1,713 Royalty-Free Audio Tracks for "First"

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

This recording is for people who hate the highlighted high frequencies. An old sabian aax small recorded with a røde m5 mic. I the created two copies of the original recording:1. On the first file i applied low pass at 2 khz and hard compression at -24 db without makeup gain. 2. On the second file i applied high pass at 2 khz and hard compression at -24 db without makeup gain. Then i lowered -2 db all the spectrum except for the band from 3. 5 khz to 9. 1 khz and i applied hard compression at -24 db without makeup gain. I merged the two files. The envelope was very flat due to the compression and thus i reshaped it on wavelab (process > level envelope. . . Or press the "v" keyboard button; draw a natural fade out in steps [non-linear]). The result is a warm crash for people who don't want them loud.

Snippets from recordings of me playing the tanpura. Tuned to c sharp, the notes from top to bottom are g sharp, a sharp, c sharp, low c sharp. In traditional indian tuning the c sharp is the root note (first note in the scale) and referred to as sa. The fifth note (g sharp in this scale) is referred to as pa and the sixth note (a sharp) is dha. The pack contains recordings of the more traditional pa-sa-sa-sa type rythmns, as well as some experimenting with short bass lines, riffs and slap bass drones!. Before you say "a tanpura should not be played in such a way" please be comforted by the fact that this is not a traditional tanpura (and will never sound or be able to be played exactly like a traditional tanpura) it is part of the swar sangam, which combines the four drone strings of the tanpura with 15 harp strings. I am only playing the tanpura part in these recordings.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

I was super inspired to post here again after an insane coincidence happened!. I was in an online class (thanks, covid) where we were supposed to redo all the sounds and music for an animation we chose. We were encouraged to use sound libraries and freesound. Org. In one classmate's animation, a sound he used seemed very familiar, and then it hit me. . It's my sound! from this site! the crazy part is he has my same first name. But anyway, thank you for taking a look and listen to this sound which is about 2 years old now, heh. I went to this exhibit about electronic and/or audio stuff. In the show they were doing on stage, they brought various tesla coils and things i forgot the name of. I decided to take a video. Within that video, is this sound! feel free to use this sound wherever, however, whenever you want. I ain't uploading on freesound for nothin'. ;d. The only processing i did was cutting out any talking during the raw recording.

GILBERT & SULLIVAN: The Yeomen of the Guard (1920) Cast Sir Richard Cholmondely - Robert Radford /Edward Halland Colonel Fairfax - Derek Oldham Sergeant Meryll - Peter Dawson /George Baker Leonard Meryll - Ernest Pike Jack Point - George Baker Wilfred Shadbolt - Robert Radford First Yeoman - Ernest Pike Second Yeoman - Peter Dawson /Robert Radford Elsie Maynard - Violet Essex Phoebe Meryll - Nellie Walker /Ruby Heyl Dame Carruthers - Edna Thornton Kate - Bessie Jones Chorus: Sarah Jones, Walter Glynne, and the soloists George. W. Byng, conductor His Master's Voice 78rpm Album D 481/5, D 496/501 Recorded in London, March 4 - October 2, 1920 Digital transfer by F. Reeder Note that F. Reeder labels his transfer as CC-BY-NC-SA 3.0. The recording is in the public domain, and the transfer does not introduce substantially original material. These transfers are therefore in the public domain in the United States. In jurisdictions where this audio transfer is able to gain its own copyright, these files may be used according to the CC BY-NC-SA 3.0 license.

This was captured from last year. I thought my recorder wasn't working properly because when i checked the recording, i couldn't find the file. The time/date stamp was screwy. Lol anyway, i didn't see the couple but they were in the room right next to mine. I could literally hear them through the door. I thought at first that it was more than just a couple in the room but after listening several times i think it was just one couple. Like i said, i didn't see them. There is some conversation towards the end but nothing significant that needs to be censored or deleted. The guy was joking with the girl about being a "five star fuck". ;d lol throughout the recording, you might hear some "knocking" and creaking sounds. Sorry. That was me. I kept my hotel door propped open and i was peeking out every now and then to check on my recorder. Anyway, i wasn't able to get a recording this year but i was able to find this one (that i thought was lost) from last year, so enjoy! :d.

