95 Royalty-Free Audio Tracks for "High Pass Filter"

Closing a wooden door in my apartment, somewhat aggressively. This was recorded in stereo with two matched akg c568 b microphones, going into a sound devices 633 recorder. Audio was trimmed in adobe audition with a very gentle high-pass filter. Sound two of two.

Multiple performances of pressing the eject button on a nintendo gamecube console and closing the lid again. Recorded with senal sci-3212mp microphone into zoom f4 recorder. Trimmed in adobe audition with high pass filter added, no other effects applied.

Guiro sound made of rim shot sound in behringer rd-8 with built-in high pass filter and retrigger with accent. Recorded with zoom h1 at 96khz and 24bits. Filtered of low range noise, tirmmed and normalized in edison in flstudio. Editing made sample 32-bit.

Some sweepish sounds. Synthesized with "vacuum pro" vsti from air, the patch was a unmodified "500msvph"added effects with a "tassman 4" vst filterbank, multiple low pass filter with some oscillation. Echo was enable in a part of this whole creation.

Sound of water from a public bathroom. Sounds as white noise filtered with a high pass filter. Recorded with a zoom h2 (cardioid polar pattern, medium sensitivity and at 20 cm) in a public bathroom of the building 54 of the universitat pompeu fabra in barcelona.

Car idles, then revs for no other reason but to make a noise. Can't remember what type of car it was, but it was blue and little flames came out of the exhaust. Tascam dr-22wl, internal mics, deadcat. 15hz high pass filter.

Exterior ambience with birds chirping and very slight rain. It's all quite relaxing, if i do say so myself. Recorded on a stereo pair of akg c568 b microphones, into a sound devices 633 recorder. Trimmed in adobe audition with a gentle high pass filter, no other effects added.

A recording of page turns and riffles. Recorded right up near the grille of the mic so perhaps not the most natural sounding recording out there. 80hz high-pass filter was applied with a 12db an octave slope. Normalized to -3db. Signal chain: cad e100s and a focusrite scarlett 2i2.

Ambience from an extremely reverberant space inside a college. Some students can be heard chattering in the distance, thankfully with not enough clarity to be recognizable. Recorded on a stereo pair of akg c568 b microphones, into a sound devices 633 recorder. Trimmed in adobe audition with a gentle high pass filter, no other effects added.

A field recording of a semi-rural stream and cicadas. The cicadas life cycle means that in some years they are particularly abundant. The recording was taken with a tascam dr-70d (internal mics) and very little processing (only high pass filter to remove location rumble) 24 bit 44. 1 khz.

This is the first of two excerpts from a field recording of wind chimes hanging from the front porch of my home in south central tennesee. A zoom h1n recorder was placed below the wind chimes and set to record in wav format. The high-pass filter in audacity was used to reduce wind noise. The recording was made in march of 2021.

This is the second of two excerpts from a field recording of wind chimes hanging from the front porch of my home in south central tennesee. A zoom h1n recorder was placed below the wind chimes and set to record in wav format. The high-pass filter in audacity was used to reduce wind noise. The recording was made in march of 2021.

A binaural recording of birds singing in the woods. Recorded at the 'utrechtse heuvelrug' in the netherlands. Gear used: roland cs-10em binaural microphones, zoom h4n field recorder. Processing: slight noise reduction (9db) using izotope rx7, high pass filter to remove unwanted rumble (cubase 7. 5), made into a loop.

Left the lid of my top loading freezer open, you can hear the hum of the motor and also the crackle of inside the freezer. Messing around with a low or high pass filter can give a nice background white noise. Free for commercial and non commercial use as apart of a creative piece of work. Recorded with the zoom f4 and rode m5s.

Removed the hum from cognito-perceptu's pill-bottle-4 sample. Original sample had truck in background in addition to some low frequency hum. Used the remove hum feature on izotope rx2 and, presto-chango, no distracting background noise. Now there is still a high frequency hum which i did not touch. I think this could be mitigated with a low pass filter in eq if you choose.

