244 Royalty-Free Audio Tracks for "Synth Filter"

Ambient music shaped by two sloth lfosmuch reverb! very much. . . . Oh yes, some "ambient noise" toolets call this patch "instant generative ambient patch"one sloth generates triggers. One controls pitch cv. Noise through filter controlled by 2lfosh. And loads of reverb.

Guiro sound made of rim shot sound in behringer rd-8 with built-in high pass filter and retrigger with accent. Recorded with zoom h1 at 96khz and 24bits. Filtered of low range noise, tirmmed and normalized in edison in flstudio. Editing made sample 32-bit.

Notes as an arpeggio derived from the chord cadd9b5 fed through a glass viper synth at 120 bpm using a panning notch filter on a soundfile that has been reversed cross faded into the original soundfile stretched to its maximum. Featured at about 6 minutes 15 on this experimental track. Https://soundcloud. Com/klaxonite/klaxonite-5-010515.

A synth chord i placed in fl studio. C a f c. Using a saw square and pulse pwm wave for combo. Then put a sweeping band pass filter from top frequency to bottom frequency. Then i put a panner with the speed lfo sweeping from fast to slow. Next the right amount of reverb. Finally some copmression and normalizing. Using sound to reach out to angels.

I have made a patch that generates drones. Lets call this generative. . . I use feedback on my spring reverb. I only use one filter. The drone is structured by a triangle lfo and 2 comparators. It's tricky to balance the patch to give varying and interesting results. The drone is made with a 100% analog modular synth.

In this patch i’m using doepfer a-160 clock divider as a sub bas generator. Square wave out from doepfer a-110 to trig in on a-160. I guess a square wave makes it easier for a-160? /4, in this patch, out to uvcf. The sawtooth from a-110 to another nice filter - the wasp filter. The transient modules 8s sequencer gives us an 8 note sequence. A copy of the sawtooth melody is going to an analog delay stomp box from joyo and back to the synth. Some reverb from a-199 sprv, spring reverb. Https://www. Youtube. Com/watch?v=ssrlq42phvi.

Smooth fm chords for calm atmosphere in movie. Use fat low pass filter depending on your taste. Highs should be mostly removed, i left them there - you need to decide how much highs you want to keep. It reminds me roland sound. Optionally add roland chorus tal-chorus-lx.

An amplified version of thrusters_loop for a more intense effect. Has some nice rumbling and stereo sound. Created in fl studio with two white noise components, both with a low pass filter and one with an overdrive plugin. Edited in audacity.

Another sloth lfo test. I wanted to see - expected to see - cyclesrepeating. I don't. I have x controlling frequency and y controllinga filter. This recording is 5 minutes so there should be some repetitiveness. . . It's a regular sloth. . . I see 48 second cycles but they are not the same. Cool. Chaos.

I'm getting to know a comparator. Why haven't i used it before?here i'm using, let's say, 2,5 comparators. Extremely electronic. Yes!look at those waves i'm creating!no filter! this is addative synthesis. Long loop.

A ride/cymbal sound made with sunvox. It's a sampled noise impulse with a certain starting phase sent through a bandpass and then a reverb with a low room size, which acts as a resonator. It then goes through another filter and reverb set, then a compressor.

A ride/cymbal sound made with sunvox. It's a sampled noise impulse with a certain starting phase sent through a bandpass and then a reverb with a low room size, which acts as a resonator. It then goes through another filter and reverb set, then a compressor.

A ride/cymbal sound made with sunvox. It's a sampled noise impulse with a certain starting phase sent through a bandpass and then a reverb with a low room size, which acts as a resonator. It then goes through another filter and reverb set, then a compressor.

A slight improvement on my inception-sound. Wav , created using lmms, again 2 instances of zynaddsubfx and now also 2 instances of sf2-player with a trumpet type sound. I also used lowpass filter.

Needs to be faded in, but otherwise it should properly loop. Created using cubase and retrologue 2. A simple patch exploring the vsti's multi oscillators. Two oscillators plus a bit of semi-random filter modulation.