This sound was created using audacity. First of all i chose a frequency of 432 hz ( a number which includes the golden rule/proportion), then i created a gradual rise in the first 4 seconds, leading into a peak which descends so it can go up again, creating an effect of confusion. At the end, the sound raises gradually and rapidly to reach its peak once again. This sound recreates, for me, a fast- moving ufo (unidentified flying object) and includes the notion of conspiracy in our society- the changing of the frequency of the tone “la “ from 432 hz to 440 hz in 1953 by the nazis. La règle d’or- 432 hertz. Le ton « la » est une pointe centrale dans le réglage des instruments musicaux. Le ministre de la propagande en allemagne pendant l’époque des nazis a fait un décret général avec lequel il a changé la tonalité « la »de 432 hz en 440 hz. On utilise cette hauteur à partir de 1939 jusqu’à nos jours. Il y a eu des protestes de la part de professeur dussault de la conservatoire parisienne qui a fait une pétition signé par 23 000 artistes françaises mais sans aucun résultat. L’organisation internationale de standardisation(iso) a accepté en 1953 les changements et on utilise la valeur de 440 hz depuis. Des recherches montrent que ce changement a des effets incontournables sur le corps et le cerveau humain- les gens entrent dans un chaos. Ce changement a été caché du monde entier parce que c’est le point de la balance dans la nature. 432 hz est la vibration qui inclue aussi le règle d’or (ou la proportion de dieu). Quand on écoute de la musique en 440 hz la première chose qu’on remarque c’est une fatigue, aucun envie de faire n’importe quoi et beaucoup d’autres ( y inclus le mouvement de notre adn) une étude récent montre que l’utilisation de 440 hz crée des mouvais effets dans la nature et dans toutes les êtres vivantes. Cette article m’a inspirée à recréer un son avec une fréquence de 432 hz qui monte et baisse graduellement. C’est un son seul de type complexe(nodal). Il est de type v( continu varié), il est éclatant,clair et lisse. L’attaque du début est graduelle et violente. Le son varie en « hauteur » de plus fort au moins fort et l’inverse, recréant un effet d’un ovni qui passe à côté de vous.

Well, i was walking aloong in the riparian forest in leipzig, where you have to cross a small bridge. There is often a guy feeding te ducks. I was there with my mic in the backpack and asked him if he could continue to feed the ducks while i could place the mic in the middle of the feeding spot. At first the ducks were scared because of this strange microphon standing there. So i put some autumn leafs on it to camouflage it. So, this worked and the ducks started to walk around the mic and eat the bread. What you can hear ist the giggling of the mallards and the sonourus sound of the mandarin ducks. Also you have quite the rush of a near located highway in the back :-/ i had to cut a little bit, because the "duck man" was talking along and some passers-by, but i wanted to keep it clean from human voices. Thats also wy the duck take of in the middle is cutted off. But in the end you will have a clear complete take off again :-). Greetings and all the best.

Electro-magnetic interference from a desktop computer, and an at&t; cordless phone handset cl82301 when held near the internal ferrite antenna on the back right of a 13-year-old boombox listening to the am broadcast band. Recorded 2 years ago so i forget where i was listening. Recorded with goldwave from line-in. You hear emi from the computer at first, then i bring the phone on standby near the radio and you hear a series of nearly pure tones. The phone comes on and you hear a distorted dial tone. I move the phone away from the radio for a few seconds and you hear the computer again, then i bring the phone near and you hear a distorted busy signal. I disconnect and the phone continues sending to the base for a few seconds so you just hear a hum, then the idle tones are heard, then the computer noise as i remove the phone.

