2,024 Royalty-Free Audio Tracks for "In C"

Some guys across the alley were throwing things out the window this morning, which woke me up and ticked me off. Instead of yelling at them, i put up my mic and recorded the impacts. This is the raw audio from the recording (only mono, sorry, didn't have time to set up two mics). Some really nice impacts and other hidden goodies in here. Later i may take some cuts out of it and put them up. Mic: rode nt1-aposition: from window c. 30 feet away.

I stood quite sheltered from the wind, above me the rustling trees from the breeze that was just blowing. In the distance a dog was barking. Nice stereo effect :-). The recording is edited. The recording is cut and the ends are faded in and out, 2 seconds each. Otherwise no further editing is done. This is my contribution # 3. Recording device: zoom h5microphone: xyh-5date: 01 august 2020time: morning, 09:48location: schwanewede, northern germanyweather: 24 °c, sunshine and cloudy sky. Very humid. Storm air. The clouds pulled together, a thunderstorm was brewing (but there was no thunderstorm). Humidity approx. 68 %, wind from south-southeast, 2-3 bft.

Field recording of the spectator's perspective of a german regions' league football game in leipzig's red bull arena, on april 28th 2013. Rb leipzig is playing against fc magdeburg. The recorder is situated amongst several spectators of all ages, several children are present and heard. The clip starts of with spectators clapping and drumming rythmically, then you hear the referee whistle, and loud cheering suddenly starts. Rb leipzig has scored 2:0 against magdeburg. James brown's "i feel good is played on the p. A. In the distance, and the m. C. Announces the player who shot the goal, along with the score, with the emphatic help of the audience. Recording was conducted in the rb leipzig fans' block using a zoom h2, mics set to 90° dispersion.

Bi-drum finale. This sound provides an impact point, an action conclusion suggestion. I combined two drum sound samples, one of the impact with a deep echo, and one a hollow wood tube strike against a hard object to a certain rhythm. The sound is somewhat like the primal drum sounds used in survivor. I used magix music maker, magix software gmbh (www. Magix. Com) with two object plug-ins; solar wood 6_ogg_001. Hdp, and right huge impact_ogg_001. Hdp. Enjoy. C gillespie sound library.

Ok, i don't know how many of you might be interested in this, but i figure there's no harm in posting it. I'm working on some original songs. Laptop-based, electronic songs, with many orchestral parts, including violin, viola, cello, and string bass. Presonus studio one has some very nice vst string instruments, and i have some really great ones for kontakt. But they all are missing one thing, and i couldn't find the (admittedly esoteric) sound that i'm looking for anywhere on the internet. Being a viola player myself, i recorded myself playing these very particular incidental sounds. Let me explain-. There's this 'grabby' sound that a well-rosined bow makes just is it is first being drawn across the string. Listen carefully to any of the pros and you'll hear it. In your laptop sequences, if used subtly, right at the point where the first note of a phrase is initiated, this sound can give the string part a marked sense of realism*. This, combined with vibrato, reverb and a nice warm/tube/tape saturation setting, nobody will be able to tell the difference between your vst and the real thing. About the audio-i tried to keep them as pitchless as possible, thus not limiting their utility. I recorded two sets of all four open strings (c, g, d, a), first close mic'ed, and once from a few feet away, in stereo. Or to say it another way, the sounds are as follows-1. Open c close2. Open g close3. Open d close4. Open a close5. Open c far6. Open g far7. Open d far8. Open a far. It's totally overkill for me to record all the different versions, but i suppose somebody out there might find one more appropriate than another for their purposes. They work pretty effortlessly for violin and viola, but you might have to pitch them down for cello and string bass. I added no processing whatsoever, apart from normalizing each individual sound. Aiff, recorded at 44/16. Nady scm-2090 stereo condenser mic, focusrite saffire pro 24 interface, recorded in logic. Not the quietest room, but these sounds will be so far down in the mix that it won't matter. Free for all to download, no attribution necessary. Http://www. Freesound. Org/people/bruce%20burbank/sounds/220917/. As an example, here's the part i'm working on that motivated me to record these sounds, with the grabby sound in place. See if you can spot the three times i used it. *pro tip- much the same way i'll insert an inhale breath right before horn or oboe phrases.

