177 Royalty-Free Audio Tracks for "The Scale"

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I was messing around to create a lead synth for a song for my band, but nothing came out for the song. At leased i ended up with something that could sound great for a purely electronic style. Daw: abletoneffects: sampler + saturator + simple delay + eq eight (8 band eq)sample used: https://www. Freesound. Org/people/staticpony1/sounds/249984/sample author: staticpony1key: i don't know the scale name, but it is in gbpm: 176. Usage:- i would like to hear your song, if you use it- i don't expect any royalties or such. But if you make it big with this sound, just mention me in 1 of your interviews. :d- have fun.
Author: Embatasg
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00:06
Mystic chord on C as the 7th, 10th, 13th, 9th, 12th, and 8th harmonics. 7 = B♭ = C = 0 cents = 1/1 = unison 8 = C = D- = 231.17 cents = 8/7 = septimal major second 9 = D = E = 435.08 cents = 9/7 = septimal major third 10 = E = F♯ = 617.49 cents = 10/7 = greater septimal tritone (11 = F↑ = G↑- = 782.49 cents = 11/7 = undecimal minor sixth) 12 = G = A = 933.13 cents = 12/7 = greater just minor seventh 13 = A♭ = B♭- = 1071.70 cents = 13/7 = ?
Author: Hyacinth
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00:19
Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.
Author: Luckylittleraven
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00:06
Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.
Author: Luckylittleraven
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00:07
Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.
Author: Luckylittleraven
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00:18
Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tanpura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them; strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" is experimenting with running up and down the strings. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.
Author: Luckylittleraven
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10:29
Individual gryphons, davis-schrimpf seep field, salton sea, california. Lat: 33. 20070326716746lon: 244. 42179501054162. The davis-schrimpf onshore seep field site in the salton sea geothermal system is the result of shallow magmatic intrusions in a sedimentary basin. The ssgs is situated in the salton trough in southern california, an area with abundant surface manifestations of hydrothermal activity. The hydrothermal system in the salton trough occurs in a pull-apart setting where rifting and associated magmatic intrusions are responsible for the strong heat flow. One of the most concentrated and well-expressed onshore seep fields is the davis-schrimpf field, where more than 50 individual seeps are located in this area. Gas venting from gryphons and pools is vigorous with a continuous bubbling activity. Water and mud mixtures are continuously expelled down the flanks of the gryphons. Carbon dioxide produced from de-volatilization reactions involving sedimentary carbonate is the main driver for the seep activity. The morphological features of the davis- schrimpf seep field are strikingly similar to seep fields on dormant mud volcanoes however, the davis-schrimpf seeps are not related to mud volcanism, as mud volcanism normally implies large-scale mud breccia eruptions and a low temperature seep stage. From the; journal of geophysical research, vol. 114, b09201, doi:10. 1029/2008jb006247, 2009.
Author: Rtb
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04:09
Mud volcano field, davis-schrimpf seep field, salton sea, california. Lat: 33. 20070326716746lon: 244. 42179501054162. The davis-schrimpf onshore seep field site in the salton sea geothermal system is the result of shallow magmatic intrusions in a sedimentary basin. The ssgs is situated in the salton trough in southern california, an area with abundant surface manifestations of hydrothermal activity. The hydrothermal system in the salton trough occurs in a pull-apart setting where rifting and associated magmatic intrusions are responsible for the strong heat flow. One of the most concentrated and well-expressed onshore seep fields is the davis-schrimpf field, where more than 50 individual seeps are located in this area. Gas venting from gryphons and pools is vigorous with a continuous bubbling activity. Water and mud mixtures are continuously expelled down the flanks of the gryphons. Carbon dioxide produced from de-volatilization reactions involving sedimentary carbonate is the main driver for the seep activity. The morphological features of the davis- schrimpf seep field are strikingly similar to seep fields on dormant mud volcanoes however, the davis-schrimpf seeps are not related to mud volcanism, as mud volcanism normally implies large-scale mud breccia eruptions and a low temperature seep stage. From the; journal of geophysical research, vol. 114, b09201, doi:10. 1029/2008jb006247, 2009.
