2,974 Royalty-Free Audio Tracks for "Pass"

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.

Sveriges Radios folkmusikinspelningar. Hälsingland/Gästriklandresan 1949 Dokumentatör: Matts Arnberg SV EN Instrument: Röst (sång) Hänvisning till tryckt källa: Radiotjänsts folkvisetävling, A 478:1 (Samling hos Svenskt visarkiv) Radiotjänsts ursprungliga produktionsnummer: L-B 49/12062:4:1

Au clair de la lune (trad., maybe Jean-Baptiste Lully), first four bars, in D mode (not the original mode: made to provide an example of the influence of the mode); made with LiLypond Au clair de la lune (trad., peut-être Jean-Baptiste Lully), quatre première mesures, en mode de ré (ce n'est pas le mode original, il s'agit d'un exemple pour montrer l'influence du mode) ; fait avec LiLypond

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.

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.

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.

Ringmodulated inversion of my speech from the file https://freesound. Org/people/kb7clx/sounds/648443/ invertedspeechcq. Wav. I took the raw recording and used goldwave's mechanize effect to translate my voice to a center frequency of 14khz. I then demodulated it first at 10. 6 and then 10. 2khz meaning that what comes out is essentially the opposite sideband, offset by 3. 4 and 3. 8khz respectively. 3khz just didn't sound as good. The first i filtered with a low pass of 2. 9khz, the second was filtered to below 3. 4khz to emulate a communications receiver passband. I am speaking upside down as described in this video. Https://www. Youtube. Com/watch?v=q_ykxzcbh-g beginning at 00:03:16. Being blind i can't see their diagram, but i've got my own by ear intuitive method, keeping in mind that oo and ee are farthest from each other, all other vowells get closer the closer they are to the middle of the human voice frequency range. I say: huhlay sue quee, sue quee, sue quee do ux. Cahlloong sue quee sue quee sue quee do ux. The ay in huhllay is like when a spanish speaker says béisbol (baseball). The a in cahlloong is like the a in cat if you're opening wide for the doctor. The oo is like the oo in book. Listen to the other file and you'll hear: hello cq cq cq dx. Calling cq cq cq dx.

Marsian « toc toc ». Générer un click track. Garder une seule partie en sélectionnant les notes identiques. Effet « répéter » pour avoir six notes, et couper entre les deux répétitions pour ne pas avoir trop de blancchanger la hauteur à 113%changer la vitesse, pourcentage de modification : 10%. Typologie : x’’, itération complexe. - masse:son répété, identique, avec une pause entre chaque note. - timbre harmonique:clair. - grain:un léger grain sur le début de chaque note. - allure:un léger vide entre chaque note. Cinq répétitions de la première. - dynamique:entrée du son douce. .

The staten island ferry "molinari" on final approach into st. George, staten island, late in the afternoon on april 04, 2021. The recording was made from the rear port side of the upper deck (where people are supposed to be quiet, but clearly don't obey the rules). Although the ambience is the in the public domain, the docking announcement over the pa system may need to be licensed through the dot. Note: this is a raw recording from a zoom h4n using the on-board x-y microphone. No processing has taken place. Ste-034. Wav, ambiance session on april 04, 2021.

This sound is completely analog. I recorded the sound of a person who was walking on the street. I chose to leave the noise of the street so that we understand that the person walks outside. I used the effect "amplification" to reduce the noise of the street and increase the sound of step. I made a fade in opening and closing, so that we have the impression that the steps are moving towards us then moves away. At the same time, i played with the pitch of the sound to accentuate this effect. Descriptif selon la typologie de schaeffer :code : x''précisions morphologie :- masse : groupe nodal / complexe- timbre harmonique : terne- grain : rugeux- allure : ne comporte pas de vibrato- dynamique : l’attaque est douce et graduelle- profil mélodique : scalaire- profil de masse : le son paraît plus calibré.

This is the audible annunciation found at all intersections with traffic lights in paris, france. It announces the condition of the traffic lights for pedestrians who are blind or with impaired vision. The annunciation is turned on by pressing a button on the traffic light pole. When the crosswalk sign is red (do not cross), the recorded annunciation is always "rouge piéton" ("red light, pedestrian"), followed by the name of the street that the crosswalk crosses (in this case "rue d'antin," the quiet side street where i recorded this). This repeats over and over until the crosswalk changes to green, at which point there is a two-second trill tone followed by a repeating bell tone. The bell tone is one bell, followed by two bells, repeated four times, followed by a very brief pause, and then the sequence is repeated again. This continues until the crosswalk changes back to red, at which point the "rouge piéton" message resumes. The annunciation continues for at least one cycle of the traffic lights and then stops, unless the button is pressed again. The audio quality of the annunciation is very poor even in real life (it sounds like a wax cylinder recording or something), and can be difficult to understand. This recording accurately captures the poor quality of the annunciation. The volume of the annunciation is also adjusted dynamically based on ambient noise, so there is a slight change in volume on this recording as the system apparently reacts to noise from traffic or something. There is a weak background noise that sounds like some sort of machine, but it wasn't coming from the traffic light and i don't know the source. The recording starts with the crosswalk red, then at about 18. 3 seconds it changes to green, then it changes back to red at about 53 seconds. A car passes at around 48 seconds. Recorded with a zoom h4n, stereo 96 khz / 24 bits, built-in mics, from about ten inches below the tiny speaker in the crosswalk sign housing.

