140 Royalty-Free Audio Tracks for "Waveform"

Create chirp 1 use audacity:. • file→new. • generate→tone. . . - waveform: sine- frequency (hz): 1500- amplitude: 1- duration 00h 00m 02. 000s. • effect→fade out. • effect→tremolo- wavefrom type: sine- starting phase (degrees): 0- wet level (percent): 100- frequency (hz): 10. 0. Create silence sound• file→new• generate→silence…. -duration: 0. 02s. • edit→copy (all). Return to chirp sound. Between every sin shape paste 0. 02s silence.

High e played on an acoustic gibson jumbonormalized to -3db with audacity. The guitar was recorded with a single microphone (a brauner phantera) connected to an api pre-amp. The signal was fed into a digidesign a/d converter and recorded in protools 9 in waveform audio file format. All the samples were subsequently edited with the gpl software audacity. Location milano, italy. 2013.

Recorded using the built-in mics of a zoom h4npro (2016 edition) @ 24bit. This is a small amount of liquid being poured into a drain about the size of a silver dollar. The original recorded captured the apartment's heating system. I used noise reduction, then normalized the waveform. This sound is free to use whenever and wherever.

I found a program called "bitmaps & waves" today, and thought i'd take it for a spin, basically, what it does is convert any bitmap image into a waveform that you can hear. This is a screen shot from my computer interface. Get this program (yep, it's free!) at http://www. Elisanet. Fi/victorx/bitmapplayer. Htm. Made with bitmaps & waves.

File contains a second collection of 4 or 5 creepy, clichéd "hypno-tones" in the theremin's lowest ranges, each separated with 5 seconds of silence. Each hypnotone in the file uses a different waveform/tonal setting to give you various textural choices. As always, these sounds are recorded "dry" so that you can tweak and tweeze, add effects, overdub and mangle them any way you like.

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!.

Create chirp 0 use audacity:. • file→new. • generate→chirp. . . - waveform: sine- startfrequency: 500amplitude: 1- endfrequency: 1100amplitude: 1- interpolation: linear- duration 00h 00m 02. 000s. • effect→fade out. • effect→tremolo- wavefrom type: sine- starting phase (degrees): 0- wet level (percent): 100- frequency (hz): 10. 0. • effect→change speed…- speed muliplier: 2. 000. Create silence sound• file→new• generate→silence…. -duration: 0. 02s. • edit→copy (all). Return to chirp sound. Between every sin shape, paste 0. 02s silence.

Rodovia 262 minas geraisposto de paragem de ônibus, carretas e caminhões. ** acidentalmente deixei o agc (automatic gain control) ativado. É possível perceber pequenas variações de volume no waveform. Sorry!. Gravado com celular samsung galaxy usando o app "tape machine lite". (recorded with samsung galaxy using "tape machine" app for android). 16 bit. Wav48. 000 hzmono.

Diboz throws a piano at his annoyingly ticking watch, which is ruining his sense of timing. Created in flstudio 11 with lightly tweaked flkeys, flreverb2, jangly (almost tubular bells) wasp xt layers and a pitch bent formant for a bit of spookiness. The ticking noise and deep notes were generated by fiddling with morphine's presets. Caution: look at the waveform. Don't turn up the wick. This piece starts quietly but there's a sudden, loud, jump scare.

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. ;-).

Created using tracktion waveform-10. I used 3 instances of the builtin synth subtractive, 1 was for the body of the snare the other 2 were the noise to try and replicate the wires of the snare, finally i used zynaddsubfx to create the transient. There was some eq applied to boost key frequencies in around 200hz and mastermix plugin to compress the audio.

Looking at the spectrogram waveform display of https://freesound. Org/people/ivolipa/sounds/344948/ i noticed a few patterns. Distinct bands of high volume at around ~600hz, ~1200hz, ~1800hz, the fade in volume toward higher frequencies, a ubiquitous noise, and the soft staccato rhythm. Using these facts, i tried to make yet another engine sound with fm-synthesis. Sound forge 7 — to my knowledge — lacking a spectrogram, i've no clue if this was a successful attempt, but it does have a vaguely engine-like sound.