This is the first recording in this pack from inside a traditional, working old dutch windmill, called de lelie - the lily - in the picturesque dutch village of eenrum. This mill was used to grind grain. There was a strong northwesterly breeze straight from te sea, so the sails of the windmill were in full swing, this morning on saturday may 14th. The dominant sound you hear is the sound of the so called “schuddebak”, litterally translated as “shaking bin”. This is a device in the form of a large wooden shovel which is tapping against the turning millstone in order to distribute the grain equally along the millstone. On the background you hear the millstone itself. On the second recording in this pack, the millers had detached the schuddebak, so the sound of the millstone is more dominant in that recording. This windmill is now a small museum. Admission is free, so everyone can admire this proud dutch windmill heritage which reclaimed half our country from the sea and gave us our daily bread. Thanks to the millers fort heir hospitality and cooperation!. (i used an iphone with a zoom iq5).

[game_over_01_remastered. Wav]. Game over. I searched and dug for some time - until i found this useful sound:. * "horrorsting. Mp3" by shelbyshark (licensed under the creative commons 0 license!) [2020-06-30]. - links: https://freesound. Org/people/shelbyshark/sounds/512517/https://creativecommons. Org/publicdomain/zero/1. 0/. I downloaded this, made lots of improvements - and finally remastered this. Then i used one of my matrixxx-game over sounds and placed it on top of this one!. I could've made lots of more changes, and made it even more dramatic, however, i wanted to leave the rest up to the listener's fantasy. It was much about planning, knowing what sounds to use, and how to use the different sounds, timing, and creating shock and tension!. If you enjoyed the sound, please rate, comment, spread! it really helps!. Note: make sure to check out the other matrixxx-sounds! the sound quality is always better when you download the sound(s)! ⛄ s/o to superfreq for providing useful critique/feedback that led to the creation of this sound in the first place! ⭐. Enjoy!/matrixxx.

A was busy doing some big muff basedenvelope follower, envelope filteredcomposition, when it hit me, a small portioncould be used for the max. 12 second loopof a loop exercice we're doing in the class. Here, i manipulate the envelope filter twice. First, a recorded loop, of my vintage teisco60's 70's don't remember anymore, doesn't matterguitar, i found for 90 euro at an online rommelmarktlet's say. . . I put the envelope filter so that it 'just' triggerson the peaks of my audio file. . . Oww yeah !!!. The second time i trigger the envelope filter, is wheni play live on top of the recorded loop, i'm playing on purposepercussive, a coup of my hand with an immediate attack, toeven further more let the filter open & because of the amazinggrainy low-frequency based russian sovtek big muff the filtergrowls even more. . . On top of the just percussive behavior, i playof course an harmonic, content related sequence, feeling that the loopwhile being in an odd measure, already is repeating itself , the liveplaying, contrastwise, makes variation in texture & harmonic/melodice content. . . This is only a small portion of the biggercomposition, that's comin'curious ? head to. Https://jozefaleksanderpedro. Bandcamp. Com/. For support : paypal/jozefaleksanderpedro. Peace !04012021.

echoes from an age of misery is made in garageband for a thing called victors crypt. I wanted something massive and huge sounding with a certain groove and swag to it. But instead of going straight to the fat bass / big drums-part i made a quiet little intro before it kicks off. I made the drums with both sampled drums and a drum-machine to make it big. And i use 3 different basses. For a little extra spice i put some strings and stuff on it. Would fit anything big, dramatic and scary!!!. Could be perfect for an intro, outro, something spooky and cool, mysterious or whatever you feel like. . . . Let the imagination run wild. Feel free to use it as you like as long as you subscribe to and watch my channel! if you wanna use it in your music and gonna release it, ask me first. Don't wanna see my music copyrighted by someone else of course. Be cool watch and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

. . 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).

The first sunday of may is the international dawn chorus day! on the 3rd of may 2020, artists and field recordists in different parts of the world recorded the birdsong around the time of the local sunrise, and then the sounds were put together in a synchronous collage. The sounds you hear in the recording at the same time happened at the same time, but not necessarily in the same place: for example, you can hear owls calling in the spanish night at almost the same time as kookaburras in the australian day. Many thanks to all contributors!. Part 1: 2nd may 2020, 19:55 - 23:30 gmt. Karthic ss, dunedin, new zealand (also part of the reveil7 podcast) https://soundcloud. Com/karthicss/dawn-chorus-day-nz-full-recording. Susan gould, wallis lake, new south wales, australiahttps://soundcloud. Com/sue_gould/international-dawn-chorus-day-2020. Tim duck, currawang, new south wales, australiahttps://www. Youtube. Com/watch?v=djqfiapjeec. Not dawn choruses, but simultaneous recordings:frederic font, l'ametla de valles, barcelona, espanahttps://freesound. Org/people/frederic. Font/sounds/516565/. Karsten koehler, cambridge, united kingdomglobaldawnchorus. Blogspot. Com/.