This is a quick fire sound i made using qubodup's "swing 25" public domain/cc0 upload on this site. It's a bamboo stick swinging, which i layered and toyed with to get the results here. For those curious, here are the steps. * i took the file into reaper, and slowed the file's playback rate to 31% of the original. * i then duplicated the file three times, for a total of 4 tracks. * track 1 (lowish gas-burner sound):- reverb (drum-room impulse response, a medium-sounding reverb with a slight deadness to it. In free impulse loader reverberate le, stretched impulse to 150% and set attack time to 0. 218s). - eq (-8db bandpass near 200hz, rising back to 0 by the 1k mark. Low-pass applied at 5. 8khz). * track 2 (lowest of sounds, like a bassy gas-burner):- chorus effect. That's it. (specifically acon digital multiply, a free plugin, set to the "romantic" preset). * track 3 (not as low as track 2, but closer to track 2 than 1)- reverb (a large hall impulse response. No adjustments, ie. No increased attack or stretching like for track 1. ). -chorus doubler (free plugin duet, preset: "basic doubler. " same effect as if i had doubled the track and pitched one up 6 cents. ). - chorus (free plugin acon digital multiply, preset: "romantic. "). * track 4 (most flame-thrower, whooshy of tracks. )- reverb (impulse response says "hall medium," but it's a thick, even echo from start to finish. Makes the sound go from its default "whoosh" to a flamethrower noise. - chorus doubler (duet again, preset: basic doubler). - chorus (acon digital multiply, preset: "romantic. "). Master bus:. - compressor (tdr kotelnikov mastering compressor, the free successor to the tdr feedback compressor ii. Preset: punchy. Thresh: -20. 9, soft knee: -1. 5, ratio: 2:0:1, attack: 7. 0 ms, release peak: 70 ms, release rms: 165 ms, makeup: 1. 5 db, output: 2. 0 db. That's it.

Hi. This soundfile was recorded on 03. 06. 2017 in szczecin, nw poland (gumience district to be precise). The time of this recording is from around 3 a. M. (when the sun was allready rising) till around 7:30 a. M. What's funny about that, is that i turned my recorder on and layed it on the windowsill (display up) on altitude around 5 meters (first floor), (the recorder is facing ne direction) because the birds were allready going crazy!, and after some time i felt asleep, and the recorder was left on. There are many many kinds of birds around, cause there is a big cementery near by, with lots of trees, and some wild fruit orchard too. I had this one moment, when the birds were so active, that let's say they spinned it me around, and worked me up to a beautifull spiritual moment with their sounds, and then i felt asleep. Later through the recording you can hear me snoring, you can hear my alarm clock going on (and that haven't woken me up too;). The bass resonance of cars passing by makes this recording a bit heavy in some places, and the wind made it's mark too, but that shoudn't be a big of an issue here. As i listen to it now, so much things happened while i was asleep. . . [ 3:30 a. M. !: some people are singing and speaking, and you can clearly hear one of them saying: "kurwa, grubo", which means - "f**k, heavy". Later on, the neighbours weren't sloppy too;). Hearing such recordings doesn't give you the liminous feeling of the place where it was recorded. You only get audio here, not the vision, the light, the brightness, the movement, the actions, and the space, the physical elements, only the best can imagine (so if you don't have such an imagination, pm me and i can send you a photo of the place where all this took place). Anyway, i hope that the birds will keep rockin' their solos, and the bees will keep visiting all the flowers around forever! (who knows, i might become one of them sometime;). Thanks and have a good listening session. Szymon.

We where located in the news media viewing area called nasa causeway. This as close as anyone can get to the launch. This was the maiden voyage of the orion spacecraft, and one of the very few delta iv heavy launches. In the beginning of recording you hear nasa announcer giving countdown into loud speakers, when you reach around the 1min 50 sec mark the true booster engine sound overtakes the pa system. We are very grateful for the opportunity to share this, most powerful man made machine with 2. 1million pounds of thrust to get millions of pounds into space.