This was created with reaktor 6, nested inside vcvrack (via the "host" module) run through various effects in vcv rack. Ultimately this was rendered out at 192khz (vcv allows for very high super sampling). Many frequencies that are above the range of hearing exist in this file due to rendering it at such a high sample rate. I recommend that, in your daw of choice: pitch this down a couple octaves while running this through a frequency analyzer. Watch how many notes and tones emerge into the range of hearing. You might need a high shelf eq on this as well as a slight high pass filter. Several use cases for this sound: in the background of a sci-fi video game. On your next ambient dark drone top 40 hit single. Run through effects like granulators, pitch shifters and spectral distortions to make a crazy sound design sculpture.

Nyc subway train arrives, doors open, announcement of direction, doors close, train departs. I stood on the platform at the montrose l station with a sony minidisc and recorded the entire process of a nyc subway train coming and going. Low noise, though you may wish to use a high-pass filter as there is so much bass in the material.

At closest to target it was recorded from about 33ft away from mower at farthest range about 40ft away. If you wanted the mower to be heard from an inside area you could add a high pass filter to the recording. Please note this wasn't taken with the average household mower it was taken with a heavy duty lawn mower used for cutting large areas of grass so it doesn’t have the same sound as a regular mower.

Wind turbine sound, near lacedonia, campania, italy, the 16th august 2022 @ 18:30the sound was recorder with a zoom h1n with windshield from a distance of 25m approx from the wind turbine. Processing:* 120hz high pass filter (to reduce some low frequency rumbles due to the wind);* volume adjustment;. Other sound in the recording:* voice of a woman in the distance (at the beginning of the file);* wind gusts;* car passing by (at the end of the file);.

Similar to my popular 2016 recording. Many birds are audible, as well as distant dogs. This clip is highly processed, for a much less processed version, check out the raw version of this track. Recorded during the 2019 world series of birding competition in nj. Feel free to use in commercial projects. --------------------------two em172 mic capsules -> zoom h1 recorder -> high-pass filter -> noise reduction.

One explosion sound i created using wavepad sound editor, adobe audition 3 and my high quality microphone. Sounds used to get this explosion, in case you want to replicate it;. -kicked rocks (recorded by me)-throwing rocks from a distance (recorded by me)-edited and stretched beer hiss (recorded by me)-edited chambagne pop sound (recorded by me)-rocket hiss (replica by me). Applied effects;. Mastering (in adobe audition 3), increased "exciter" up to 11. 5%. High-pass filter (in adobe audition 3). Stretch (in adobe audition 3), in "high precision" mode. Reverb (in wavepad sound editor pro). The sound sounds very common, because most people use this method. In case you want to use it, please give me credits.

While messing around in audacity i accidentally made this. I generated dial sounds and g-verb'd it. I then put a high pass filter on it and paulsteached it. And made this. The breathing sound wasn't there in the original. But when i paulstreached it again. It just. . . Happened. I uploaded this because i thought i should share this. It may need editing to make it sound better. Feel free to use it in games or anything. C:programs used: audacityfilters used: g-verbhighpass filterpaulstrechchange tempochange pitchgenerations used: dtmf tones. - cazsunxa.

This is a foghorn-like sound that i created using an accidentally recorded poot from a friend. I stretched the sound bite a few times while lowering the pitch, added a couple different reverb effects, and then finished it with some parametric eq, raising the bass, and using a low pass filter to cut out the high frequencies. If you would like the original poot sound, i have also uploaded it as fart sound 1.

Field recording recorded on zoom h4 using internal mics set to 90 degree xy stereo pair. Wind sock and high pass filter to remove excessive wind rumble. Recorded in a nature reserve just outside the town centre of bury st edmunds, suffolk, england on 19/02/2019. Recorded on a breezy day, features distant motorway traffic, close rustling of branches and leaves, birdsong and a few gentle guests of wind.

This is a recording of a slow freight train passing from about 50 feet away using the internal mics of a tascam dr-40. The recording was made in southern mississippi, usa. The train was going down a gentle slop, around a bend. The engines can be heard approaching and passing, followed by the various sounds made by the wheels as the individual cars pass. The file was edited using adobe audition 6. The processing used was a high pass filter around 30 hz and a multi-band compressor. A couple of times during the recording clipping of the pre-amps can be heard because i was manually riding the input gain.