[absolute_silence_00. 50_sec. Wav]. S/o to rlc209!. Here's what rlc209 dm:ed about this silence: "yeah, it was no joke, your wav file was perfect. I created my first ios app a couple weeks ago and i needed to play a quick silent file to buffer the sound player function within my app so that it would play the game sounds as normal without a slight freeze or delay. ". --------------------------------------------------------------. Absolute silence! intended for the freesounders that truly need some absolute, real, clean silence!. This is not an early april fools joke 2020. I've actually thought about releasing/publishing silences for a long time now (for years!). It shouldn't exist only free sounds but also free silences !. I saw that some freesounders needed clean silence to use as "blank space". That's why these silences were created!. I am not 100% sure what silence can be used for otherwise, but it can be useful for some things when you think about it!. If you enjoyed the silence, please rate, comment, spread! it really helps!. Note: make sure to check out the other matrixxx-silences! the silence quality is always better when you download the silence(s)! ⛄. Enjoy!/matrixxx.

Hark! The Herald Angels Sing is an English Christmas carol which first appears in its modern form in 1850. The original lyrics are adapted from Charles Wesley's 1739 hymn ""Hark! how all the welkin rings", set it to the same tune as Christ the Lord is Risen Today. George Whitefield altered the opening lyrics to the more familiar "Hark! The Herald Angels Sing", and various others also made small alterations in the following years. In the early 1840s, Felix Mendelssohn wrote "Festgesang", a cantata in celebration of the presumed 400 year anniversary of Johannes Gutenberg's invention of the printing press. The tune to the second part of this piece, "Vaterland, in deinen Gauen", was adapted to fit the revised Wesley lyrics in 1855 by William H. Cummings, assembling the hymn tune into its more-or-less final form. It is performed by the chorus of U.S. Army Band "Pershing's Own", led by Colonel Thomas Rotondi, Jr. (Leader & Commander) and CSM Debra L. McGarity (Command Sergeant Major) c. 2010.

Session 1, find more koto in this sound pack. The recorder wasn't optimally placed in the session 1 recording, so sometimes you might hear some low impact noises transitioning through the table to the recorder. Some eq (low cut) should be able to fix this. We went to my friend's father to record a koto, a traditional japanese zither-like (table harp) instrument, consisting of a large wooden base with long strings for plucking. The strings are tuned in the japanese pentatonic scale, allowing a mystic, mysterious, beautiful harmony. It was my first time ever playing this instrument, so don't expect wonders lol. But i tried to "feel" the instrument as well as i could, working from my limited keyboard and guitar playing skills. I improvised simple patterns, and also tried to work with call and response ideas, and bass notes, plucking the low strings with my fingers, and then plucking the high ones with a pick. Happy listening, chopping, and remixing!. In kashiwa, chiba, east of tokyo. Mid october 2016. Zoom h2n stereo ms recording in 96khz, 24bit.

Shortwave wide-band digital emission recorded on july 15, 2014 at 15:17 utc in am mode using 2 instances of the online remote controllable short-wave receiver located at the amateur radio club etgd at the university of twente the netherlands. Left channel was recorded below the central frequency, at a frequency of 10187khz, right channel was recorded above the central frequency, at 10191khz. This was an experiment to see if selective fading would create stereo effects, as the lower frequency part of the transmission would be heard better in the left channel, and the higher frequency component would be heard better on the right. I used goldwave to put the separate recordings into 2 channels of the same file, after i synched the recordings by ear at 1/16 playback speed using a set of 2 particularly strong lightning static crashes as a guide, trimming off everything that came before the first strike in both original recordings, then inserting silence in the range of a few milliseconds until the stereo separation was as close to zero as i could get it. I wasn't as successful at that as i've been with experiments with voice recordings from simultaneous broadcasts on 2 wavelengths that i haven't posted here.