I produced this strangely satisfying sound by dropping a watermelon-shaped canning tomato into a dishpan full of water. Have to get that just about right to get this result. For my purposes i needed to repeat it, but you can do that. It's unlikely that two objects tossed into liquid will sound exactly the same, but it's possible to modify one of the two "ploops" by changing amplification, pitch and even to shorten the waveform to make them sound different. If you need that done let me know.

This is a sawtooth waveform suitable for easily tuning guitar by ear, comprised of 20 seconds each of e-a-d-g-b-e in sequence. Adjust guitar volume to same volume as the tone, ideally through the same audio output. Tune the string close to the tone, then listen for the subtle beat-frequency indicating not-quite-perfect tune. When the beat frequency goes away, your guitar string is in perfect tune. Also useful for adjustable bridges. The open string and its 12th fret octave will both produce no beat-frequency when the bridge is adjusted properly.

Dont ask why this is named like that lol, made using a lot of layers but the fundamental of the snare is synthesized, distorted the first miliseconds of the sample to make an snappy transient and make it cut throught the mix. For the process i used analog modelled plugins such as exciters, tube saturators, preamps, coloring eqs, and compressors alongside with some digital modelled plugins such as camelcrusher, transient shaper and sliceeq both by kilohearts, the compressor mjucjr ny klanghelm to amplify the waveform of the sample and finally a clipshifter plugin, which i love it, to limit the snare aggresively.

Elmo omnigraphic 253af slide projector, similar to a kodak s-av 2000. Turn on, slide change at 10 second intervals, turn off. Recorded on a marantz pmd 661 with a rode nt4, 250 mm above centre rear of projector, angled down at 45º. I needed this sound as part of an audio-visual that mimics a slide show. I chose to record a 10-second change interval (instead of a shorter interval) because that allows me to razor the waveform between changes, and then extend (or reduce) the time between changes. Too short a time interval between slide changes means you'd have to add motor/fan sound between every change.

Elmo omnigraphic 253af slide projector, similar to a kodak s-av 2000. Turn on, slide change at 10 second intervals, turn off. Recorded on a marantz pmd 661 with a rode nt4, horizontally 250 mm from side of projector aimed at slide entry hole. I needed this sound as part of an audio-visual that mimics a slide show. I chose to record a 10-second change interval (instead of a shorter interval) because that allows me to razor the waveform between changes, and then extend (or reduce) the time between changes. Too short a time interval between slide changes means you'd have to add motor/fan sound between every change.

A slinky spring toy stretched out and plucked once from the end, recorded with a zeppelin design labs cortado impedance-matched piezo contact microphone. The resulting recording is a classic spring-based sci-fi "laser sound" with a massive, lengthy, rumbling decay tail. This was recorded at 24 bit 96 khz. In addition to its use as a sound effect, this waveform works well inside a convolution reverb as an offbeat spring reverb impulse response, provided one has the processor power and ram to support a 2 minute 13 second convolution. The cortado's bass response is exceptionally large for a contact mic, so high pass filtering may be desired if used as an impulse response.

Its a sine wave folded 4 times by a cgs inspired wavefolder module (kinda like the metalizer from the minibrute). The whole thing is then modulated with an external function generator that controls amount and frequency of modulation. This is what came out and it's pure junky drone noises, so goddamn nasty. Absolutely love them. Feel completely free to sample this and use it for your own purposes. This is a diy synthesizer i'm building and unfortunately it is still a prototype, but i'm gonna finish it soon and hope to sell it. Cool indeed, isn't it?.