Kid around 4 year old crying (tantrum) outside in the distance echoing among buildings. Some city rumble in background. I edited the sound to remove the mother's voice. Use an high-pass filter 120hz to diminish city rumble. Recorded with zoom h4n-pro 48 khz / 24 bit. Use freely on your personal commercial and non-commercial projects. Don't put this raw sounds/files on youtube or anywhere else. You can use them in creative way as a part of art-form, but not "re-distribute" as (royalty free) stock material. Thank you.

Field recording recorded on zoom h4 using internal mics set to 120 degree xy stereo pair. Wind sock and high pass filter to remove excessive wind rumble. Recorded in a nature reserve just outside the town centre of bury st edmunds, suffolk, england on 19/02/2019. Recorded on a breezy day, features distant industry sounds, close rustling of branches and leaves, birdsong, a few gentle guests of wind and distant motorway rumble.

A recording of a high school class. Students were working on a sound effects project on computers, but generally allowed to talk as they worked. This is maybe 18 students, with the mic about 10 feet away from the nearest student, mic towards one side of the room, pointed towards the middle. We also have ac on, and an av cart that has a fan on, plus a wall clock, some of which you may not be able to hear over the students. Mic was the zoom h1 set to record a wav file, record level manual, low pass filter engaged, with the quality settings at the highest values. It was then put through audacity to amplify it to the highest allowable levels without distorting, and spit out as a wav.

Recording of sea undertow on the beach of formicoli, vibo valentia, calabria, italy, the 19th agust 2022 16:44. The sound was recorder with a zoom h1n with windshield at a short distance from the crashing of the waves on the beach. The waves are driven by a light, gentle wind. The sound was recorded by holding the microphone in my hand while i dived knee-deep into the water and walk, filming the crashing of the waves (also on my legs). High-frequency sound details (the foam of the sea, the impact of waves on each other, etc. ) are much more audible here. Processing:* volume adjustment;* 120hz high pass filter (to reduce low some low frequencies rumble due to the wind);* cut and crossfade to eliminate very few mechanical noise of my hand on the mic;.

This helicopter sound design was created at fl studio, in the sytrus synthesizer. The sound consists of four layers. 1. Sine wave frequency of 44 hz. Simulates the low frequency noise of propeller blades. 2. White noise passed through the svf filter. Simulates the noise of propeller blades. 3. Saw wave. Simulates the sound of an engine. 4. The sine wave. Imitates a high-frequency whistle of the engine. Various modulations are applied to all waves through the envelopes of the synthesizer. Next, the signal on the mixer channel is processed by a multi-band exciter and equalizer. Then a signal was sent to two channels with delay processing. One of them imitates reflections. In the lower-middle frequency range. On the second in the upper-middle frequency range. As you approach the sound source, the volume parameters of the direct and reflected signals are automated, low pass filter, pan width and equalization of direct sound. The helicopter performs strange maneuvers, as if making constant circles during the approach to the listener. I did not seek to create the veracity of these maneuvers.

Stereo recording made in the generator hall of tate modern between exhibitions. The end of the hall furthest from the entrance was empty, so i ran the recorder for a couple of minutes just to sample the reverberation. Because it is a school holiday in the uk, there were large numbers of children in the gallery, especially on the upper deck bridge about 25m from the recorder, and their voices are higher pitched and their behaviour extrovert. The space is large, so the echoes give a lot of atmosphere. Recorded on zoom h2. Transferred to audacity and high pass filter with breakpoint of 180hz used (12db/octave) to remove the hum that is prevalent at this site. +6db of amplification used, so peaks at -18dbfs.

