5,956 Royalty-Free Audio Tracks for "Ass"

John Philip Sousa's "Imperial Edward" (1902) as performed by the United States Marine Band. Track 61 from the band's 2018 album The Complete Marches of John Philip Sousa: Vol. 4 (1899-1916). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Anchor and Star" (1918) as performed by the United States Marine Band. Track 81 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Gladiator" (1886) as performed by the United States Marine Band. Track 28 from the band's 2016 album The Complete Marches of John Philip Sousa: Vol. 2 (1883-1889). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Wedding March" (1918) as performed by the United States Marine Band. Track 89 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Lambs' March" (1914) as performed by the United States Marine Band. Track 71 from the band's 2018 album The Complete Marches of John Philip Sousa: Vol. 4 (1899-1916). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Invincible Eagle" (1901) as performed by the United States Marine Band. Track 59 from the band's 2018 album The Complete Marches of John Philip Sousa: Vol. 4 (1899-1916). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Chantyman's March" (1918) as performed by the United States Marine Band. Track 83 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Right Left" (1883) as performed by the United States Marine Band. Track 21 from the band's 2016 album The Complete Marches of John Philip Sousa: Vol. 2 (1883-1889). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Across the Danube" (1877) as performed by the United States Marine Band. Track 4 from the band's 2015 album The Complete Marches of John Philip Sousa: Vol. 1 (1873-1882). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Homeward Bound" (1891-1892) as performed by the United States Marine Band. Track 42 from the band's 2017 album The Complete Marches of John Philip Sousa: Vol. 3 (1889-1898). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Recognition" (1880) as performed by the United States Marine Band. Track 10 from the band's 2015 album The Complete Marches of John Philip Sousa: Vol. 1 (1873-1882). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Powhatan's Daughter" (1907) as performed by the United States Marine Band. Track 65 from the band's 2018 album The Complete Marches of John Philip Sousa: Vol. 4 (1899-1916). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Wisconsin Forward Forever" (1917) as performed by the United States Marine Band. Track 80 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Liberty Loan" (1917) as performed by the United States Marine Band. Track 76 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "On the Campus" (1920) as performed by the United States Marine Band. Track 92 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "National Fencibles" (1888) as performed by the United States Marine Band. Track 33 from the band's 2016 album The Complete Marches of John Philip Sousa: Vol. 2 (1883-1889). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Gallant Seventh" (1922) as performed by the United States Marine Band. Track 95 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Loyal Legion" (1890) as performed by the United States Marine Band. Track 41 from the band's 2017 album The Complete Marches of John Philip Sousa: Vol. 3 (1889-1898). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Invincible Eagle" (1901) as performed by the United States Marine Band. Track 59 from the band's 2018 album The Complete Marches of John Philip Sousa: Vol. 4 (1899-1916). Conducted by Lieutenant Colonel Jason K. Fettig.

Cricket ambience, recorded on a humid evening in the summer of 2011. Some gentle wind noise through the trees is also audible, as are some distant motorcycles and an airplane flying overhead. (the wind noise on the mic briefly becomes loud a few times, but the recording is mostly clean. ).

Outside my house recording of a helicopter that was circling overhead; not directly, but at an oblique angle - maybe a mile away or so. You can hear some birds and other ambient neighborhood sounds as the helicopter circles overhead a few times.

A sheet of paper being shredded by an automatic office-style crosscut paper shredder. This is the kind of shredder that has a sensor that starts it up as you insert the paper. 96 khz / 24-bit signed pcm wav / stereorecorded with zoom h4n from about eight inches away.

John Philip Sousa's "The Diplomat" (1904) as performed by the United States Marine Band. Track 63 from the band's 2018 album The Complete Marches of John Philip Sousa: Vol. 4 (1899-1916). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The White Rose" (1917) as performed by the United States Marine Band. Track 79 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Gallant Seventh" (1922) as performed by the United States Marine Band. Track 95 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Crusader" (1888) as performed by the United States Marine Band. Track 32 from the band's 2016 album The Complete Marches of John Philip Sousa: Vol. 2 (1883-1889). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Bullets and Bayonets" (1918) as performed by the United States Marine Band. Track 82 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "U.S. Field Artillery" (1917) as performed by the United States Marine Band. Track 78 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Golden Star" (1919) as performed by the United States Marine Band. Track 90 from the band's 2019 album The Complete Marches of John Philip Sousa: Vol. 5 (1917-1922). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The Directorate" (1894) as performed by the United States Marine Band. Track 50 from the band's 2017 album The Complete Marches of John Philip Sousa: Vol. 3 (1889-1898). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "The National Game" (1925) as performed by the United States Marine Band. Track 102 from the band's 2020 album The Complete Marches of John Philip Sousa: Vol. 6 (1922-1928). Conducted by Lieutenant Colonel Jason K. Fettig.

John Philip Sousa's "Marquette University March" (1924) as performed by the United States Marine Band. Track 101 from the band's 2020 album The Complete Marches of John Philip Sousa: Vol. 6 (1922-1928). Conducted by Lieutenant Colonel Jason K. Fettig.