This sound has been recorded with the h4n pro. You can use this sound in your project regardless if it is commercial or non-commercial but it would be awesome if you could tag our following instagram accounts somewhere in the description:https://www. Instagram. Com/finnkleffmann/https://www. Instagram. Com/florianreichelt/. Leave a comment and tell me for which project you used it!! :). By the way - have you guys already checked out my good friends youtube channel?you will find a lot of good covers and awesome songs there:https://www. Youtube. Com/c/finnkleffmann. Stock footage isn't dead! make 2000$/month via blackbox!register now: http://bit. Ly/stockblackbox.

I played arbitrary co-soundings on the mystic scale (it becomes mystic arabian if you mimic arabian music; otherwise is sounds european). I applied 300 hz steep low pass (eq) on an inverse sawtooth soundwave generator. I applied many delay effects in tandem. Created on fruity loops and re-equed on wavelab. Mystic(has three submodes, scale-shifts [same intervals, overall shifted]). • do, re#, mi, sol, sol#, si• do, do#, mi, fa, sol#, la• do#, re, fa, fa# la, la#. (semitonally/fret steps: 0, +1, +3, +1, +3, +1, +3). (si = ti, do = c). It is chordable.

Recorded a basic drum and muted guitar loop at 105-bpm using ableton live 9. 4 notes per bar played on guitar in this order: d a c a. Drums are kontakt player "urban beats" default setting. Guitar is a single coil telecaster playing thru a reverb pedal (shift line's astronaut a+) and mic'd up w/ a ldc. Additional notes:-14. 8 lufs integrated-1. 8 db true peak max. Want something more customized? send me a note or visit myyoutube. Com/bainmack. Hope this helps and is useful for your next project. Cheers,bainmack.

Twitter https://twitter. Com/samples_simple@samples_simple. More bass lines on my youtube channelhttps://youtu. Be/n1psilegxwa?list=pl9bdtoyt75avynpu55sc1v6fhamafegix. An excellent example of how my samples can be usedjames gallag - hot lovehttps://www. Youtube. Com/watch?v=nccpy40zyys. Donations directly to me are welcome at this link below, i appreciate it. Https://www. Paypal. Com/paypalme/josefpres1. This sound can be combined with other sounds in the pack. Otherwise, it is well usable up to 120 bpm. Subscribe my youtube channel :-)for new samples. Https://youtu. Be/fzhu2rkaxvc?t=17. Facebook. Https://www. Facebook. Com/simplesamplesweb.

Amen break by the winstons [specifically g. C. Coleman] (at 1:26): (https://www. Youtube. Com/watch?v=gxzuq57_bym). I used audio source separator isse,(http://isse. Sourceforge. Net/), to separate the individual snare hits from the ride hits as well as the kicks,. I recorded the amen break samples to be separated with this amen break vst because it has good room reverb on it:. (https://www. Kvraudio. Com/product/db-force-the-amen-by-mastrcode-music). You can put this audio file in a splicer to make custom drum beats.

(recorder: zoomh4npro 2018)(microphones: zoomh4npro 2018 on-board microphones). This is a recording of illegal fireworks being launched all over los angeles on the 4th of july, 2020. All surface to air fireworks are illegal but, due to covid-19 cabin fever, people just didn't care this year. This recording is almost 99% voice free. There was a couple on a balcony that are barely heard muttering something in just a minute or two of this recording. For the most part, it's clean. I kept the peaks very low to maintain a natural sound. All of my sounds recordings are provided free of all charges. I give all rights to the down-loader for any purpose either personal or commercial. Enjoy!. Christopher c. Courter.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tampura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them, strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" speaks for itself. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

Wrote/recorded a free dance tune at 120bpm using ableton live 9. The notes revolve around: c, g, d, e, dableton stock drum rack w/ stock samples for the percussion section. Mod amp sine bleep for the side toms. Ableton stock grand piano for piano. Muggy stock plugin for the synth-like parts w/ pitch bends in the midi. Synth1 vst64 for the long sustaining notes during the rhythm synth parts. Other notes about this recording:-14. 0 lufs integrated. -1. 4 db true peak max. Hope this helps and is useful for your next project. Cheers,bainmack. Youtube. Com/bainmack.