I made this sound in september 2003 - i used a fairlight mfx 3 - a direct descendant of the first sampler ever made - and the best ever to this day editing software for ground breaking features and functions. Clip based eq and level which you could cross fade between made the use of automation almost redundant in precise to picture editing. It also had a unique alternative jog function. You could loop 1 frame or so as you chose of sound at the orginal pitch which made it easy to find transient points. I then 'grind' the play head over a solo'd sound and play this into a reverb unit. I have many of these accidental experiments and one day i shall make the fairlight pack!. Until then enjoy this alien - from mars with love :). Ps - you can do this experiment today! i found that i can use sound flower as an out put in audio finder. If you open a sample in the sample editor - you can recreate the fairlight jpg by grabbing the playback head in play. You may then route sound flower thru an input channel and get some unusual effects that are difficult to achieve. . If you can improve on this method let me know!.

Quite simply a recording of me screaming in a humorous way (if you're looking for a scream sound effect for a project with a serious tone, i doubt this one will be suitable). Even though i'm a woman, i have a feeling this sound could be used for a male character too, probably one with a voice that's not too deep. I recorded this by mistake when i was just 14! me and my sister had just been recording something on my mp3 player, then when we'd finished, i accidentally pressed record again. I don't know why, but i responded by doing a silly scream before pressing the button to stop recording! weird reaction, i know. I was probably just trying to make her laugh. I kept the very short recording ever since and in more recent years, i showed it to a friend who found it absolutely hilarious! i realised this was a such a gem of a scream that i simply had to upload it as my first ever contribution to this wonderful site i've been using for years!. I've edited out one second of silence that preceded the scream in the original version of the file. Although it's not essential because i'm releasing this into the public domain, i'd love to hear in the comments about what you use this sound for :).

China’s first official anthem was used in the last months of the Qing dynasty. The anthem was by Bo Tong, a high-ranking officer of the Imperial Guard and Yan Fu, commander of the Qing Navy. Guo Cengxin, Master of Ceremonies, made some minor adjustments and arranged the music. The primary purpose of the anthem was to advocate the Qing Dynasty and create a sense of well-being among the Chinese. The anthem was officially adopted on October 4, 1911, but was used for centuries beforehand in official Qing dynasty functions, going back to when Emperor Kang Xi was crowned in 1675. It’s official use as China’s royal anthem was short-lived, as the Wuchang Uprising, meant to end China’s imperial era, started six days after the anthem was officially adopted. The Republic of China was created on January 1, 1912 and the emperor abdicated on February 12. As such, the anthem did not gain much notoriety in China. “Gong Jin’ou” was made the anthem again in 1917 for 12 days when a former Qing general started a coup and reinstated the Qing Dynasty. Since this was used as a praise to the emperor, this is also a royal anthem. This song was banned in Communist China after 1949, but the ban is now lifted (probably after 1978).

Cathedral bells for ukraine. Church bells for peace and justice. The dutch make all church bells ring for the ukraine. Freedom for the ukrainians. The bells from sint jan’s kathedraal (saint john’s cathedral) and in the background the bell from the grote kerk (large church) in 's-hertogenbosch, netherlands march 2 at 2022. 5. 15 pm. Голландці дзвонять у всі церковні дзвони за україну. Свобода для українців. Хертогенбос, 2 березня 2022 року, 17:15. Except that the dutch are collecting money and goods for the people of ukraine, all churches will ring the bells for fifteen minutes today, march 2, 2022 at 5. 15 pm. The first refugees have arrived in our country. Welcome. Hopefully these church bells will go virtual viral, and i hoop that people will help where they can. Date/time: march 2nd 2021, 5:15 pm. Weather: 8c, sun, wind e 2 bft with gusts to 14 km/h, 1021 hpa, humidity 48%. Location; parade, ‘s-hertogenbosch (den bosch), noord-brabant, netherlands (holland), europe. Gps 51. 687467 5. 308463. Gear chain: sennheiser mkh30/50 ms, in rycote cyclone small, windjammer > sound devices 302 >tascam dr-100 mk2. Decoded mid-side to stereo.

