61 Royalty-Free Audio Tracks for "Tide"

This is a recording from clearwater beach, florida, usa, made on november 07, 2014, from the gulf of mexico on a windy day, just before the tide came in. I made this recording while standing in the sea, where the waves were at about waste height. This was produced with a zoom h6 recorder and it's x/y microphone module.

Early on a sunday morning next to the itchen bridge in southampton. The tide is out, you can hear birds (seagulls, etc. ), distant engines and other noises from the city including church bells. Someone (me) walks past on the stones near the middle of the recording. Zoom h1, luhd mics, 200hz 3db/oct low cut20-09-06_071732_itchen_bridge_sunday_morning_h1_luhds. Wav.

Experimental recording idea i had in summer 2017, i buried two contact microphones half a foot deep in a rock beach and captured the noise ambience picked up in the rocks, as well as the tide coming over the microphones eventually. If you have any use of these recordings please forward my way i would love to see what can be done with these.

An old, retro-style sound effect of a beach wave (a surf) flowing, and then hitting the beach and breaking. Thanks for checking this out, and be sure to drop a rating!. P. S. I request that all my sound effects only be used for clean, appropriate media and projects. Thanks!.

Gentle sea wash recorded on at the beach about half an hour away from my house. The audio was captured with a high quality sennheiser shotgun microphone (i forget the model sorry) into a tascam dr100. The microphone was placed on a rock about 1 foot away from where the waves broke. Enjoy. Https://www. Facebook. Com/joshmclellandsounddesigner. Http://www. Youtube. Com/user/joshjosh289/videos.

Stephen shiell's recording at scoby sands for the yarmonics sound library. Deep far away wind and waves breaking at scoby sands. Part of the yarmonics sound library. Sounds of great yarmouth recorded as part of the yarmonics sonic arts festival sept 2018 by various contributors. Festival organised by the norfolk and norwich sonic arts collective and originalprojects. Www. Yarmonics. Com.

A field recording of small waves crashing on a sandy shore. Part of the recording includes the waves splashing against a wooden structure. The waves come a fast, regular intervals; this isn't the slow rolling crash of a barrel wave on the beach. There was a bit of wind (generating the waves) which i've did my best to minimize, but if you don't want wind in the recording you're going to need to edit around it. Always curious to see where these recordings wind up, so if you use it drop me a link in the comments if you think about it.

Natural reverb hollow sound created with water sloshing back and forth underneath the princess wharf. The sound textures of the water changes with the tides. Recorded by a xy stereo omnidirectional microphone and zoomh5 recorder. Recorded on june 07th, 2015 under the princess wharf in auckland´s harbour, auckland, new zealand. Recorded at 16:10pm.

Afternoon ocean waves, recorded atop of some rocks with a tascam dr-40x. Taken around sandy point bird sanctuary in west haven connecticut on may 20, 2022. Unprocessed, straight 45 minutes of audio. Water laps across rocks, tides come and go. Beginning has sounds of me putting the recorder down and moving some stuff around (whoops!).

Short field recordings made with my iphone in august 2013 while visiting family on one of the many small residential islands located in beaufort, south carolina (of forrest gump, the prince of tides, the big chill, and the great santini fame for any movie buffs out there). The loud buzzing is the ear-piercing mating call of the cicada insect, a sound that's hard to escape in the sultry summer months and semi-tropical environment of the south carolina low country. You can also hear tree frogs and i think maybe some birds too. Unfortunately there's also a little ambient whine of an air conditioner at times and me tip-toeing quietly around on the crunchy gravel dirt road. . . Because i didn't realize my iphone would do such a good job of picking up the sound of my footsteps. :). Feel free to make use of these recordings!if you do use them in some way in a project, i'd be curious to hear from you.

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.