This is the sound of a viking electric lawnmower in action; mowing a piece of lawn. Today i got my audio equipment. This is my first contribution. When i was walking around today to catch sounds, i met a man who was mowing his lawn. I asked him if i could record him while he was mowing his lawn. He agreed and i was allowed to record him mowing. It's a viking electric lawnmower. Description: a man mows the lawn with an electric lawnmower. He drives the lawn mower over a piece of path to the meadow, mows and drives the lawn mower back. At the beginning of the recording, there is a short question asked if he should start now, which i confirm. The recording is unedited. Recording device: zoom h5microphone: xyh-5date: 31 july 2020place: schwanewede, northern germanytime: afternoon, about 4 pm. Weather: 25 °c, sunshine. Hardly any clouds in the sky. Wind from east-northeast, 2 bft.

Melodic snippets from recordings of me playing the swar sangam. This wonderful instrument is a combination of the swarmandal and the tanpura. 15 harp strings and 4 drone/bass strings. In these recordings i am only using the swarmandal (harp) part. It is tuned to c sharp, but i have dropped the fourth note (f sharp) out of the scale. There are four packs with lots of recordings in them; strums, plucks, short improvisations. "short melodic statements" are 1-2 bars. "riffs" are 2-4 bars. "melodies" are about 30 seconds and "runs and flutters" is experimenting with running up and down the strings. There is recording of tuning up the swarmandal in the melodies pack. The snippets were taken from recordings done on three different days so you may notice a slight difference in volume and background noise. A couple of the recordings have some ambient noise (bird tweets, wind chimes,)some of the melodies are based around a similar theme but have enough variation to be interesting/useful. Credit is not required but always appreciated. Linking to the sound allows others to find this amazing website. :-)i love to hear what you have used my sounds for!.

This lovely little toy piano has been a member of my parent’s home since before i can remember. These days it falls under the jurisdiction of my 4-year old niece, who was ever so kind as to allow me to record it!. It has a fabulous tinkling and out-of-tune carnival sort of sound, and i wanted to capture that before the piano was destroyed altogether. I have editing the original recordings and built a kontakt instrument with them, available for free on my website at www. Framingnoise. Com. Enjoy! and if you want to send me a link to what you’ve done with the piano in the comments below, i surely would love to hear it :).

11/29/2018 - burbank, california. Rain, flooding, and mudslides come to california when a sudden storm hit today. Most people got off the freeways quickly and tried to protect their homes from water damage. This recording was recorded with a zoomh4npro (2018) set at 120 degree field-pattern mode. The zoom was placed on a tripod facing out a 3rd floor window into a dead-end alleyway below. This recording is great atmospheric sound. The water can be heard trickling off spanish tile rooftops and dripping from overflowing terracotta pots. From the passing cars on a distant highway, to the occasional cough of a homeless gentleman walking on the street below, this recording is genuine and clean. Imagine adding that sound of a metal garbage can and a shrieking cat in the night! a sound that's great for sleeping or portraying a dark alley in gotham!. Enjoy!. Christopher c. Courter.