While i was playing around with some "extreme settings" on my technosaurus micron, this rhythmic structure came out. The bleeps are from the resonance of the 12 pole filter, driven by the lfo. Recorded directly into audacity through my macbook internal soundcard. Info on this synthesizer: http://www. Vintagesynth. Com/misc/microcon. Php.

While i was playing around with some "extreme settings" on my technosaurus micron, this rhythmic structure came out. The bleeps are from the resonance of the 12 pole filter, driven by the lfo. Recorded directly into audacity through my macbook internal soundcard. Info on this synthesizer: http://www. Vintagesynth. Com/misc/microcon. Php.

Same patch as in electronic minute no 226 and 227 but on my real modular. I'm using a filter. Thats why i call this version subtractive. I'm subtracting harmonics from a square wave. Why are 226 blue? probably because i did it at work. . . Listening in bad earbuds. Makes you rise the bass. Lets see if i can make this wave ble at the end! i will slowly fade out the vco with high pitch. At the very end i'm switching the synth off.

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.

I thought i had a diy contact mic somewhere, but i did not find it. But i found another thing. A contact mic for an instrument tuner. But (again) it had a 1/4 inch mono plug. That meant i could not connect it to my computer mic in. But (i know) what if i plug it in to my modular synth. Surprise. . . Then i could add a little filter, pan and spring reverb. So clamped the mic on to my external 3,5 inch disc drive and recorded. This is my submission to dare 51.

These sci-fi synth sweeps were created by manipulating white noise with filter sweeps and other effects and then using noise reduction to remove the underlying white noise. You would need to pick through them and cut them up, but they can be useful for sound designing light graphic elements that move around and animate on and off.

Loopable lead sound from my technosaurus microcon, obtained by multi tracking 3 slightly detuned and lightly off phase saw waves. 12 pole filter, fully opened, no resonance. Played in gate-trigger mode (no adsr whatsoever). Recorded directly into audacity through my macbook internal soundcard. Info on this synthesizer: http://www. Vintagesynth. Com/misc/microcon. Php.

Moog grandmother, plucky sequence in am, 90bpm. You could make loops out of it, as the whole sequence was digitally clocked. Some interesting play with noise, filter, pulse width and the internal spring reverb of the synthesizer. Recorded through an ssl superanalogue preamplifier at line level, uad-2 apollo 8 adc. No eq, no compression. Mono file, 24 bit 48 khz.

Inspired by a discussion on the ambient online forum:https://www. Ambientonline. Org/forum/ambient/sound-design/92341-how-to-synthesize-drum-sounds. Used the subtractor synth from reason. Please refer to the pack description for a full list of the sounds synthesized. Ao_subtractor_snare_2_1. Reason subtractorosc 1 is off (set balance 100% to osc 2 + noise). Osc 2 set to sine wave, oct = 3. Noise decay = 127, noise color = 127, noise level = 127. Filter set to low-pass 12 and completely open (=127). Amp env decay = 44.

I have built a nonlinearcircuits sloth lfo, the regular version. Sloth is a chaotic lfo. The output is based on the lorenz system. It is a system of ordinary differential equations. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the lorenz attractor is a set of chaotic solutions of the lorenz system which, when plotted, resemble a butterfly or figure eight (very much from wikipedia). The sloth has two outputs x and y. Think of them as coordinate pairs. The output will probably never repeat itself but there is a pattern. I have built the regular sloth it usually takes approx 15 seconds to make a rough figure 8, one cycle in the “butterly”. Now i’m testing the module in different ways. In this sound i have connected white noise to a filter. The filter frequency is controlled by sloth (x output). In this patch i have set the initial frequency low. That’s why there is a low humming wind noise between the “tops”. The output sound from filter goes to reverb. The sound is more a study of sloth behavior than an attempt to create a great wind sound.