This sound is an extremely distorted sample of breathing suitable for use in horror soundscapes. It was created by taking the sound of breathing and feeding it through multiple filters in audacity. The filter sequence used is as follows: reverb, volume boost, static, phaser, bass boost, barry's satan maximizer, amplifier.

This is the same red-tailed hawk as in the previous upload, except the call is slightly different. It made this call flying away. Both recordings were scrubbed of most background noise. Silence was generated between calls with a slight millisecond gap after each call.

I created a korg volca beats reel for the the make noise morphagene with reaper including markers which should turn out as splice points. There are a few examples of each sound where useful, e. G. One short bass drum, one medium, one long.

A short, non-verbal vocal phrase or chant in a higher register. Male voice but could be used as female. Recorded with a sony ericsson phone mic and post-processed in audacity. Since this is actually me singing it would be cool to hear how you use it.

A busy highway on a monday morning, somewhere in the netherlands. Standing about 10 metres from the highway. Traffic going from left to right in the stereo image. You can hear the traffic on the other side of the highway as well, going from right to left. Recorded with a zoom h2n.

Yeah. Me going "ugh no". That's it. If you want other sounds or voice samples, feel free to send me requests! i'll probably do anything except for nsfw stuff. :)as always feel free to use this sound for whatever project you like!.

This is my recreation of the noise in the background of a video shot on a consumer grade minidv camcorder (a well used one). I haven't had a minidv camcorder on hand for a few years and nobody i knew would give me a recording of just tape motor noise so i went to create the noise myself. This sound is a combination of a very badly pressed dvd in my computer's drive mixed with a tone made in audacity (up one octave from the tone that the disc ended up creating), all mixed down and brought down in volume. I know it's not a prefect recreation, but i don't have a minidv camcorder on hand so this is about as good as i can get it. If anyone has access to an anechoic chamber, a fresh tape, and a well used consumer grade minidv camcorder, please get in touch with me. I'd like the real deal better than my recreation that i did in my spare time. Note on recreating the noise out of hdv camcorders. They have slightly different hardware and as such will create different bearing noise (most times, there's an extra whine on top of the familiar bearing whine heard from standard dv camcorders). I forget the exact frequency, but it's somewhere in the neighborhood of 840hz-860hz and it's a sort of sine wave, but a modest bit more jagged. You'll have to provide your own stock camcorder mic hiss as each camcorder is different (not for definite sure on sony camcorders, but canon camcorders have a pink-ish white noise in about that era).

If there is one man, white western historyhas neglected, it must be james baldwin (1924 - 1987)known to many as writer, novellist, essayistplaywright, poet. . . Surely unknown to all asactivist, as frontfighter, as luchador of theanti-xenophobic anti-discrimination discoursin general & more specific of the north-american'negro'. His father was a slave & as a childat the tender age of 10, he was teased and abusedby 2 new york police officers, an instance of the racistharassment by the nypd that he would experience againas a teenager and document in his essays. Why isn't his history & discours teached at school ?. Anno 2020, i learn to know him & his eloquent rhetoricalcapabilities through the also fenomenal moving & breath-takingperformance of tawiah + myrrh for the refraction festival, takingplace online of course, due to the ever infamous covid-19. . . An audiovisual délice, in which visual artist myrrh, places tawiahin subtle superposition with james baldwin & his 1965 debate with mr. Buckley ! in the cambridge union ! !! ! ! ! while performinglive one of the most delicate concerts i have seen during corona. . . A must see+hear _ _ _ https://www. Youtube. Com/watch?v=h5l2lssdzro. Being totally absorbed by this performance, i discover as an artist myselfone of the reasons i bind so much with this piece of music is that i myselflike to use the same harmonies, apparently, which i did indeed in 2015https://soundcloud. Com/torturado/eternal-void-the-fall-back& in the mid nineties, that is 1990's. . . A long forgotten piece of me, performed that time during my ritcs studies, as my band torturado, no recordings from then helas online, but gracias a la discovery of tawiah+myrrh & james baldwin picked up again what i remembered from that time & made a 2020 version of it. . . A small visual document of this: https://vimeo. Com/450004585. As from the moment, i discovered james baldwin, i integrated also his powerful 1965 debate in my performances during covid times. . . To spread his word ! to inspire others, to confront others. . . I told myself covid or corona is not going to stop me playing & performing music, which comes natural to me, so i looked for ways to perform outside, in plain nature, with batteries. . . Guitars, 9v fx, fx without 9v compartment, battery based amplifiers, battery based kassette walkmans. . . & it is on kassette that i put an edited full version of the james baldwin vs buckley debate of 1965. . . For this exercice of the sound design formation, we had to upload a sound that intrigues, well, james baldwin eloquent voice, litteral & metaphorically inspired & triggered me. . . Also the sound of electro-magnetic technology called tape is something i have always been fond of. . . So i made an edit of an edit of the james baldwin debate of +- 10 minutes !. Spread the word !a+. Actually this could also serve the exercice of recording a sound that comes from a certain place, or is part of a bigger thing , or personificates a certain place. . .