A stockholm, sweden commuter rail x60 train (alstom coradia nordic) on the then j35 (bålsta - nynäshamn) line arriving at and leaving from the älvsjö station. It was a cold day, if i recall correctly between -10 to -20°c (-5 to 15°f) and there was about 1 or 2 centimeters (1/4 to 1/2 inch) of powdery snow. 00:00 warning signal at crossing (for commuter train employees only) with train arriving in background. 00:21 footsteps in cold thin snow layer00:25 squealing as the train comes to a stop00:36 doors opening00:41 driver announcing that the train will depart for stockholm central station and bålsta station00:55 warning sound before doors are closing and more footsteps00:58 doors closing01:11 squealing as the train start to roll. Recorded friday december 18, 2009, 10:01 am (utc + 1 h), with the built in mic of a canon digital ixus 950 is camera (which could be used to record audio only). File straight off from the camera with the exception of id3 tags added with foobar2000 v1. 3. 4.

Tournament Galop performed by the Rampart Winds of the United States Air Force Academy Band. Track 1 from Golden Door (2003). Recorded November 5-8, 2001 at Sunrise United Methodist Church, Colorado Springs.[1] Credits: Administrator [Rampart Winds NCOIC], Clarinet [Rampart Winds] – Scott Richardson (9) Bassoon [Rampart Winds] – Alex Vieira (3) Coordinator [Production Assistant] – Sandra Tiemens Design Concept – Chris Hureau Engineer [Assistant], Coordinator [Production] – Douglas M. Huggins* Engineer, Mixed By, Edited By – Bruce Leek Executive-Producer, Administrator [Commander] – Philip C. Chevallard Flute [Rampart Winds] – Cheryl White (2) Horn [Rampart Winds] – Mark Firks Liner Notes – Scott Richardson (9) Oboe [Rampart Winds] – Sarah Balian Producer, Administrator [Deputy Commander] – Matthew S. Henry

Label: His Master's Voice Cat. no.: C 3443 Order number: 2ER 850 Matrix/StamperID: 2ER 850I 1st release date: 1945 1st recording date: 8 April 1945 Place of recording: unknown Author(s)/Composer(s): Edward Elgar (1857-1934) Lyricist(s): Text from the poem by John Henry Newman (1801-1890) Conductor: Malcolm Sargent (1895-1967) Performer(s): Liverpool Philharmonic Orchestra Vocal range: instrumental Title/Work: The Dream of Gerontius, Op. 38 Content: But hark! a grand mysterious harmony (Part 2, Section 5) Genre(s): Oratorio Comments: RCM and ELP

Noise created by individual oscillators, using audio paint, with different height images, to demonstrate what happens with too few oscillators vs. Plenty. In the end, the result is not random enough to be noise. The first 2-second burst is pure white noise for comparison. Then we have multiple 1-second bursts from audio-paint in a sequence of different image sizes: 50,100,150,200,250,350, 500, 700, 1000, 1350, 1750, 2200, 2700, 3250, 3850, 4500, and 9999 (this corresponds to the number of oscillators). The last burst is longer, and there is 1/2 second gap of silence after the first (reference) burst and before that last (9999) burst. The images other dimension was 20. The spacing of frequencies was exponential, between 40 hz and 18 khz. This is not intended to be useful, just an illustration during a discussion in a forum (http://www. Freesound. Org/forum/sample-requests/35199/?page=2#post75605). As mentioned there, i realized only afterward that exponential spacing would be giving me an approximation to pink noise instead of white noise, so the reference burst at the start is not really a fair comparison. Ideally, i would go back and re-do all this using linear spacing, but that's a lot of trouble. :-) i did, however, change to linear to get a white approximation, but that's a different sound i'll upload separately (c. F. Http://www. Freesound. Org/people/zimbot/sounds/242053/). I don't believe you can get true white noise without at least something being random in your synthesis method.

These samples are created to work with the vg trumpet for ni kontakt. For information about vgtrumpet pleasr visit www. Vgtrumpet. Comthe sample was recorded with a pair of neumann u 87 mics and mastered in sound forge pro 10. The sample was recorded at full 24bit/44. 1khz depth to capture every detail. Here are some sound examples:http://vgtrumpet. Com/http://www. Youtube. Com/watch?v=ffoa8zj0ktehttp://www. Youtube. Com/watch?v=9apw8ufklucvg trumpet soft is a bb trumpet that has been recorded and programmed as a very high quality kontakt instrument with a custom graphic interface. Each note was individually sampled to achieve maximum realism. Vg trumpet will give you the intimacy, warmth and the natural sound of a real instrument. It’s straightforward and easy-to-use interface with advanced kontakt scripting allows for incredibly realistic phrasing and performance. If you’re in the market for brass sounds, you simply must check it out….