Just a basic single wave form sample from a real roland jp-8080 saw wave in the key of g. Used in making an epic super saw and super arp for these youtube tutorials and project:. Part 1: https://www. Youtube. Com/watch?v=byd_yirefiipart 2: https://www. Youtube. Com/watch?v=wruzgwtmvuqfull ableton project here: http://blnd. Io/1aodggb. The sample is tuned to the key of g, you will have to make sure that the sample is set to the key of c or transpose up 5 semitones. I correct this in the new template update; so that all chords and arps are in sync w/ the correct key.

While i was playing around with some "extreme settings" on my technosaurus micron, this rhythmic structure came out. The bleeps are from the resonance of the 12 pole filter, driven by the lfo. Here, the lfo is driving also the oscillator pitch, resulting in a rhythm shift. Recorded directly into audacity through my macbook internal soundcard. Info on this synthesizer: http://www. Vintagesynth. Com/misc/microcon. Php.

While i was playing around with some "extreme settings" on my technosaurus micron, this rhythmic structure came out. The bleeps are from the resonance of the 12 pole filter, driven by the lfo. Here, the lfo is driving also the oscillator pitch, resulting in a rhythm shift. Recorded directly into audacity through my macbook internal soundcard. Info on this synthesizer: http://www. Vintagesynth. Com/misc/microcon. Php.

Bartonmusicalcircuits 2lfosh (bmc 017). Manual wiggling. First it acts like a sample and hold and lfo. S/h connected to a vco and the lfo to a filter. Then i'm testing the lfos. After that you hear the two oscillators. Great module. 3 in one. Lfo, sample and hold and oscillators. Square, triangle wave and a mixed waveform!.

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.

I want you to compare this sound with:"electronic minute no 18 - vcv rack sqr sequencing"https://freesound. Org/people/gis_sweden/sounds/413520/in this sound, no 19, i use my modular synth. The sound is not as clean as in the virtual one. To some extent i blame my method of recording. . . Different oscillators sound different. Here i use a self oscillating filter. That produces a clean sinus wave. The cleanest sinus in my rack. But i guess the real thing is not perfect and that is what you are hearing? in neither of the patches i use a quantizer. . . (that's art :-)and, i almost forgot, i use a cheap analog delay pedal. Noisy. . .

Doepfer a-118 white noise through an a-108 vcf8 using the band-pass out. Audio level: 4. 5emphasis/resonance: 9frequency: around 12khz. Recorded using a rme babyface and cubase 6. 5. I tried to cut seemless loops. It's always nice to hear what projects you use these sounds for. Let me know. ;-).

Patch consiting of- jupiter storm- jerkoff- filter- 2 x lfo- mixer- (spring reverb). Jupiter storm and jerkoff is in a "weak feedback loop". . . Purpose with patch is to evaluate the quality of the generative sounds/musicit will never repeat it self but there is some cyclic repetitionone cycle is about 50 sec - goodonly short sounds - badamplitude variation - badpitch variation - goodtimbre variation - okaymusical value - low to mediumentertaining - medium.

This sort of kickish type sound is one of my experiments with my model d. The ones near the end sound the kickiest and there's a nice filter sweeping as it goes along. They'll probably be best shortened a bit but, hey, it's up to you. If you like, please rate. Uploaded into public domain because attribution is such a pain to manage on little sound files, so feel free to use it without having to worry about attribution.

Dybby am chord made on modular synth. The 3 voice oscillator mfb osc-03 is tuned to an am chord (saw tooth wave) (tuned by ear. . . ). The sound is going to an uoki-toki polivoks filter in band pass mode and to a vca. From vca to zoom ms-70cdr tape echo effect and back to modular and into the ladik r-330 reverb. From reverb to mixer and out module to computer and audacity. And to you :-).

Some generative wildfire sfx made with sunvox. The crackling sounds were made by taking some highpassed white noise, ring modulating it with some more white noise, and then using a noise gate to usilate the loudest 'crackles'. The rumbling was created using lowpassed white noise, and the wind was made by bandpassing white noise with a high resonance and randomly sliding the filter frequency. Everything was sent into a reverb and a stereo expander.