Save A Little Dram For Me song from United States prohibition era. MEDIUM: 1 sound disc : analog, 80 rpm ; 10 in. CREATED/PUBLISHED Orange, N.J.: Edison. Lyrics: (spoken) In the middle of the sermon, Parson Johnson rose and started sniffing the air. There was a peculiar smell tricklin’ up the parson’s nose. That told him that gin was ‘round somewhere. And he closed his Bible gently in the middle of the psalm and started figurin’ mentally where that smell was coming from. His eyes scanned every pew, and then he did declare, he says “I announce this meetin’ through… (sung) …until you kick in with my share.” Oh Bretheren if you want more preachin’ Save a little dram for me. Glory hallelujah Why drinkin’ gin ain’t against my teachin’. Treat me with equality. (spoken) From this here smell it’s very plain to see That somebody here’s been holding out on me. (sung) For Bretheren if you want more preachin’ Save a little dram for me. (spoken) Now when they passed the bone dry law, I was the very first to say that it never would stay And neither did I think the law could regulate our thirst. That’s why I’ve got some stored away. Now since prohibition’s got us drinks is few and far between. Of all the stingy brothers you’re the worst I’ve ever seen. But I insist on my share. Don’t say it’s all run out Or else you’re going where-- You know that bad place I been preachin’ ‘bout? (sung) For Bretheren if you want more preachin’ Save a little dram for me. Glory hallelujah Why drinkin’ gin ain’t against my teachin’. Treat me with equality. (spoken) I’ve shared your joy and I’ve shared your sin And believe me brothers I’m gwine to share your gin. (sung) For Bretheren if you want more preachin’ Save a little dram for me. Українська: «Збережи для мене трохи драм», пісня з епохи сухого закону США, випущена в 1922 році.

Sveriges Radios folkmusikinspelningar. Ålandsresan 1958 Dokumentatör: Matts Arnberg Instrument: Röst (sång) Radiotjänsts ursprungliga produktionsnummer: Ma 58/11869 S Text: I Nordens kalla isbetäckta dalar, var där en härjande en hungersnöd en sorglig röst i modrens hjärta talar ta dina barn, gå ut och sök dig bröd. Det yngsta barnet uppå ryggen hängde uti en påse gjord av rot och bast. Vid varje steg, det dinglade och slängde, men barnet höll sig tätt vid halsen fast. Dessutom tvenne hon vid handen leder[alt. ledde], så fromt och underligen, gård från gård. Ty hon om bröd blott för barnen beder[alt. bedde], vem kunde emot henne vara hård? Om kvällen kom hon till en riker bonde, hon bad att över natten få bli kvar. men han var stinn och inbillsk som hin onde: »För tiggarpack jag sällan nattro har.» Till prästgården vill hon när det bli kväller att där få vila över till andra dag men där var fullt av halvfulla gesäller som höllo pockande på vägalag. [Hon måste alltså åter ut att vandra till nästa by att där sitt härberg få.] När sedan bägge barnen börjar gråta, då lyfter hon dem upp på var sin arm. De frysa, ty av snön de blivit våta, hon klappar dem och värmer vid sin barm. [De lade alla fyra i en kista två fingo vila uppå var sin arm det tredje med, det yngsta och minsta man lade uppå modrens kalla barm.]

Stereo recording incorporating 2 recordings made simultaneously on the web sdr (software defined radio) in north east pensylvania (fn21mh) at http://k3fef. Com:8901/and the one at raf hackgreen in nantwich in cheshire (io83ra) http://hackgreensdr. Org:8901/i used the filename of one of the recordings for part of this new dual receivers recording mixed in goldwave and time-synched by ear. Left channel is the pensylvania receiver, right channel is the uk receiver. Heard are various stations working or trying to work w1uuu in massachusetts including stations in the dominican republic, argentina, the ukraine, trinidad and tobago, colombia and florida. Some stations are heard better in pa, some better in the uk. Lots of static crashes heard from late spring lightning storms hundreds or thousands of kilometers away from both receivers. You can find over 100 receivers athttp://websdr. Org/most allow you to record, though some have a 15-minute timer.

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.

Feel free to use this in your games animations and please support me on this site. For custom content please message me at tomascolt12@gmail. Com. あなたのゲームのアニメーションでこれを自由に使って、このサイトで私をサポートしてください。カスタムコンテンツについてはtomascolt12@gmail. Comで私にメッセージを送ってくださいanata no gēmu no animēshon de kore o jiyū ni tsukatte, kono saito de watashi o sapōto shite kudasai. Kasutamu kontentsu ni tsuite wa tomascolt 12@ gmail. Komu de watashi ni messēji o okutte kudasai. Fühlen sie sich frei, dies in ihren spielanimationen zu verwenden und unterstützen sie mich auf dieser seite. Für benutzerdefinierte inhalte senden sie mir eine nachricht an tomascolt12@gmail. Com. Siéntase libre de usar esto en sus animaciones de juegos y por favor apóyeme en este sitio. Para contenido personalizado por favor envíeme un mensaje a tomascolt12@gmail. Com. N'hésitez pas à utiliser ceci dans vos animations de jeux et soutenez-moi s'il vous plaît sur ce site. Pour le contenu personnalisé, envoyez-moi un message à tomascolt12@gmail. Com.