Soundscape of a city street in chicago during winter. Sunday, january 31st 2016 at 6:05pm. Continual planes, trains, and cars passing. Occasional pedestrians. Cta "l" trains audible at the nearby thorndale red line stop. Mic: core sound tetramicrecorder: zoom f8. Converted to b format using vvtetravst, then processed to stereo as wide cardioids at + and - 45 degrees using ambisonics toolkit (atk). Light noise reduction applied using izotope rx 7 spectral de-noise. High pass filter applied to reduce low end rumble. Some editing done to remove wind buffeting. Please note that this is a 48k 24bit flac file - flac files can be easily read and converted by audacity [https://www. Audacityteam. Org/] and reaper [http://reaper. Fm/], among others.

This was produced by tapping on a stethoscope which had an earbud pressed against a shure sm57 mic. Low pass filter applied, as well as compression and a gate. Chorus added. Used a recording cassette deck as a preamp going into an m-audio audiophile usb soundcard. Note: if you're having problems listening to this clip, the cutoff frequency of your speaker set may be too high(solution: new speakers). The signal strength exists almost entirely in the very low frequencies, so you may need a sub-woofer to hear it. Otherwise, try turning your speaker volume all the way up. Doing so may saturate the signal and at least allow you to hear the harmonics of the signal caused by the distortion. I don't recommend it, but you'll at least maybe be able to hear something.

Clean, dry recording of a smartphone touchscreen being rapidly tapped as if a message was being written on it. Could just as easily be used as sounds from using (writing, playing mobile games, browsing, etc) a tablet or really any relatively small touchscreen device. Tapping speed and length between taps varies throughout the recording, but overall i tried to make it sound as natural as possible while still offering options for more granular placement. Recorded with an akg p170 into a tascam 208i audio interface at 48khz/24-bit. Microphone was positioned 5-6 inches away from source. A 120hz high-pass filter was applied to remove unnecessarily pronounced bass frequencies.

Non-functional tube radio warming up, making a loud 60hz hum with lots of harmonics. As a bonus it clicks off at the end. Zenith consoltone. Only because the faq says so: electro voice n/d 257a through impedance transformer into crappy gigabyte motherboard realtek high definition audio. 16bits, processed at 32bits. Audacity sound editor and/or driver wouldn't record mic level so it was very noisy after amplification. Filtered with a (mathematically equivalent) fft constructed whopping 64k length zero phase filter (blackman window) with 5 wavelength width bandpass at each harmonic from 60hz to 5,520hz. For some reason a fraction of some of the harmonics didn't get through so did another pass on the residual noise and mixed that in. Near the beginning there was a sort of brief duplicate signal that descended in pitch so it didn't make it through the filter. I added that bit in. Attenuated frequencies above 3. 6khz because they are pretty much noise, but removing them didn't sound right. Cleaned up the beginning a bit in various ways, cut it down to 15 sec and carefully appended the unfiltered "click" onto the end, which i denoised 12db with audacity's noise reduction.

Production step :this sound is from a sound recording of a key hiting an iron bar. I take just one sound from my reccording and copy/paste in a new track. I amplify the sound and do a low pass filter. I copy paste my track and create another one just above. I move this new track for create a gap between the two tracks. On the second track i supress some of the beat for create a rythm. On the second track i change the pitch, for making a sound more high-pitched. Description :this sound looks like the ring of a bell tower. The rythm change every two bars who makes him unique and not settled. This sound is, for me, a reference of the track begining of dark techno music. Typologie de schaeffer :. Masse: nodaltimbre harmonique: eclatantgrain: résonnanceallure: mécaniquedynamique: rondeprofil mélodique: ascendant puis descendantprofil de masse: dilatation.

This was recorded by holding a small pcm recorder (zoom h1n) very close to an ipod 4th generation. The ipod was turned on and its hard drive tried to start up. You can hear the spin up of the motor and the hard drive head clicking back and forth. The hard drive fails to power up completely and eventually shuts down again. A 350 hz high pass filter was applied, in addition to audacity noise reduction, to get this clean motor noise from the original recording. The stereo file was then mixed to mono because the mic was slightly off center from the ipod, and the stereo provides no benefit. The hard drive in this ipod is a 1. 8" 40 gb toshiba hard drive, the ipod model is a1059. The microphone was held just 3 cm (1. 2 in) from the ipod. Recording settings were stereo 44. 1 khz at 16 bit (wav format). The file is the same except it's mono.