I have built a nonlinearcircuits sloth lfo, the regular version. Sloth is a chaotic lfo. The output is based on the lorenz system. It is a system of ordinary differential equations. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the lorenz attractor is a set of chaotic solutions of the lorenz system which, when plotted, resemble a butterfly or figure eight (very much from wikipedia). The sloth has two outputs x and y. Think of them as coordinate pairs. The output will probably never repeat itself but there is a pattern. I have built the regular sloth it usually takes approx 15 seconds to make a rough figure 8, one cycle in the “butterly”. The knob changes the chaotic pattern. At some settings the signals will spend more time in one strange attractor than the other. Now i’m testing the module in different ways. In this sound i have connected white noise to a filter. The filter frequency is controlled by sloth (x output). In this patch i have set the initial frequency at 12 o'clock. . . The output sound from filter goes to reverb.

Cptnal's comment on muffwiggler was an big aha moment. He wrote "you could patch the output of one s&h into the input of the next and get yourself a 12-step shift register. " well i don't have 12 s/h. I have 10. . . I would need a lot of sequenced gates to build that shift register. . . In this patch i use 4 s/h. (s/h or s&h is sample and hold. ).

A bassier, more livelier remix of gis_sweden's high pass loop. A bit of distortion on the low end makes the bass crunchier than the overdone toast i had for breakfast this morning. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -. License : the original source is licensed under cc0 public domain (free to use, no credits requred. ) no need to credit me neither. As always with music stuff here on freesound, it sounds best when downloaded.

While attempting to create a sick ass dubstep wob noise in rob papen's albino synth plugin, i managed to stumble across a telephone-like sound while pitching the filter cutoff on a weird shaped wave oscillator. I then put down the dubstep tune, and exported the noise with a gradual huge reverb at the end just for fun. I hope you enjoy it and i'd love to hear if someone uses it and in what context!. If you're interested in hearing my music (shameless plug) you can do here:. Https://soundcloud. Com/damnd_music. If you'd like the preset this sound was made using, i have saved it here:. Https://dl. Dropboxusercontent. Com/u/7506813/telephone%20bleeps. Aupreset.

Glitch sfx #1. Modify/use however you want. I made this by playing a couple sine waves on different notes, then i added a fruity waveshaper to add harmonics whenever one of the sine waves clips, then filtered out the original sine waves, leaving you with the distorted harmonics you have here. Made with fl studio 12, massive, waveshaper, and edison. If you use this in anything, please put it in the comments, me and other people may want to check it out!.

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.

Friday. Random. Why this madness? answer: i have patched s/h (sample and hold) random to doepfer a-160 clock divider and that affects the a-161. For the sake of it i patched one of the gates to the ladik r-110 rnd t/g (random trigger and gate). Result much more randomness than i can use. I can tell you that there is a lot of blinking diodes :-) sounds from doepfer a-110 and 2hp osc and sampler soundmachines ul1uloop.

The fundamentals of this patch is from the doepfer home pagehttp://www. Doepfer. De/a100_man/a100_patch. Htmthe patch they call "random melody". I call the sound "random melody from doepfer site". Boring. . . I added a voice with some delay/reverb fx and some simple drums. The high-hat is made from white noise and the bass drum isa self oscillating filter. I have used a minor scale on my doepfer a-157 quantizer. This sound is slitly treated in audacity. A little compressor and limiter. Review from one of my kids: "well, there is some rhythm".

