds that remind me of the places i have visited. This is a recording of fuertaventura, in the canary islands, on a pebble beach the morning after a big wave swell. The rocks being moved by the sea are at least as big as footballs, and the waves are 8-12ft. I upgraded my binaural mics to roland cs-10em from my homemade ones. I'm happy if you can notice the difference. I like that they are combined mics and earphones with little windbooms. Files are recorded in:24-bit 96khz. Wav. They are as big and as high quality as i can make. Please comment :).

I tried out some new gear and methods! more mountainside rain! a complete storm from beginning to end with swelling and then waning rainfall, occasional thunder. Ms stereo bar on mic stand projected through open second-floor window, just under the roof eaves. Recorded july 20th during one of the mid-afternoon brief intense storms we can seem to get frequently in the rocky mountain foothills beginning around june. If you were listening and wondering, the direct sound of the thunder is somewhat occluded as i believe the storm was behind the overhanging roof and house from the perspective of the microphone array. The mountainous terrain and other objects in the field reflected some of that thunderclap, as well as the exterior wall of the home, and so this is all a little bit funky. Mid-side stereo recording:large diaphragm condensers mounted on octavia stereo mic mounting bar:akg perception 220 mid (cardiod) (on top, upside-down)akg perception 400 side (in bidirectional mode) (on bottom, facing left)sound devices mixpre-6 preamp+mixer+recorder (ch1+2 paired to ms stereo, gain @ +21db, fader @ unity, balance at mid/side center) w/48vdc phantom power applied, on-board mid-side encoding and monitoring in l+r, 24/96khz stereo recording. Postprocessing:cooledit 2000: edited to excerpt from longer recording. Normalized recording to 0db. Downsampled to 16bit 48khz. Flac: encoded.

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.