Disclaimer: this may be loud. Check your volume. This sound is an experiment i did for a short film my crew and i are working on. I wanted to see if i could make a warning effect like the civil defense messages that play on the radio for storms and other emergencies, so i recorded my voice, and pitched it down, equalized it, put it through a high pass filter and lo and behold, i think it sounds pretty darn close. I then coupled it with a couple alert tones from my local noaa / nssl station and this sound was born. This effect could be used for an apocalyptic scenario or civil unrest, riots, looting, or anything else you desire. Not required, but it would be cool to hear if you use it for anything. Enjoy!.

guardians of limbo (spectral voices, ethereal sounds, odd vocals) sample of fx preset from magnus choir vsti software. Virtual choir (musical instrument). Software description:. Magnus choir is a vst, vst3 and audio unit virtual instrument which can be used to create natural and synthetic choirs. The male and female choruses combine to form a mixed choir, featuring the classic satb (soprano, alto, tenor, bass) structure: women sing soprano and alto, while men sing tenor and bass. Versatile to generate a wide spectrum of choirs, vocal textures, choral pads and voices with modulation capabilities for a new level of realism in digital sound creation. • 54 preset sounds ready to use, including a vast array of natural and synthetic sounds, from oohs, aahs, men and women in mixed choirs to the celestial choir of angels, reso pads, dark atmos, creepy voices, ambient ghostly and birdsong effects, as well as cinematic and soundscapes. 01. - abbey ghost02. - ad infinitum formant03. - ad libitum chorale04. - aeternus lux lucis05. - alchemical signals06. - angelic vox07. - angels between us08. - apocalyptic chamber09. - astral singers10. - aurum vox pad11. - birds sonic sweep12. - caelestis kingdom13. - celestial choir14. - choral ensemble15. - choralis pad16. - cinematic padilius17. - cosmic odyssey voice18. - cryogenic dimension19. - dark cantus20. - digital voice21. - dystopian chorus22. - elves land23. - enchanted goblins24. - ethereal voices25. - guardians of limbo26. - lost souls in the dark27. - male & female aahs28. - morph dreams29. - morphed vowels30. - mystical vowels31. - nebula dark atmos32. - necromancer summons33. - neo choir34. - octave aahs choir35. - octave vox pad36. - oniric sequences37. - oohs choir38. - psychedelic vox39. - psychomanteum reso40. - quasi spatial voices41. - relaxing paradise42. - restless spirits43. - sanctus holy chant44. - sonorous skies45. - sopranvox c4-c646. - spatiotemporal atmos47. - spectral hell48. - synthetic chorus49. - synthesized vocals50. - underworld embryos51. - vinyl chorus52. - voices in the mist53. - vowelled soundscape54. - vox vocis texture. • low frequency oscillator section: these knobs apply modulation to the selected instrument. By using the lfo to modulate various aspects of the audio signal, you can apply effects such as vibrato or tremolo. • adsr envelope generator with attack, sustain, decay and release parameters. • pitch bend: the pitch bend knob directly changes the pitch of the selected instrument. • reverb built-in: provides a spaciousness and depth to simulate the sound reflections from walls, floors and ceilings following a sound created in an acoustically reflective environment. Small rooms can be modeled as well as large spaces. • filter section: with filter type box for low pass filter and high pass filter. • amplitude range parameters: it controls the loudness, the way in which we perceive amplitude. The sensitivity level is set by the user. • panning potentiometer control. • midi cc automation: implementation of midi continuous controller parameters for use with external hardware control via daw.