Td-3-tg recorded with zoom h-1. Td was performing slide through octaves with "slide" button pressed in program, and subsequent cs were played, in octave -1 and 0, and higher c in octave 0 and +1, back and forth. Program takes 7 16th notes and the space between notes takes 9 rests. Tempo of the td-3 was set to maximum and the volume control was set to high amount, to let zoom h-1 with rec level setting to 37, be driven up to -6db. Sound recorded in 96khz and 24bits. Trimmed and saved in flstudio edison, what made sound 32bit. No amplify, no normalisation. "tune" knob of td-3 was set to maximum as well as "cut off", "envelope" and "accent". "resonance" and "decay" was set to one o'clock. "waveform" swicth was set to square. No distortion. Zoom h-1 was plugged by a cable, td-3 output to line in. Cable was named vitalco - 1/8 inch trs to 1/4 ts, male to male, 3m.

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!.

Hum of an 400Hz electrical power system

Hum of an 60Hz electrical power system

50 Hz hum of an AC power system

Triangle wave contains odd harmonics that decrease at −12 db/octave.

Here's a basic example of working in subtractive synthesis: adding oscillators, changing waveforms, filtering, adjusting portamento.

Zeitansage Dt. Telekom 1997

16 bars of a heavy bass riff with alternating lfo and waveforms.

Using a home built fm synth with sequencer. Two triangle waveforms, two voices. Changing some parameters during the sampling.

Released in 1989, the ensoniq vfx synthesizer was ensoniq's early take on wavetables, called transwaves in ensoniqs' perlance. The machine was a digital six oscillator hybrid rompler and additive with several of the waveforms being wavetables. Modulation settings allowed you to scan thru the waveforms for evolving sounds such as this pad. The vfx-sd was much the same synthesizer, but added a sequencer.

I used one of the trilobyte waveforms with a saw shaped fm being applied to it two octaves higher with a bunch of crazy filters.

Approximately 30 short percussion hits programmed on an old roland mt-32. The waveforms were run through the ring mod sound structure. The sounds go from woody to glassy.

Analog bass made in serum us ing 4 square waveforms!.

This is made by feeding homemade images to audiopaint 3. 0 while its oscillators are tuned to randomly-selected scales. Some of them use sine waves, while others use custom waveforms.

The engine to the hysterical "melody" is formed by a two lfos and a looping envelope performing an ever changing dance of random or maybe chaos. Zooming in and study waveforms in this sound is interesting. The sound is unedited, straight from the analog modular synth. Quantization of the pitch - nope. . .

Example of how the four major waveforms sound compared to eachother. Warning: loud! this is full amplitude, so sawtooth and square in particular will appear louder than your average sound. Sound generated using the go-sound golang programming library:https://github. Com/padster/go-sound. As part of the demonstration program:https://github. Com/padster/go-sound/blob/master/runthrough. Go.

Some loops i made in reaktor. They're made using a little wavetable-based synth which i built from scratch; the wavetable contains 32 home-grown waveforms, and the synth's parameters and effects are controlled by a bank of 16 sequencers. Good for glitch/minimal techno, and there are some nice individual bleeps/percussive sounds in there too. Enjoy!.