Author: Rtb
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10:60
Session 1, find more koto in this sound pack. The recorder wasn't optimally placed in the session 1 recording, so sometimes you might hear some low impact noises transitioning through the table to the recorder. Some eq (low cut) should be able to fix this. We went to my friend's father to record a koto, a traditional japanese zither-like (table harp) instrument, consisting of a large wooden base with long strings for plucking. The strings are tuned in the japanese pentatonic scale, allowing a mystic, mysterious, beautiful harmony. It was my first time ever playing this instrument, so don't expect wonders lol. But i tried to "feel" the instrument as well as i could, working from my limited keyboard and guitar playing skills. I improvised simple patterns, and also tried to work with call and response ideas, and bass notes, plucking the low strings with my fingers, and then plucking the high ones with a pick. Happy listening, chopping, and remixing!. In kashiwa, chiba, east of tokyo. Mid october 2016. Zoom h2n stereo ms recording in 96khz, 24bit.
Author: Rutgermuller
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02:59
Algorithmic modular music program (man3_2019). The computer is my analog modular synth. 00 rem -------------- man3_2019 --------------00 rem man3 - modular algorithm no 300 rem the steps/command lines, 01 to 08, are steps on a step sequencer00 rem main clock (lfo_2) 3hz00 rem the cv sequencer (seq) are tuned to an octave split in 5 equal parts. 00 rem seq has its own clock00 rem lfo_2 controls vco_2 via vca_2 and vca_300 rem lfo_3 controls wave shaper and vcf00 rem vco_1 tuned to 150hz sin -> wave shaper00 rem vco_2 tuned to 150hz tri00 rem vco_3 tuned to 75hz sqr -> vcf00 rem ----------------------------------------01 sampl lfo_1 -> vca_1 (vco_1)02 sampl seq -> vco_203 sampl lfo_1 -> vca_2 (vca_3) : rem [lfo_2 -> vca_2 -> vca_3 (vco_2)]04 sampl seq -> vco_105 trg -> noise -> delay_106 sampl seq -> vco_307 trg -> env (vco_3)08 trg -> noise -> delay_110 goto 01.
Author: Gis Sweden
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00:37
A few cycles of my dad's home oxygen machine with a ticking battery operated clock in the background recorded in the early morning in the living room with lifecam hd3000 webcam at the end of about 16 feet of usb cable dragged out of my bedroom. He's about 6 feet away, i was with my back to the room with my camera pointed at my chest so he wouldn't think i was filming. It would seem this is the first and only oxygen machine on freesound. A full cycle seems to last from between 7 to 10 seconds. From wikipediaoxygen concentrators typically use pressure swing adsorption technology and are used very widely for oxygen provision in healthcare applications, especially where liquid or pressurised oxygen is too dangerous or inconvenient, such as in homes or in portable clinics. Oxygen concentrators are also used to provide an economical source of oxygen in industrial processes, where they are also known as oxygen gas generators or oxygen generation plants. Oxygen concentrators utilize a molecular sieve to adsorb gasses and operate on the principle of rapid pressure swing adsorption of atmospheric nitrogen onto zeolite minerals and then venting the nitrogen. This type of adsorption system is therefore functionally a nitrogen scrubber leaving the other atmospheric gasses to pass through. This leaves oxygen as the primary gas remaining. Psa technology is a reliable and economical technique for small to mid-scale oxygen generation, with cryogenic separation more suitable at higher volumes and external delivery generally more suitable for small volumes. [1]at high pressure, the porous zeolite adsorbs large quantities of nitrogen, due to its large surface area and chemical character. After the oxygen and other free components are collected the pressure drops which allows nitrogen to desorb. An oxygen concentrator has an air compressor, two cylinders filled with zeolite pellets, a pressure equalizing reservoir, and some valves and tubes. In the first half-cycle the first cylinder receives air from the compressor, which lasts about 3 seconds. During that time the pressure in the first cylinder rises from atmospheric to about 1. 5 times normal atmospheric pressure (typically 20 psi/138 kpa gauge, or 1. 36 atmospheres absolute) and the zeolite becomes saturated with nitrogen. As the first cylinder reaches near pure oxygen (there are small amounts of argon, co2, water vapour, radon and other minor atmospheric components) in the first half-cycle, a valve opens and the oxygen enriched gas flows to the pressure equalizing reservoir, which connects to the patient's oxygen hose. At the end of the first half of the cycle, there is another valve position change so that the air from the compressor is directed to the 2nd cylinder. Pressure in the first cylinder drops as the enriched oxygen moves into the reservoir, allowing the nitrogen to be desorbed back into gas. Part way through the second half of the cycle there is another valve position change to vent the gas in the first cylinder back into the ambient atmosphere, keeping the concentration of oxygen in the pressure equalizing reservoir from falling below about 90%. The pressure in the hose delivering oxygen from the equalizing reservoir is kept steady by a pressure reducing valve. Older units cycled with a period of about 20 seconds, and supplied up to 5 litres per minute of 90+% oxygen. Since about 1999, units capable of supplying up to 10 lpm have been available.