This loop can be used in modern electronic music and other musical categories such as free forms like live dj-sets or jazz-like compositions etc. Film-makers, djs, instrumentalists or vocalists can use it as a background for own pieces since this material are premastered and ready for use. We release this source-track under creative commons zero license (http://creativecommons. Org/publicdomain/zero/1. 0/) which allows copying, modifying, distributing and performing commercial use of derivative artworks, all without asking permission. Of course, we would be very glad to hear such pieces. Some our ready to use free sounds: https://soundcloud. Com/tonux-gix/sets.

A nice ambient recording made on sunday morning may 5th 2013 around 6:30 in the morning in the shawnee national forest in deep southern illinois. I had originally wanted to get good, clear recordings of the tremendous numbers of warblers that are here, but a good, soaking steady light rain decided to stick around. I though, what the heck, that is a part of our natural world also, so let's get it all "on tape". . . . Hope you enjoy this. Recording made with my handy zoom h4n recording utilizing its built-in microphones. To keep as much water off of my h4n as possible, i put one of my big, furry, knitted insulated sock-cap over the recorder, that at least kept my recorder from swimming in water.

Did this all my self and got some of the sounds off freesound and free to use the sounds off free sounds some of my own. Hope u like and u can have it and done on ableton live on pc and it did not take long and ive got aspergers as well have a nice day :d and i'm making a game as well its about fate about history and this time i use cryengine game software and its safe download and free u can make ps4 pc and xboxone game and play on xboxone ps4 and pc look on google its free trust me got it on pc now lots of people use it :d https://www. Cryengine. Com/.

I went out to the lake to record some ducks. This day they weren’t squawking as much as i’d hoped, but the wind was calmer than it normally is, and the wind really is your biggest enemy when making outdoor recordings like these. But overall, the recording isn’t bad. The ducks are smallish black ones with white beaks called the american coot. Lots of tweeting birds in there too, especially the first half, and i think those are just the normal small sparrows that you see everywhere. Couple people chatting, but they’re way in the distance. A little bit of a plane or two overhead, but i think i edited most of that out. Nady stereo condenser microphonefocusrite saffire pro24 interfacelogic 8 on a macbook prolake murray in san diego.

Recently we purchased a scale from ikea, when we finally got around to using it we realized that it must be off, as i do not weigh 240 lbs. As we did not have a receipt, or the desire to drive 2 hours to return a $10 scale the only course of action left to me was to take the damn thing apart and record its insides. (what else?). I recorded and edited together around 7 and a half minutes of various configurations and performances of me making some sort of repetitive, engine-like sound. I can foresee myself using these sounds for an old-timey engine or car. Recorded with a rode ntg-3 at 96/24.

For free use. This is file for creating deep ambiance. Just mix that sound with other ambiance sound (on free sound there is at least a million such sounds. . . Like noice. . Like thunder rain. . . Like station. . . Like people tallk and so far. . . ). It works best with noises or other deep sounds. I think if you add a little bit of that sound to other audio file you can get very spezial sound for ambiante. I will add similar sound as a only vocal too. As always i wish you a good work and if you crated something, so please let me listen! thank you!.

Lazer sound. I made this lazer sound with the use of operator in ableton as well as adding a few effects to help round it out. I started with a basic sine wave and then began to adjust the frequency range to cut out some of the low end of the sound and enhance the high end to make it more realistic and movie accurate. I also had to shorten the decay time so it is more of a short zap sound than a prolonged note. Another step was giving it an initial high pitched sound and this was achieved by having the sound start higher up the scale with semitones and then dropping down giving the effect of shooting and something traveling from the source sound.

A piece of mysterious music i made in garageband for a thing called victors crypt. When i did this i imagined a struggle in your head between good thoughts and vicious. It's a hard battle to win. The soft part in the song represents the good thoughts ande the dark heavy part the vicious. . . . Could be useful in anything dark, eerie, psycho, sinister and more. Feel free to use it as long as you subscribe to and watch my channel :). Be cool watch and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

A background retro rain loop, created in milkytracker fromwhite and brown sound waves. If you use the resampler of your audio editing software,you can create different effects with this sample. Sounds like: "rain from indoors", "heavy rain", "light rain" etc. . . -----------------------------------------------------------------------. This sound, as well as everything else i have uploaded here,is completely free for anyone to use. |you may use this in any project, whether it becommercial, or not. You aren't even required to credit me,although that would be appreciated. |you may use any of my sounds however you please. I hope they are useful. 🎶.

anyone who reminds you of your past, has no place in your future. it really helps to shut people up, when that needs to happen. I wish i could recall where i heard this; a web search didn't yield anything. Enlightenment as to its source would be appreciated. I asked my partner to express it for me. It has helped me, maybe it will help someone else. Addendum, through argumentation i found that many do not fight fairly. One's "past" does not include something underhanded you pulled last week, or a crappy statement you made five minutes ago. Those may be forgivable but they don't yet qualify as your "past. " these things are called "current. ".