This is a sci-fi ambient drone sound i made. It's creative commons cc0, so please treat it as public domain. You can use it in any commercial or non-commercial media for free, no restrictions. For those curious how i made this, i took a quick 8-second drum loop from my pocket operator po-33 (ko) and ran it through a free time-stretching/pitch-shifting program called akaizer. The program's based on old samplers like the akai s1000 that had extremely artifact-heavy time-stretching and pitch-shifting features. If you slow a sound down enough, the final product tends to sound harsh and electric. Akaizer turned my 8-second drum loop into 2 minutes and 38 seconds of harsh, bassy noise, pretty damn close to the final. Then i imported the file (we'll call it file a) into reaper, my daw. Track 1 has reaeq with a high-shelf acting like a low-pass. Its curve is set at 1386. 2 hz, gain at -inf, and bandwidth at 2. In retrospect, i have no idea why i didn't use a low-pass. Track 1 has a send to a blank track 2, which has a fab-filter pro-q 3 high-pass filter with a 12db slope. It's at 320. 57hz, q is 1. 096. After the eq, track 2 has valhalla shimmer set to the black hole preset with no changes. Track 3 is the default file a with valhalla shimmer on the black hole setting, but with two tweaks. Low-cut is at 30hz, high-cut is at 6630hz. Everything else is the same. That's followed by fab-filter pro-q 3 with these eq settings:-0. 72db at 69. 463hz, q at 1. 007. -1. 11db at 536. 64hz, q at 1. 013, dynamic eq (click "make dynamic" and leave everything as-is). The point of this dynamic eq is to give a slight drop in gain in the 500hz region, which tends to get muddy in larger mixes. I wasn't sure if i'd use this for a larger project, and i didn't want build-up in that region from the already large-sounding track 1 and 2. The ocassional eq drops here also adds a warble to the final mix that helps sell an analog, electrical sound. +0. 85db at 3697. 3hz, q at 1. 009. This is to add subtle airiness to the drone. It seems weird to have "airiness" in the 3-4k region, but it's the sort of rumbliness of the sound traveling away and dissipating in the atmosphere after the lowest drone sounds. My volume fader settings for all 3 tracks:. Track 1: -8. 59 dbtrack 2: -6. 46 dbtrack 3: -6. 43 db. On my master bus, i have izotope imager 9 with these settings:. Band 1: width at -100 (mono) for 59hz and below. Band 2: nothing at 60hz to 525hz (width at 0). Band 3: width at 48. 1 for 526 to 1. 4khz. Band 4: width at 49. 4 at 1. 4khz and above. Stereoize is set to 6. 4ms on mode i. And that's it! no compressors or limiters anywhere, since i liked how dynamic the actual tracks were and i figure you can always add your own compressor or limiter to the final if you want. I've also added the original po-33 drum loop on my page, as well as the loop after it was run through akaizer but before it hit reaper in case you want to do your own processing. Enjoy :).

Clean recording of various sounds that would occur when maneuvering around an office space (specifically a desk) and manipulating common office objects. Recording features lots of paper rustling and sliding across a wooden desk, handling pens and a stapler, stuffing manila folders and plastic binders, and towards the end there are some sounds of small-medium sized personal bag being unzipped and zipped and then being filled with some of the office materials. Should work great for filling in general office noises in a scene or reinforcing actions that involve any of the materials featured in the recording. There should be enough variety to allow you to glean more isolated sounds or just use assortments of layered sounds. Recorded with an akg p170 into a tascam 208i audio interface at 48khz/24-bit. Microphone was positioned roughly 1. 5 - 2 feet away from the source. There is some slight room reverb present, which is intentional, and should match common office workspaces well. An 85hz high-pass filter was applied to remove any unintentional, unnatural low-frequency rumbling that may have been picked up during recording.

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!.

This is me playing an egg shaker. It will loop perfectly at 80 bpm or 160 bpm. Basic cleanup in audacity (noise removal, low pass and high pass filters).

This is me playing an egg shaker. It will loop perfectly at 80 bpm or 160 bpm. Basic cleanup in audacity (noise removal, low pass and high pass filters).

A semi-automatic rifle, pitched down 3 semi-tones. Made in bitwig, i used 10 different recorded gunshot layers that have been eq'ed and multiband compressed to form a new gun sound. Subbass was synthesized for the super low end. The process i use is to select frequencies using high pass and lowpass filters from a recording for the lows, mids and highs. This forms a "layered sound".