Made some adjustements and a new recording. Terrible result but fun work/programming!. Algorithmic drone music program. The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem osc_1 - wave shaped sin oscillator (osc) - tuned to 130hz00 rem osc_2 - clean sin from oscillator - tuned to 130hz00 rem osc_3 - sqr from oscillator through filter - osc tuned to 130hz00 rem clk speed = 0. 5 hz00 rem line 01 each of the 3 vcas gets an unique cv value ([gate] -> [3 s/h] -> [3 vca])00 rem ---------------------------------------------------01 sample values for vca (cv in) x 3 (osc_1, osc_2, osc_3)02 sample frq for osc_103 sample frq for osc_204 sample new clk speed05 sample frq for vibrato in osc_106 sample frq for osc_307 env to all vca08 sample cv for (osc_3) filter10 goto 01. When i begin the recording the program has been running for a while.

Test of how uoki-toki polivoks vcf handles sin-wave (ca 270hz) when the filter is self-oscillating. I bring the uoki-toki polivoks vcf to self-oscillation and tune the vcf to ca 270hz too. The vco is also tuned to 270hz. In this test i connect the same lfo to cv1 on the vcf and 1v/oct on the module i use as vco (intellijel μvcf). I let the lfo run. Cv1 on vcf pot at 100%. They are playing together. The vco is connected to the in on the vcf. Confused explanation. . . But at least not in swedish.

Here it is! my first ever submission on freesound! i decided to start this all out with a bang, and post something really cool that i'm proud of making. I'm not sure exactly what this creature was supposed to be. I'll leave that up to your imaginations. How it was made:. Software: fl studio 20. Plugin(s): serum, valhallaroom, ott, fruity parametric eq 2, and fruity delay 2. This was made completely with synthesizers. I used serum for the main synth, made copies of it, and modified each of them to sound unique from the other. I'd try to explain how the synth was made, but there's a lot of stuff. To process it, i used ott to make it sound more powerful and clear, eq to get the frequencies and texture right, delay with a low pass filter to get that outdoors echo feel, and valhalla room for the reverb. I had fun making these. Enjoy!.

Electronic minute no 27 - combined forces. A patch with 2 unrelated patchesthey share an lfo. . . A) 2 lfos playing with a-101-1 vactrol vcfthe filter is feed with a square wave. B) a more advanced patchtriggers from env. Follow. Feed with cv from jerkoff (chaos)noise to a slew controlled by a sloth lfos/h to oscosc to vcathe vca is controlled by the same lfo as the slew but inverted!. Evaluation of patch/soundone cycle is - cycles? about 1min - goodonly short sounds - no, and thats goodamplitude variation - fairly goodpitch variation - yes, goodtimbre variation - not bad at allmusical value - i should consider this musicalentertaining - think so, yes.

I was just going through my sounds, when i decided "hey. . . I'm gonna release this. " so here you all go! i'm really proud of how this turned out. This, as you can tell, is a deep eerie ambience loop. It can be used for anything you want. I like to leave things up to the imagination of the audience. How it was made:. Software used:-fl studio 20-harmor-harmless-fruity parametric eq 2-valhallaroom. So basically what i did was get a low pitch sawtooth waveform, put it through some effects like harmonization, a low pass filter with high resonance, a phaser, and a load of distortion. The main synth is made with harmor. (yes, this is all one synth. It just has a lot of dynamics. ) i then processed it with some eqing. What made this sound what it is would be the reverb. I put 2 layers of valhallaroom on the synth. One has a very short decay time, and gives it texture. The other gives it the atmosphere. To add some more depth, for the final touch, i layered a sub-bass underneath it. Which is just a low sine-wave with reverb on it, which i used harmless to make. I hope you enjoy this!.

Boring sound. . . Neuron patch (?). . . Inspired by nlc squid axon (i have saved some hp for that one!) i have patched up a simple 2 stage asr with 2 s/h. Most of the time it plays its atonal melody, but when the patch is stimulated (by a sloth lfo) feedback opens up. I can adjust the sensitivity in different ways (so i can simulate the intake of drugs. . . ). The sound from the oscs goes though vcfs with some resonance. The vcfs are controlled by the same sloth lfo. My neuron patch. . . No hands during recording. My favourite part is when nothing happens - for almost 1 min?! but you can hear the filter working via the vcfs. The cv must be in some strange area.