I recorded this today (1/12/23) from atlanta, where we had a bunch of heavy rain and tornado warnings this afternoon. The radio station i recorded this from is am 750. The first part of the recording isn't very interesting, but the part where she started talking about how you can't see any tornados coming was really interesting to me. I think this would make for some really good ambience in like an environmental horror track. I decided to include the whole recording anyways in case anyone wanted it. Here's the backstory to this thingey if anyone really wants it:we were on tornado watch as i was speeding trying to get home from work, when the sirens started to go off. I had to pull into a disheveled looking parking garage, as that was the closest place i could get to. The garage only had one level, so i had no way of getting to lower ground. I sat there in my car, terrified that i might be stuck there, in a shitty parking deck, in the middle of a giant ass storm, with very little cell signal, for hours on end. I decided to turn on my radio and record it from my phone. Fortunately, i was only in there for 30 minutes, and i managed to get home after the rain cleared up a bit.

O Tannenbaum, an 1824 German Christmas carol written and with music arranged by Ernst Anschütz using a traditional folk melody as his basis. Performed by the chorus of U.S. Army Band "Pershing's Own", led by Colonel Thomas Rotondi, Jr. (Leader & Commander) and CSM Debra L. McGarity (Command Sergeant Major) c. 2010. This recording includes the first verse in German, followed by an English translation. CSM Debra L. McGarity O Tannenbaum (Mon beau sapin) interprétée par le chœur de l'armée américaine (U.S. Army Band). Basée sur un chant traditionnel allemand, elle est devenue depuis le début du XXe siècle un chant de Noël associé au traditionnel sapin de Noël. Українська: «О ялиночко!» (O Tannenbaum) — німецька різдвяна колядка у виконанні хору армійського оркестру США «Pershing's Own». Эрзянь: "O Tannenbaum" ("О, куз" эли "Роштувань Чувто") конань моры "Pershing's Own" АВШ-нь ушмовиень оркестрась. Моронть юрокс ашти немецень раськень эськоень моро, сон теевсь XX пингеньть ушодомонтень Роштувань ине морокс, кона сюлмазь Роштувань чувтонть марто. العربية: "أغنية O Tannenbaum" (يا شجرة الميلاد) من أداء جوقة الجيش الأمريكي ("Pershing's Own")، وهي مشتقة من أغنية تقليدية ألمانية، أصبحت إحدى أغاني ميلاد يسوع مرتبطةً بتقليد شجرة الميلاد منذ بدايات القرن العشرين. Čeština: "O Tannenbaum", německá vánoční koleda, vzniklá na základě tradiční německé lidové písně se z počátku 20. století v podání amerického armádního sboru "Pershing's Own".

So you liked surprising her. Here's what it feels like, dude bahahaalso, what it sounds like. A first foray into educational response, the subject slowly awakened in handcuffs, barely aware he was rapidly losing his shorts. Totally unsympathetic cohorts then lashed ankles quickly to both ends of a broomstick. Free to do as they please, unplanned things can happen, and did. Oh, dear. 😯 well he was completely vulnerable. You mean. . . Yeah. They did. 😼 at that point i think he was awake. His victim had selected the broadest and longest, high-output motorized appliance to be found, complete with bulging veins. . . Eventually, at her hands and from her “deep” feminine resolve and with considerable force, the nautilus made port. Ta-daa!! lubricant sure wasn’t needed anymore but had spent the night in the fridge. So she used it😬 end published audio, but not the still-expanding asshole, um, event. Take-away: if you cannot be respectful, at least be careful where you sleep. In fact just a bit later, the enhanced vibrators and integral power-stroking were switched on. Gracious. He didn’t know it had an “on” 🙀 and just about went wild. A lovely, cohort-induced stiffy relaxed and then, any semblance of bladder control did too - oh, oh my 😸 😹then we left.

