289 Royalty-Free Audio Tracks for "Third"

I use a voltage controlled lfo (vclfo) for this experiment. When i send a trigger to the lfo it resets and start over again. In this example i'm using a sinus wave output. I send the output, the sinus wave, to1 - a sample and hold (s/h) module2 - a quantizer3 - straight to vco. The s/h and the quantizer are triggered at the same time. Even an envelope a generated with the same trigger. All three sounds are controlled by this envelope. First out we have s/h (left)second straight to vco (right)third the quantized (center). As usual its fun to take a real close look at the wave!.

This is the third mixed sounds to create an atmosphere, in this case, of sci-fi:. The sounds come from: (name of the sound/url/owner). Dramatic sting. Wavhttp://freesound. Org/people/x86cam/sounds/177769/by x86cam. Epic trailer voice over (in a world. . . )http://freesound. Org/people/drmier/sounds/345274/by drmier. Dark mech pad. Wavhttp://freesound. Org/people/nonono2/sounds/66446/by nonono2. Robot_factory. Wavhttp://freesound. Org/people/parabolix/sounds/81854/by parabolix. Epic orchestra - loop. Wavhttp://freesound. Org/people/joshuaempyre/sounds/250856/by joshuaempyre. Thanks to all of them and to freesound to let us a big community. For more contributions, please leave me a message here. For me it is a way to motivate me to continue to contribute.

I sampled the bell tree at our church. After seeing how much the instrument costs at the music store, i opted to not buy one. The long version of this moves from left to right, and has the single sample repeat twice. So it begins on the left, has a delayed start in the center, then finally a third repeat starts on the right. Add liberal amounts of reverb, to taste. If you use this in a film, or game, or in music, could you please let me know in the comments? i don't mind sharing stuff for free, but the compensation i get is learning about people using and appreciating the sounds. Thanks!!.

Este audio es un trabajo de clase en el cual tenemos que producir y editar un sonido con un objeto común. Para este caso, se ha utilizado una moneda. En este tercer audio, el sonido es de una moneda rebotando en la mesa. Después, el audio se editó con audacity. En este programa edité el sonido con efectos como cambio de tono, ralentizar la velocidad y estiramiento deslizante. This audio is a class´s homework where we have to produce and edit a sound with a common object. In this case, it has used a coin. In this third audio, the sound is a coin that it was bouncing on the table. After, the audio edited it with audacity. In this programme, i edited this sound with a lot of effects like modulate, reduce the speed and extend the sound.

Autumn forest wind. Heavy, fast gusty in tall pine trees. Some birds and raindrops. Soundscapes of natural white noise of moderate intensity. Some are stagnant or static and with few birds. The presents of the colourful red and yellow dry leaves that is still on the trees, creates the noise of the wind with rustling whispers. Is a constantly form of natural white noise that is always changing and evolving. These recordings is from my third attempt. I think it is very difficult to record the “spirit” and unique sound of the wind. This is pure natural wind sounds (no layering, no post-processing, no synthesizers). Originally recorded at 24 bit sony dat tcd-d7 on a sony ecm-909 microphone. Recorded in sweden september of 2007 in a wet cold beautiful colourful forest, with all kind of trees, far away from any traffic or human sounds.

Three quick samples of the gear one mk1000 on kick (+ a single audio technica at2020 overhead on the rest of the kit). Recorded straight into a tascam us-1800 in a lousy room with a less-than-optimal 22" mapex kick drum. Each quick loop / snippet is 1) presented in mono / processed with compression and some eq (mostly a 6dbish scoop at around 300hz on the mk1000 and 80hz rolloff on the 2020 with about 5db less on the mk1000 than the 2020), then 2) presented exactly as recorded / no processing at all save normalization, mk1000 panned hard left channel, at2020 panned hard right. The first two samples are the mk1000 in the resonant head cutout, the third is the mk1000 positioned about 4" from the head and just about 2" from dead center of the drum.

This is a recording made in the room of my apartment in italy in the province of rieti, while i am testing a drone dji phantom 4 pro clone, purchased 3 days ago on the vova site, only during the test it suffered two accidents. The first 5 minutes for 3 flights everything went well, then on the fourth flight, as the drone was also without para-propellers, the first small accident happened, on landing he fell to the ground from the bed, then resumed flying for another two times. On the third flight there was a second bigger accident: first he started spinning the propellers against the wall for a while, then he fell to the ground rolling until he hid under the bed. This time, however, even after this great accident, the drone resumed flying normally as if nothing had happened. This recording was done with my iphone connected to the shure mv88 plus microphone.

