17,928 Royalty-Free Audio Tracks for "File"

The Rogue Bluegrass Band - Live at Mississippi Pizza

Sound Effect - Door Bell Ton einer elektrischen Türglocke

This track belongs to Unbiotic's paralel rock project (Gloick)

Song about the Ufa in Bashkir

John A. West

Example of Psychedelic Trance 2006

Cantor Frank Birnbaum sings Avinu Malkeinu

B.C. Williamson's hit song, 'Believe Her 'Till I Leave Her'

Waltzing Matilda

ქართული: მოცარტის რექვიემი, სანქტუსი (წმინდა არს)

Artie Shaw

The Rogue Bluegrass Band - Live at Mississippi Pizza

Jana Gana Mana (instrumental)

Alouette, French folk song

public domain recording from the Library of Congress

Erlkonig, arrangement by Berlioz

Gus Arnheim

Chanté par Jean Noté.

Song by Ustad Qasim Jo.

Recording of music written by Frederic Chopin

Recording of music written by Frederic Chopin

Recording of music written by Frederic Chopin

Recording of music written by Frederic Chopin

Recording of music written by Frederic Chopin

Recording of music written by Frederic Chopin

Blues shuffle demonstrating P-90 pickup and no guitar pick

Rule, Britannia

Short sound-bite of lead guitar boogie riff.

La Bruja

audio(midi): Flohwalzer (Flea waltz) played on the piano

Unrestored version. Enrico Caruso, Frieda Hempel, Maria Duchêne, Andrés de Segurola, and Léon Rothier perform "È scherzo od è follia" from Giuseppe Verdi's Un ballo in maschera (1859), in this 1915 Victor Recording. This is Matrix C-14660, recorded 3 April 1914 in New York City, and released under a variety of labels. ([http://victor.library.ucsb.edu/matrixDetail.php?id=200014967 full details).

The Preislied, "Morgenlich leuchtend im rosigen Schein" from Die Meistersinger von Nürnberg (1868). Sung by Leo Slezak for Edison Records in 1910 Per a request, as this cylinder is in very good preservation, this version simply had the pops removed, and no other restoration. This is Edison Amberol #40038

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.

Sequential modulation in Schubert, Piano Sonata in E Major, D. 459, movement III.

*19 steps in 48-et on C = ?. Equal-tempered: 219/48:1 = 475 cents. MIDI pitch bend: 0,56

*11 steps in 36-et on C = ?. Equal-tempered: 211/36:1 = 366.67 cents. MIDI pitch bend: 42,53

*Hundred-eighty-seventh harmonic on C = F♯↑. Just: 187:128 = 656.27 cents. Limit: 17-limit. MIDI pitch bend: 0,82 on TT

*24 steps in 31-et on C = ??. Equal-tempered: 224/31:1 = 929.03 cents. MIDI pitch bend: 37,73

*23 steps in 36-et on C = ?. Equal-tempered: 223/36:1 = 766.67 cents. MIDI pitch bend: 42,53

*19 steps in 20-et on C = ??. Equal-tempered: 219/20:1 = 1140 cents. MIDI pitch bend: 102,76

*28 steps in 31-et on C = ?. Equal-tempered: 228/31:1 = 1083.87 cents. MIDI pitch bend: 107,58

*13 steps in 72-et on C = ?. Equal-tempered: 213/72:1 = 216.67 cents. MIDI pitch bend: 42,69

*Hundred-eleventh harmonic on C = A♯+ (Ben Johnston's notation). Just: 111/64 = 953.30 cents. Limit: 37-limit. MIDI pitch bend: 7,81

Bohlen-Pierce chord: 0,1,2 (semitones), the most dissonant chord. Currently at 0, 169.75, and 310.88 cents. Title refers to number of semitones (unison=0).

*Undecimal neutral sixth on C = A↓ (Ben Johnston's notation). 18:11 = 852.59 cents. Limit: 11-limit.

*12 steps in 23-et on C = ?. Equal-tempered: 212/23:1 = 626.09 cents. MIDI pitch bend: 44,72

*13 steps in 20-et on C = ?. Equal-tempered: 213/20:1 = 780 cents. MIDI pitch bend: 76,57

*13 steps in 48-et on C = ?. Equal-tempered: 213/48:1 = 325 cents. MIDI pitch bend: 97,57

*12 steps in 13-et on C. Equal-tempered: 212/13:1 = 1107.69 cents. MIDI pitch bend: 59,66