216 Royalty-Free Audio Tracks for "Velocity"

Close-mic recording of footsteps on laminate flooring, indoors. Varying speed, distance, velocity and style of steps involved. Recorded with rode m3. Please feel free to use this sound however you wish. No need for accreditation or permission, it is completely license free.

A bionic man-like effect. Created in qtractor with calf organ and c* scape stereo delay. Processed in audacity to speed up velocity, added a tremolo inverse sawtooth effect, and tremolo sawtooth effect to increase ducking at a frequency, and added fade in and out. This is probably closer to the original.

Night: high winds with gusts. Record inside a wooden shed, 12 ft by 30 ft. Low roar of wind outside with louder, higher velocity gusts. Creaking of wood structure, bang of object on wall. Recorded with oss (jecklin disk) system using two josephson c617 mics with microtech-gefell mk221 capsules.

Made in a program called garageband, an ensemble singing the "aa" vowel in an e major chord at a low velocity and lots of reverb and ambience. Intended to notify me or you of a voice mail. Free to use in any video, project, music, etc.

. . Inside an intercity (ic) near stuttgart. Recorded in an almost empty train on a fairly even route section at a quite constant velocity, sitting in a cabin for six passengers with five empty seats, compartment door closed at around 8 pm. Recorded with a portable stereo recorder (zoom) set to 96000 hz and 24 bit.

Very high velocity stroke with 5a wooden mallet in paiste pst3 20" crash on stand. Recorded with pair of akg p120 mics on stands and tascam dr-60 mkii recorder. Middle-side recording technique. Middle mic next to crash, side mic in a distance of 1m. Recorded in tiny kitchen with doors closed. Few ringing partials were tamed with parametric equalizer. Sound faded out in flstudio edison. Recorded in 96khz and 24bit.

Line samples from a casio ap-45 on the default grand piano patch. Samples every c and g from c2 through to c9 with a short sustain. Velocity is pretty aggressive and it doesn't sound quite in tune to my ear. Feels like it's a little bit out. You may want to tune these yourself, if you plan to use them for anything significant. Minimal post processing on these. Just enough to get them roughly even in terms of overall volume.

This is an attempt to create the sound of a high velocity handgun, the five seven by twenty eight milimeter, in which the first shot is normal, just edited for the echo associated with a larger caliber handgun, and second shot is editied slightly to mimick the effect of a "silencer". Recorded with samsung hmx-f90,. 22 magnum fired on private firing range, edited with windows movie maker. Enjoy.

. . Inside an intercity express (ice) between stuttgart and mannheim, sitting in an almost empty (three passengers) second-class broad-spaced compartment at around 9 pm. After a shaky first minute an even part follows for around 90 seconds. Interrupted by some road holes the steady sound continues, now with the frequency of the engine sound rising until the beginning of the fourth minute. Here the "main part" begins, starting with several moments of acceleration, deceleracion and breaking. From minute 5:15 to 7:35 the train reaches it's peak velocity, with only few bumps. After a short deceleration the train inceases velocity again, reaching a second peak, this time noticeably bumpier. Once in a while you can hear some element of the fitments rattling nervously along the track, depending on the constitution of the railways and the overall situation. During the last two minutes the train keeps on decelerating slowly and continuously until the end. Recorded in stereo with a portable stereo recorder (zoom); enhanced in audacity using a parallel dynamic eq (tdr nova), a compressor (vos density mkiii) and a binaural spacializer (auburn panagement).

Line samples from a casio ap-45 on the default grand piano patch. Samples every c and g from c2 through to g8 with the sustain pedal down. Velocity is pretty aggressive and it doesn't sound quite in tune to my ear. Feels like it's a little bit out. You may want to tune these yourself, if you plan to use them for anything significant. No post processing done, so it might be worthwhile to normalize the samples out, if you're planning on putting them into a sampler for playback.

Front channels of a 4ch-surround field recording of the interior of a german local commuter train, completely without human voices, heading from the towns of naumburg to weissenfels. The train is in full motion at the beginning of the recording, then stops, with squealing brakes and all, then starts up again and reaches full velocity. The recording was done with a zoom h2, the microphones (front) set to 90° dispersion.

A synthetic bass multisample. I created it using the virsyn cube additive synthesizer (vsti). I applied some eq using the sonalksis sv-517 equalizer plugin. The sound was compressed by the sonalksis sv-315 and nomad factory blue tubes cp2s compressor plugins. All great quality plugs. The sound is a nice but rather static emulation of a bass guitar. Use your sampler's velocity and pitch bending options to bring this multisample to life. All samples in a 24 bit, 44. 1 khz resolution. Loop points were added for sustained notes.

Csonor kickhead: 1mic: rpressure: 1 of 6. The sonor kick set includes many acoustic field recording samples of a sonor kick drum. The recordings are separated by categories denoted by a number and letter according to drum head & microphone position, including different volumes/velocities. Here is a key to help you understand:. Csonor kick[#] [pan][pressure]. [#]: which drum head used. [pan]: which side the microphone were partial to. [pressure]: the velocity/hardness the drum was hit at (ascending in intensity). By providing the different heads, mic positions, and intensities, the sonor kick set has everything you will ever need to get authentic kick drum samples. Enjoy!. .

I wanted to record the sound of a keyring - or rather the keys strapped to it - make while in mid-air. There are the keys audible, recorded hitting the stack of hay (soft landing) and air blowign into the mics while the recordied has high velocity. I was throwing my recorer with my left hand, while simultaneously throwing my keyring with my right hand. The throw was vertical and the landing zone was a pile of hay. I thing there are some interesting sound here, i'm uploading it unedited to make it possible to cut out whatever you like. Recorded with a flying zoom h2 at 48khz/24-bit, edited, nomalized and converted to flac using audacity.

This is a first in a series of loops made with the x-base09 drum-kit i have posted long time ago, i thought this would be a nice addition. Loops will be mainly processed in live9. Information will be available depending on the loop. This loop is a dry unprocessed loop, all i did was reduce the release on one of the kicks, as it has a long delay, and i didn't want that in the background of this loop, some midi velocity on the hi-hats, and i added a groove (chachacha) with only 10% quantization. This first loop was mainly to show the original sound of the individual hits as they where recorded, playing as a loop to give you a better picture of the sounds and therefore i added it to the x-base kit instead of x-base loop pack.

My original dw toms, mixed with themselves 1 octave up [the octave up is lowered -6db and the envelope reshaped to allow loud only the attack]. Then for that resulting mixdow again the same thing [so i used the same method two times]. At all steps i was using the simple compressor[not multiband] for not allowing overlimiting. For the two general mixdowns [because it was a double process] i used hard compressor at -0. 45 dbs. And for the two octavic parallel channels i used hard compressor -3. 60 dbsbecause the octave doesn't sound realistic if not well compressed. For all my dw octavic tomsed i used the same exact method. My original dw toms are here if you want to read data or mics. These toms do not sound realistic as stand alone sounds. These harmonics work better only in a complete mixdown, and have increased audibility than the original recordings [for silent music parts use the original because low velocity of parallel instruments will expose the supportive tom-harmonics].