Sounds like you are in a futuristic city terminal. This is of course meant to represent only one of many sounds - it is not complete without other futuristic sounds (if you want to make a futuristic city terminal atmosphere!). This sound reminds me of an old third-person shooter game which was released/published back in the days (year 2000!) -- messiah!. This sound can for example be used in sci-fi games, for example when the player is walking in a huge futuristic city terminal, or is interacting with an ai - you name it!. If you enjoyed the sound, please rate, comment, spread! it really helps!. Note: make sure to check out the other matrixxx-sounds! the sound quality is always better when you download the sound(s)! ⛄. Enjoy!/matrixxx.

Chord progression by descending thirds from mediant to supertonic resolving to dominant.

I recently contributed a track to a triple lp set of krautrock cover versions ("head music 2", released by fruits de mer records, december 2020). The song i chose to cover was kraftwerk's "autobahn". If you know the track, you'll know that it uses synthesised traffic sounds alongside recordings of the same. On my version, i achieved these in three ways:. 1) i downloaded some public domain traffic sound effects from elsewhere here on freesound. Org (thanks, guys!). 2) i got in my car with my zoom recorder and made my own recordings of the engine starting, stopping, etc. 3) i made my own sound effects using virtual synths and effects in ableton live 10. This particular sound falls into the third category. Let me stress that while the song "autobahn" is copyrighted, these are isolated sound effects and are not covered by copyright. I'm making them available here under a public domain licence. If you download and use any of these samples, please let me know in the comments what you did with them. It's not compulsory but it would be interesting to know what people did with these sounds.

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 was recording outside my bedroom window while eating dinner in the living room, then i came back in here to see if i got anything interesting. I was zooming through the recording at 5x speed when i came across this bit of incidental pareidolia. I'm not sure what was going on, maybe the neighbors' stereo, but i don't remember hearing it, it's much louder in the living room so i should have. Whatever it was came out as a little distant choppy 2-notes alternating melody when played at 5x speed, which suddenly gets louder and solid as you hear the lower note followed by a third lower note. These 2 louder notes sound to me like someone singing the words all day. This would lead me to believe the original tones have some light harmonics i don't hear at normal speed. After which it goes back to the softer stuttering 2-note alternating thing from before. It doesn't sound like much at all at normal speed. So i just did a few straight pitch changes with goldwave until i got to 5x and saved this little file. See if it sounds like "all day" to you.

A 1906 recording of American composer Scott Joplin's Maple Leaf Rag (1899) played by the United States Marine Band. This is one of the earliest known recordings of this work by Joplin (according to a discography of 78rpm recordings of Joplin works compiled by David A Jasen in "Scott Joplin - Collected Piano Works" 1981). Converted from MP3 to Ogg Vorbis with a slight trim of the beginning and end by Major Bloodnok. The discography of Joplin's work on 78 rpm records compiled by David A Jasen in "Complete works of Scott Joplin" indicates this is the third known recording of the Maple Leaf Rag. Edward A Berlin's book "King of Ragtime" in a note on p310 indicates that the recording of 1902 listed by Jasen is not infact the work by Joplin, making the 1906 recording the second existing record. Edwards's web-page and this page demonstrate that there are no known existing copies of the 1903 cylinder recording by Wilbur Sweatman and His Band.

Sound file of a brief passage from Mozart's Piano Sonata in G, K. 283 Third movement, starting measure 247. .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Wolfgang Amadeus Mozart  (1756–1791)      

Minor tenth on C - As MIDI

In a triadic context chords with omitted thirds may be considered "indeterminate" triads.

F major scale in thirds played on western concert flute. F-durskala i tertser spillet på tværfløjte

The standard way of filling in this descending thirds pattern is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.

*Major tenth on C = E'. Equal-tempered: 216/12:1 = 1600 cents. MIDI pitch bend: none

Zalzal's wosta on C, E↓+. 27 : 22 = 354.55 cents.

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.

Stomp progression in C with staggered thirds, chord roots in red. Created by Hyacinth (talk) 04:06, 17 March 2010 using Sibelius 5.