Author: Kbclx
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07:20
Recorded in my dad's bedroom with lifecam hd3000 webcam. This is a much better recording than my previous oxygen concentrator file, as i hauled my desktop into the bedroom at the other end of the apartment where the machine now is, when i was home alone. The webcam is on the bed about 3 or 4 feet from the machineat the beginning of the file you hear me flip the big switch and the machine comes on with a long on beep and thumps. I edited it to start then. At 00:1. 8 what i suspect is the water pump comes on, though i may be wrong. That's when the gurgling starts though. The machine has a small reservoir for distilled water to moisten the airflow. A cup or two lasts several daysyou'll hear various hisses and thumps in a 15. 6 second cycle as it runs. At 03:03 i flip the big switch to shut the machine off, and it bubbles and gurgles away for the rest of the file, as water i assume slowly perculates back into the reservoir, the bubbling getting quieter and quieter until it doesn't even sound like bubbling anymore, until it finally ticks to a stop. At 03:16 you hear me step as i get my foot loose from the mic cord lol. At 04:13 the furnace shuts down as a car finishes going by outside in the bass register, faint traffic noises and the furnace being the only background noises you'll hear aside from my moving around a couple times, and a faint bluejay at the end. At about 07:00 you can barely hear the machine anymore, but i could hear a faint ticking with my own ears. At 07:04 the furnace comes back on. At 07:08 you'll hear a bluejay faintly calling outside and a car going by outside after, which finishes the file at 07:20. I edited out my walking to the computer to shut the recording down. From wikipediaoxygen concentrators typically use pressure swing adsorption technology and are used very widely for oxygen provision in healthcare applications, especially where liquid or pressurised oxygen is too dangerous or inconvenient, such as in homes or in portable clinics. Oxygen concentrators are also used to provide an economical source of oxygen in industrial processes, where they are also known as oxygen gas generators or oxygen generation plants. Oxygen concentrators utilize a molecular sieve to adsorb gasses and operate on the principle of rapid pressure swing adsorption of atmospheric nitrogen onto zeolite minerals and then venting the nitrogen. This type of adsorption system is therefore functionally a nitrogen scrubber leaving the other atmospheric gasses to pass through. This leaves oxygen as the primary gas remaining. Psa technology is a reliable and economical technique for small to mid-scale oxygen generation, with cryogenic separation more suitable at higher volumes and external delivery generally more suitable for small volumes. [1]at high pressure, the porous zeolite adsorbs large quantities of nitrogen, due to its large surface area and chemical character. After the oxygen and other free components are collected the pressure drops which allows nitrogen to desorb. An oxygen concentrator has an air compressor, two cylinders filled with zeolite pellets, a pressure equalizing reservoir, and some valves and tubes. In the first half-cycle the first cylinder receives air from the compressor, which lasts about 3 seconds. During that time the pressure in the first cylinder rises from atmospheric to about 1. 5 times normal atmospheric pressure (typically 20 psi/138 kpa gauge, or 1. 36 atmospheres absolute) and the zeolite becomes saturated with nitrogen. As the first cylinder reaches near pure oxygen (there are small amounts of argon, co2, water vapour, radon and other minor atmospheric components) in the first half-cycle, a valve opens and the oxygen enriched gas flows to the pressure equalizing reservoir, which connects to the patient's oxygen hose. At the end of the first half of the cycle, there is another valve position change so that the air from the compressor is directed to the 2nd cylinder. Pressure in the first cylinder drops as the enriched oxygen moves into the reservoir, allowing the nitrogen to be desorbed back into gas. Part way through the second half of the cycle there is another valve position change to vent the gas in the first cylinder back into the ambient atmosphere, keeping the concentration of oxygen in the pressure equalizing reservoir from falling below about 90%. The pressure in the hose delivering oxygen from the equalizing reservoir is kept steady by a pressure reducing valve. Older units cycled with a period of about 20 seconds, and supplied up to 5 litres per minute of 90+% oxygen. Since about 1999, units capable of supplying up to 10 lpm have been available.
Author: Kbclx
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00:09
Example of modulation to the dominant from vocal music (1836).