88 piano keys, long natural reverb: up to 13 seconds per note. This is me giving back. I love freesound. You guys saved my bacon back in the day. Recently i searched for free piano notes for a game i'm making, but the only ones i could find ended too quickly. I need long reverb! luckily i have an old piano, so i made my own. So this is me giving back. This is an old piano!!!. We had the piano tuned a year ago, but it is well over 60 years old, so be warned! these notes have character! if you want perfect tone, either edit them individually, generate something artificially, or buy a professional set. But if you want a piano with personality, this is for you. Being an old piano, it only has 85 keys. So i created the highest 3 notes by speeding up previous notes, to make the modern standard 88 keys. How the notes were created. The notes are created on an old (well over 50 years) steinhoff upright piano. It only has 85 keys, so i faked the highest 3 keys by taking previous keys and changing their pitch. I opened the top, balanced my trusty everesta bm-800 condenser microphone across the top near the high note end, and held down the "loud" pedal. Each note was then hit and kept pressed down until i could no longer hear any reverb. Notes were saved as mp3 using my laptop, using free sound recorder on the highest quality settings. Yeah, i know it isn't flac, but i am strictly amateur with budget to match, and that was the best i could do. After that, all editing was of course uncomopressed until the final save. How the notes were edited. Editing was kept to a minimum, mainly to enhance the reverberation. All editing took place on audacity on linux mint. First i cropped any silence from the start. Next, used the envelope function to gradually increae volume to 200% over a couple of seconds. That is, the quietest part of the reverb is twice as loud as you might expect. Because for my game i sometimes need a single piano key to last ten seconds. Next i maximised the volume. If there was just a single stray waveform that stuck out then i reduced that by 2db or so then maximised again. Because like i said, i want to hear that reverb! i then found the part where background noise starts to be noticeable, and faded out over 1 second or so. This meant that the lowest notes had as much as 13 seconds of reverb, whereas the highest notes might only have 2 or so. Finally i checked the result, and edited three or four notes that i felt were just too ugly (badly tuned, or for some reason the software suddenly got hissy when the note became too quiet. Weird. ) i also slightly changed the pitch of a couple of notes that were slightly out of tune but otherwise ok. No doubt a better ear than mine could teak all of the notes. But as i said, it's an old piano and we're keeping it real. Finally, files were compressed to ogg at the highest quality setting, using soundkonverter. Why not flac?. I live in the countryside with very slow broadband, so i apologise for including more of the original files. But as it was, uploading this zip file took about an hour. Enjoy. Legal. Use this for anything you want, commercial or not, credit me or not. Consider it public domain. My main concern is that i had completely legal sound for my game, with nice long reverb and character. Uploading it here provides proof that i created it first, just in case anybody comes back and says "those are mine" (it happens).

This is a small jam i recorded myself on my diy spring reverb circuit i've built for a friend. It sounds really good with music. In this session, i've only used coninuous triangle/sine/square waveforms and jammed on my for pots: input gain,hp filter cutoff, feedback amount, output gain. I'm sorry if the recording clips sometimes, but there's a big dynamic so i couldnt see how much loud it was. Feel free to take it and use it for sampling or sound design layering.

This is a failed attempt at sampling a rock drumkit on 6 tracks. The channels are as follows:. 0: oh l1: oh r2: kick3: snare4: room l5: room r. I've captured this into ardour 5. 12 using 3 different audio interfaces:. Behringer umc202hd - overheads (dynamic mics)line 6 pod studio ux2 - kick and snare (condenser + dynamic)zoom h2 - room ambience (built-in xy condenser mics). This file is a 6-channel 24-bit flac file encoded using ffmpeg from the raw wav files exported from the original ardour session. There are several issues with this recording however:. 1. The tracks seem to drift, because the individual audio interface clocks were not in sync. The proper way to record multitrack audio is using a single multichannel audio interface - but i didn't have one. 2. There's either x-runs or some usb transfer issues creating small glitches and dropouts in various tracks her and there. Don't know why did this happen, as we've been tracking the real drummer's performance without these issues. Now - fixing these issues manually would be an insane amount of work, but i hope maybe someone has means to either solve them with programming a special tool, or know a tool that could fix these, and make this recorded session ready to be sliced as a drumkit for say - drumgizmo. There's some really good stuff in here - an i was able to cut and mix some really nice drum samples, that i've been using for years, but it's not ready to be fully sliced for maximum flixibility. The instrument was played by myself - it's a drumset by pearl (don't remember the details), owned by the drummer of a band i recorded this with. The band was called small hint - hence the drumkit name. We were recording an ep, and i used some free time left to capture this as well. The ep was never finished and we disbanded soon after. Regarding fixing the issues - here's what i think needs to be done:. 1. I think each hit would have to be automatically phase-aligned on all 6 channels, to correct for the drift. 2. I think it should be possible to automatically detect clicks by simply watching for a sudden change in amplitude between adjacent samples - marking bad areas and then using something like audacity's repair effect to interpolate the waveforms. I think the glitches have much steeper changes in amplitude than even the drum transients, so it should be possible to differentiate between those automatically. If you found a way to fix at least some of these problems - please let me know!. If you've made some "remixes" on freesound - i'd also love to know that. Apart from that - sample what you can out of this and make some sick drum tracks!.