This is one of a set of voices created to be mixed together to form background ambiance for parties and other events. The walla project is the creation of jule hoverson of 19 nocturne boulevard and public domain for all to use without attribution. Script. Party crowd:well, look who's here!i thought you weren't coming?oh, i see. Well, put your coat over there and grab a drink. So, where were we?oh yeah, so my boss says to me i need to work late, and i tell him that if he wants me to work late he's going to have to pay me to work overtime. You think he likes that?what he do?he told me that he can get a college grad to do my job for half the price. Well, i told him- try it!hey, are those snacks fresh?let me have one!mmmm. . . . Tasty!ow!what is this? a snail?i think i chipped a tooth!excuse me. I better go call a dentist!oh no! look who just walked in!can you believe her? wearing a dress like that?that's not his wife. Mmm-hmm. I'm so excited, this is my first time at a soiree {swa-ray} like this!isn't that too too adorable?who's got the glasses?isn’t there anything to drink?i hope you don't mind, but we're going to have to leave early. I'm here! the party can start!i definitely need another one. That was the babysitter. We need to go. [plus - feel free to ad lib anything else you want. ].

This sound is a superposition of two records. First, i recorded a coffee machine and cut it to extract just the sound of the money that falls in. Then, i recorded the sound of keys and mix it together on audacity. I wanted to make a sound that can be repeated in a loop. So, i copied the record of the coffee machine to give a rhythm to the sound. I tried to cut the sound of the key perfectly to make a loop with the help of the option “search for crosses with zero”. Then, i added view effects. I have changed the amplification in purpose to bring out more the sound of the coffee machine. I also change the reverberation. Gradually, my sound made me think of a music in a video game that i used to play, rayman. It was difficult to describe what the sound was like, but i liked the atmosphere, so i kept it. Then, a friend told me it made him think of a frog noise, and i liked the idea. Code typologie de schaeffer : v’’précisions morphologie :sur le principe de l’écoute réduite, la morphologie du son peut-être décrite comme étant un groupe tonique car nous entendons plusieurs hauteurs. Le son peut être qualifié d’acide et éclatant. Le son paraît plutôt rugueux. Je dirais que le son est dynamique mais que l’attaque n’est pas brutale mais graduelle au moment où l’on entend le son de la machine à café. Le profil mélodique présente des variations plutôt scalaires. Pour finir on entend des hauteurs de sons parmi d’autre son.

Sound file of passage from "Adelaide" by Beethoven, the first bars of the allegro molto section. Digital recording made with an acoustic piano and Audacity software by Opus33. This music is in the public domain. The recording is not copyrighted, and it is hereby released by Opus33 into the public domain. .mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Ludwig van Beethoven  (1770–1827)      

I'm attempting to create a controllable thunderstorm for a film, and this is my first legitimate attempt. This recording consists of 4 samples of rain, and another 3 samples of rain+thunder that i recorded one afternoon. Equipment used was the inbuilt mics on a roland r-26, and a sennheiser me66 into a sound devices 702. The clips were recorded at 96khz/24-bit, and they were processed at 48khz/24-bit. For processing, i put the samples into kyma, and crossfaded for texture. The howling wind sound is an analog-style low pass filter's frequency, level, and resonance being controlled by a wacom intuos4 pen/tablet. The rain slowly swells, which was done by changing parameters of a granular reverb. The thunder was also controlled by the wacom tablet, with x, y, and z (pressure) dimensions mapped to making the thunder swell in level, density, and texture. This could have been output in surround, but i don't have that many monitors ;). This style of "rain-synthesis" can also go on indefinitely. Please let me know what you think of the quality of this track; eg, if it sounds real, if the wind sounds ridiculous, too much thunder, etc. Use this sound (wherever) if you want to, or let me know if you'd like an mp3 of this, or for it to last longer. I'd like some credit if you do use it, but it's no big deal. A blog is up explaining the method of creation here:http://www. Kylehughesaudio. Com/2/post/2013/02/tempest. Html.