*Decade on A on C. Just: 10:1 = 3986.313714 cents. Limit: 5-limit. MIDI pitch bend: 79,59

Casio mt40 el piano sound multisample in minor thirds. Root keys and ranges are written into the headers, so the set should auto map in most samplers.

*Decade on C. 10:1 = 3986.31 cents. Limit: 5-limit. MIDI pitch bend: 79,59 (5/4 = 386.31 cents = 3986.31 - (1200*3).)

Broadcast made by the Russian composer Dmitri Shostakovich from the besieged city of Leningrad in 1941. The work he refers to here is Symphony No. 7 in C Major, opus 60, subtitled Leningrad. Transcript: An hour ago, I finished the score of two parts of a large symphonic composition. If I succeed in writing this composition well, if I succeed in completing the third and fourth parts, then it will be possible to call this composition the seventh symphony. Why do I announce this? So that the radio listeners who are listening to me now will know that the life of our city goes on as normal. We are all now doing our military duty. Soviet musicians, my dear friends and numerous brothers-in-arms, my friends! Remember that our art is now in great danger. Let us defend our music, let us work honestly and selflessly! Hace una hora, he terminado la partitura de dos partes de una composición sinfónica de gran tamaño. De tener éxito en escribir bien esta composición, de tener éxito en completar las partes tercera y cuarta, entonces se hará posible llamar a esta composición la sinfonía sétima. ¿Por qué les anuncio esto? Para que los radioescuchas que me están escuchando ahora sepan que la vida en nuestra ciudad prosigue como de costumbre. Todos estamos ahora haciendo nuestro deber militar. ¡Músicos soviéticos, queridos amigos y numerosos hermanos de armas míos, mis amigos! Recuerden que nuestro arte está en gran peligro ahora. ¡Defendamos nuestra música, trabajemos honesta y desinteresadamente! Час тому назад я закончил партитуру двух частей большого симфонического сочинения. Если это сочинение мне удасться написать хорошо, удасться закончить третью и четвертую части, то тогда можно будет назвать это сочинение Седьмой симфонией. Для чего я сообщаю об этом? Для того, чтобы радиослушатели, которые слушают меня сейчас, знали, что жизнь нашего города идет нормально. Все мы несем сейчас свою боевую вахту. Советские музыканты, мои дорогие и многочисленные соратники по оружию, мои друзья! Помните, что сейчас нашему искусству грозит великая опасность. Будем же защищать нашу музыку, будем же честно и самоотверженно работать.

A morphagene reel recorded from an old swedish air organ. The reel is organized into 5 groups, cmaj scale, octave up, thirds, fourths, and fifths. Really nice slowed down or through a low pass gate.

*9261st harmonic on C = E♭++. Just: 9261/8192 = 212.34 cents. Limit: 7-limit. MIDI pitch bend: 121,35 on m3

*Hundred-sixty-fifth harmonic on C = E↑. Just: 165:128 = 439.59 cents. Limit: 11-limit. MIDI pitch bend: 85,76

*79507th harmonic (H43/H43/H43) on C = E♭-. Just: 79507/65536 = 334.55 cents. Limit: 43-limit. MIDI pitch bend: 7,75

*1331st harmonic on C = E↑↑↑♭-. Just: 1331/1024 = 453.95 cents. Limit: 11-limit. MIDI pitch bend: 33,113 on m3

*Bohlen-Pierce scale: interval between C and D, semitone maximus on C = D. Just: 25/21 = 301.85 cents. MIDI pitch bend: 76,64

*Hundred-forty-seventh harmonic on C = E♭+. Just: 147:128 = 239.61 cents. Limit: 7-limit. MIDI pitch bend: 86,44

CM13, first inversion = e13(♭9), 2nd inversion = G13... Eventually seven chords along a ladder of thirds. Created by Hyacinth (talk) 14:13, 31 March 2010 using Sibelius 5.

*Hundred-sixty-first harmonic on C = E+. Just: 161:128 = 397.10 cents. Limit: 23-limit. MIDI pitch bend: 9,95 on m3

*Thirty-ninth harmonic on C = E♭. Just: 39/32 = 342.48 cents. Equal-tempered: 23/12:1 = 300 cents. Limit: 13-limit. MIDI pitch bend: 76,77

*Seventy-seventh harmonic on C = E↑♭ (Ben Johnston's notation). Just: 77/64 = 320.14 cents. Limit: 11-limit. MIDI pitch bend: 57,70