As a homage to freesound. Org for being a member for over 7 years under the name "djeuphoria", i present the freesound community with some unique sounds i've created recently using loads of different plugins and synthesizers that i've been acquiring over the years that has slowly turned into a massive collection. So with that being said i'm going to be periodically adding sounds to my "dream sample pack" so you can all hear the sounds i've been creating under my new nickname "dream", thank you all for the downloads, its awesome to see how terrible my sound quality was and how much i've improved from that, enjoy these awesome synth sounds i've engineered, cheers. -dreamp. S, most of the melodic sounds are recorded in the key of c for convenience and all foley sounds are recorded with a zoom h4 at 44khz.

Broadcast made by the Russian composer Dmitri Shostakovich from the besieged city of Leningrad in 1941. The work he refers to here is Symphony No. 7 in C Major, opus 60, subtitled Leningrad. Transcript: An hour ago, I finished the score of two parts of a large symphonic composition. If I succeed in writing this composition well, if I succeed in completing the third and fourth parts, then it will be possible to call this composition the seventh symphony. Why do I announce this? So that the radio listeners who are listening to me now will know that the life of our city goes on as normal. We are all now doing our military duty. Soviet musicians, my dear friends and numerous brothers-in-arms, my friends! Remember that our art is now in great danger. Let us defend our music, let us work honestly and selflessly! Hace una hora, he terminado la partitura de dos partes de una composición sinfónica de gran tamaño. De tener éxito en escribir bien esta composición, de tener éxito en completar las partes tercera y cuarta, entonces se hará posible llamar a esta composición la sinfonía sétima. ¿Por qué les anuncio esto? Para que los radioescuchas que me están escuchando ahora sepan que la vida en nuestra ciudad prosigue como de costumbre. Todos estamos ahora haciendo nuestro deber militar. ¡Músicos soviéticos, queridos amigos y numerosos hermanos de armas míos, mis amigos! Recuerden que nuestro arte está en gran peligro ahora. ¡Defendamos nuestra música, trabajemos honesta y desinteresadamente! Час тому назад я закончил партитуру двух частей большого симфонического сочинения. Если это сочинение мне удасться написать хорошо, удасться закончить третью и четвертую части, то тогда можно будет назвать это сочинение Седьмой симфонией. Для чего я сообщаю об этом? Для того, чтобы радиослушатели, которые слушают меня сейчас, знали, что жизнь нашего города идет нормально. Все мы несем сейчас свою боевую вахту. Советские музыканты, мои дорогие и многочисленные соратники по оружию, мои друзья! Помните, что сейчас нашему искусству грозит великая опасность. Будем же защищать нашу музыку, будем же честно и самоотверженно работать.

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.

Binaural walk around a supermarketsomewhere in nw england, aug 2012. Roland cs-10em microphonesony pcm-m10 recorder.

Plastic cup thrown in trash.

This sound was recorded in my bedroom. It was recorded on may 19th between 12:00 and 13:00 with a zoom h2 recorder. The sound consists in a voice singing like a bass guitar.

Ambience sound in upf cafeteria. (h4-recorder@upf-poblenou).

Tap wather falling in the sink.

Recorded in studiosanken cs-1 into sound devices 644.