A reel by scanner, aka robin rimbaud. Formatted for use in the make noise morphagene. "a mixture of abstract melodic ambient and strange processed radio stuff and ‘scanner’ style sounds which should be fun. Keeping in mind that i want people to be able to use them as easily as possible and inspired. ". Scanner (british artist robin rimbaud) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums mass observation (1994), delivery (1997), and the garden is full of metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. To date he has scored 65 contemporary dance productions, including works for the london royal ballet and merce cunningham in nyc. In 2016 he installed his water drops sound work in rijeka airport in croatia, ghosts at cliveden national trust uk, and scored the world’s first ever virtual reality ballet, nightfall. He scored the hit musical comedy kirikou & karaba (2007) and narnia ballet (2015) based on the popular children’s book, philips wake-up light (2009), the re-opening of the stedelijk museum, amsterdam in 2012 and in 2018 released an app that measures the quality of soil in europe with live data with artist kasia molga. His work salles des departs is permanently installed in a working morgue in paris whilst vex house, the residential house he designed a permanent soundtrack with chance de silva architects, won the riba london award 2018. Committed to working with cutting edge practitioners he collaborated with bryan ferry, wayne macgregor, mike kelley, torres, michael nyman, steve mcqueen, laurie anderson, and hussein chalayan, amongst many others. Scannerdot. Com.

An excerpt from the song “Au clair de la lune”, originally recorded as a phonautogram on paper. As of May 2009, this is believed to be the oldest recognizable recording of a human voice in existence. According to the remasterers, the lyrics sung are the first lines of the second stanza "Au clair de la lune, Pierrot répondit" (Under the moonlight, Pierrot replied).[1] It has also been reported that the recording contains the beginning of the song, "Au clair de la lune, mon ami Pierrot..." (Under the moonlight, my friend Pierrot...).[2] This is an edited version: speed and pitch have been corrected to reflect Édouard-Léon's voice, noise was removed. Ausschnitt aus dem Lied “Au clair de la lune”, ursprünglich als Phonautogramm auf Papier aufgezeichnet. Per 2008 gilt diese Aufzeichnung als die älteste bekannte Tonaufnahme. Die gesungenen Worte lauten: "Au clair de la lune, Pierrot répondit" (Bei des Mondes Scheine, antwortet Pierrot), oder "Au clair de la lune, mon ami Pierrot..." (Bei des Mondes Scheine, mein Freund Pierrot...). Un extrait de la chanson “Au clair de la lune”, telle qu'enregistrée sur papier sous forme de phonautogramme. À la date de mai 2009, on le considère comme le plus ancien enregistrement d'une voix humaine reconnaissable. D'après les restaurateurs, les paroles correspondent aux premières lignes de la seconde strophe : « Au clair de la lune, Pierrot répondit ».[3] D'autres estiment qu'il s'agit plutôt du début de la chanson : « Au clair de la lune, mon ami Pierrot ».[4] Cette version a été éditée de manière à mieux refléter la voix de Scott de Martinville : la vitesse a été réduite, la tonalité a été baissée et le bruit a été réduit

Favorite airs from The Mikado (music by Gilbert and Sullivan, 1885) was a 1914 production by Edison Records, performed by the Edison Light Opera Company. This was one of several phonograph cylinders put out by Edison Records (and, no doubt, others) that attempted to encapsulate an entire opera or musical in about four minutes generally, they consisted of a bit of the opening chorus, a verse or two from one or two of the songs, then a bit of the Act II finale. This one is not atypical. The cast is not given, but in the 1913 recording of Pinafore, also by the Edison Light Opera Company, the following singers were featured: Elizabeth Spencer, Mary Jordan, Harry Anthony, Walter Van Brunt, James F. Harrison, and William F. Hooley The only copy of the recording I had to work from was not particularly high quality, and, though I think I managed to clean it up fairly well, I had to leave some of the background noise in, or the singers start to sound unnatural since cleanup of static does, by necessity, remove some information as well. By removing clicks and pops, then blending a noise-reduced track with the one just cleaned of the clicks and pops, good results can be achieved. Notes This was Edison Blue Amberol #2179, which was a reissue of Edison 4-minute Amberol #465. Songs All songs are heavily abridged: Overture (first few seconds) A wand'ring minstrel I Three little maids from school are we Tit-willow (On a tree by a river) Act II Finale: "For he's gone and married Yum-Yum" and "The threatened cloud has passed away" The full text of The Mikado is available on English Wikisource: s:The Mikado.