Author: Hyacinth
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00:37
Truck driver's gear change, modulation up a whole step, in "Because the Night".
Author: Hyacinth
00:00
00:09
The intro to L'Isle Joyeuse, by Claude Debussy. Created by Hyacinth (talk) 06:38, 19 January 2012 (UTC) using Sibelius 5.
Author: Hyacinth
00:00
00:58
Fragment A selection of scales that repeat infinitely either up or down. Produced by Kevin MacLeod in 2005. Dedicated to the Public Domain December 2008. - Kevin MacLeod
Author: Kevin MacLeod
00:00
00:57
Fragment A selection of scales that repeat infinitely either up or down. Produced by Kevin MacLeod in 2005. Dedicated to the Public Domain December 2008. - Kevin MacLeod
Author: Kevin MacLeod
00:00
00:52
Fragment A selection of scales that repeat infinitely either up or down. Produced by Kevin MacLeod in 2005. Dedicated to the Public Domain December 2008. - Kevin MacLeod
Author: Kevin MacLeod
00:00
00:57
Fragment A selection of scales that repeat infinitely either up or down. Produced by Kevin MacLeod in 2005. Dedicated to the Public Domain December 2008. - Kevin MacLeod
Author: Kevin MacLeod
00:00
02:07
Electronic minute no 31 - scales with fnattyep down to cscales made with envelope generatorsonce in a while they get fnatt5 envelope generators in use. Don't miss it>>> there is a bonus sound at the end!!!basically the same patch! but on acid :-). Evaluation of patch/soundone cycle is - not that longonly short sounds - yep, good in this caseamplitude variation - well not muchpitch variation - controlled by envelopetimbre variation - nomusical value - maybe, but not the fnatt partentertaining - ambient bleeps ad bloops?.
Author: Gis Sweden
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00:22
F major scales without and with singers' formant at same loudness level sung by the same baritone singer. F-Dur-Tonleitern ohne und mit Sängerformant bei gleicher Lautstärke vom selben Bariton gesungen.
Author: Membeth
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00:11
Example of harmonic minor from the opening theme to Schumann's First Symphony (probably 1832/33 Zwickau, WoO 29).
Author: Hyacinth
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00:07
Example of melodic minor from the opening of Vivaldi's Concerto grosso, RV 578, Op.3/2.
Author: Hyacinth
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00:07
Traditional Pythagorean tuning of the diatonic tetrachord. Created by Hyacinth (talk) using Sibelius 5. MIDI pitch bend appears to match intervals (0,64, 96,62, 64,61, and 80,64).
Author: Hyacinth at English Wikipedia
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01:30
This is my final assignment for aspma course 2016. It is based on transformations over the file speech-male. Wav (https://www. Freesound. Org/people/xserra/sounds/317744/), used often over the course. A small time-stretching transformation, morphing with piano chromatic scales, and finally arranged by a python script to produce the final audio output. You can find the python code here:https://github. Com/nerkamitilia/aspma16/blob/master/workspace/a10/a10. Py. Format:mono, 16-bit, 44100hz.
Author: Nerkamitilia
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00:56
* the music is a backing track, intended for practice, exploring the lydian tonality. The backing track runs through each of twelve tonal centers, starting with d lydian and moving down a fifth every two measures (counterclockwise through the cycle of fifths), ending with a lydian. * the audio consists of a single pass through the 12 tonalities, but the files are optimized for looping and should transition smoothly from end to beginning, given the appropriate looping software or hardware. * i enjoyed making this track and found it useful for practicing various ideas, such as running scales in different positions, directions, and intervallic combinations, superimposing triad and tetrad shapes, voicings, inversions, and lines. And just jamming out and improvising freeform.
Author: Tidal Lock
00:00
02:02
* the music is a backing track, intended for practice, exploring the dorian tonality. The backing track runs through each of twelve tonal centers, starting with d dorian and moving down a fifth every four measures (counterclockwise through the cycle of fifths), ending with a dorian. * the audio consists of a single pass through the 12 tonalities, but the files are optimized for looping and should transition smoothly from end to beginning, given the appropriate looping software or hardware. * the tempo is 95 bpm. * i enjoyed making this track and found it useful for practicing various ideas, such as running scales in different positions, directions, and intervallic combinations, superimposing triad and tetrad shapes, voicings, inversions, and lines. And just jamming out and improvising freeform.
Author: Tidal Lock
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