This sound is a 1-sample long impulse at 48 khz. It covers the whole frequency range with equal power. This is a perfect sample for exciting your guitar amp or reverb unit to capture it's impulse response (ir). You can also play it through a speaker in a reverbant room to capture it's reverb characteristics. Remember that the ir sample will be no flatter than your speaker's performance multiplied by your microphone's performance (frequency response characteristics). The sample has exaclty 1 second of silence, then the impulse, then another second of silence to ensure the impulse will be played clean and untruncated on any sound system or device. My test with ir lv2 convolution plugin have proven, that this sample has absolutely flat frequency response - convolved signal was identical to the source signal. After normalization and sample-alignment of the sound clips i have inverted the polarisatin of one of them and summed them - result was absolute silence, even no hiss was present as a result. This shows the accuracy of the convolution process and proves this sound to be perfect for sampling ir. The impusle was generated with c* dirac ladspa plugin. Created using audacity.

Water sloshing in metal potrecorded with a sanken cs-3.

Cows in paddock on new zealand farmsanken cs-1 into sound devices 644.

Paying and packing food in the upf cafeteria. (h2-recorder@upf-poblenou).

Sound producede by door closing in bathroom.

Traffic in downtown toronto (2008), binaural. Zoom h2 with cs-10em.

Taking a coffee in a real expresso machine (h2-recorder@upf-poblenou).

Binaural recording of flies and a crow using roland cs-10em microphone. In the end the crow takes flight, pumping its wings. Fly sounds buzzing near ears are similar to atmosphere sounds in german tv series dark.

Traffic in downtown toronto (2008), binaural. Zoom h2 with cs-10em.

It is a sound of the pen sliding in a paper writing something in a tallers class in poblenou campus.

Quartet: "Bella figlia dell' amore" from Giuseppe Verdi's opera Rigoletto (1851), performed by Enrico Caruso (the Duke of Mantua), Louise Homer (Maddalena), Bessie Abott (Gilda), and Antonio Scotti (Rigoletto). This is Victor Records Matrix C-4259, recorded on 20 February 1907 in New York City, and released under a variety of labels (full details) “..Bella figlia dell'amore”, cuarteto de la ópera lírica “Rigoletto” de Giuseppe Verdi. La pieza, de una grabación de la ópera de 1907 de la casa discográfica Victor Records, siendo protagonistas Enrico Caruso, Bessie Abott, Louise Homer y Antonio Scotti. Bella figlia dell'amore, de Rigoletto de Giuseppe Verdi. Enregistrement de 1907, avec Enrico Caruso, Bessie Abott, Louise Homer et Antonio Scotti. Italiano: “Un dì se ben rammentomi ...Bella figlia dell'amore”, quartetto dall'opera lirica “Rigoletto” di Giuseppe Verdi. Il pezzo, da una registrazione dell'opera del 1907 a cura della casa discografica Victor Records, vede protagonisti Enrico Caruso, Bessie Abott, Louise Homer e Antonio Scotti. Македонски: „Убава ќерко на љубовта“ (Bella figlia dell'amore) од операта „Риголето“ од Џузепе Верди во изведба на Енрико Карузо, Беси Абот, Луиз Хомер и Антонио Шоти (снимка од 1907 г.) "Bella figlia dell'amore" из Риголетто Джузеппе Верди. В 1907 студия Victor Records записала исполнение Энрико Карузо, Бесси Аботт, Луизы Гомер и Антонио Скотти. Tiếng Việt: "Bella figlia dell'amore" trích trong vở Rigoletto của Giuseppe Verdi. Bản thu thanh năm 1907 của hãng Victor Records với các giọng hát của Enrico Caruso, Bessie Abott, Louise Homer và Antonio Scotti.

This sound was made with the chain of the bathroom in a wc of the second floor in the library of campus de la comunicació of university pompeu fabra ( barcelona ) by a zoom h2 recorder. What we perceive is the bath water falling down the tank.

It is the sound of move a chair noisily in one class in tallers, a building inside the poblenou campus.

Cs 1. 6 bomb defusal sound performed by me and recorded in audacity w/filters.

1st january in a small italian town southern italysanken cs-1 into sound devices 644edited and mastered.

Wind in trees, no leaves, gusty. Roof mounted cs-10em mics.

Bang recorded in empty warehousehardware: behringer b-1, akg c414, motu 828x, macbook prosoftware: adobe audition cs 6no post processing.