Feel free to use this in your games animations and please support me on this site. For custom content please message me at tomascolt12@gmail. Com. あなたのゲームのアニメーションでこれを自由に使って、このサイトで私をサポートしてください。カスタムコンテンツについてはtomascolt12@gmail. Comで私にメッセージを送ってくださいanata no gēmu no animēshon de kore o jiyū ni tsukatte, kono saito de watashi o sapōto shite kudasai. Kasutamu kontentsu ni tsuite wa tomascolt 12@ gmail. Komu de watashi ni messēji o okutte kudasai. Fühlen sie sich frei, dies in ihren spielanimationen zu verwenden und unterstützen sie mich auf dieser seite. Für benutzerdefinierte inhalte senden sie mir eine nachricht an tomascolt12@gmail. Com. Siéntase libre de usar esto en sus animaciones de juegos y por favor apóyeme en este sitio. Para contenido personalizado por favor envíeme un mensaje a tomascolt12@gmail. Com. N'hésitez pas à utiliser ceci dans vos animations de jeux et soutenez-moi s'il vous plaît sur ce site. Pour le contenu personnalisé, envoyez-moi un message à tomascolt12@gmail. Com.

A few cycles of my dad's home oxygen machine with a ticking battery operated clock in the background recorded in the early morning in the living room with lifecam hd3000 webcam at the end of about 16 feet of usb cable dragged out of my bedroom. He's about 6 feet away, i was with my back to the room with my camera pointed at my chest so he wouldn't think i was filming. It would seem this is the first and only oxygen machine on freesound. A full cycle seems to last from between 7 to 10 seconds. From wikipediaoxygen concentrators typically use pressure swing adsorption technology and are used very widely for oxygen provision in healthcare applications, especially where liquid or pressurised oxygen is too dangerous or inconvenient, such as in homes or in portable clinics. Oxygen concentrators are also used to provide an economical source of oxygen in industrial processes, where they are also known as oxygen gas generators or oxygen generation plants. Oxygen concentrators utilize a molecular sieve to adsorb gasses and operate on the principle of rapid pressure swing adsorption of atmospheric nitrogen onto zeolite minerals and then venting the nitrogen. This type of adsorption system is therefore functionally a nitrogen scrubber leaving the other atmospheric gasses to pass through. This leaves oxygen as the primary gas remaining. Psa technology is a reliable and economical technique for small to mid-scale oxygen generation, with cryogenic separation more suitable at higher volumes and external delivery generally more suitable for small volumes. [1]at high pressure, the porous zeolite adsorbs large quantities of nitrogen, due to its large surface area and chemical character. After the oxygen and other free components are collected the pressure drops which allows nitrogen to desorb. An oxygen concentrator has an air compressor, two cylinders filled with zeolite pellets, a pressure equalizing reservoir, and some valves and tubes. In the first half-cycle the first cylinder receives air from the compressor, which lasts about 3 seconds. During that time the pressure in the first cylinder rises from atmospheric to about 1. 5 times normal atmospheric pressure (typically 20 psi/138 kpa gauge, or 1. 36 atmospheres absolute) and the zeolite becomes saturated with nitrogen. As the first cylinder reaches near pure oxygen (there are small amounts of argon, co2, water vapour, radon and other minor atmospheric components) in the first half-cycle, a valve opens and the oxygen enriched gas flows to the pressure equalizing reservoir, which connects to the patient's oxygen hose. At the end of the first half of the cycle, there is another valve position change so that the air from the compressor is directed to the 2nd cylinder. Pressure in the first cylinder drops as the enriched oxygen moves into the reservoir, allowing the nitrogen to be desorbed back into gas. Part way through the second half of the cycle there is another valve position change to vent the gas in the first cylinder back into the ambient atmosphere, keeping the concentration of oxygen in the pressure equalizing reservoir from falling below about 90%. The pressure in the hose delivering oxygen from the equalizing reservoir is kept steady by a pressure reducing valve. Older units cycled with a period of about 20 seconds, and supplied up to 5 litres per minute of 90+% oxygen. Since about 1999, units capable of supplying up to 10 lpm have been available.

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.

Recorded in my dad's bedroom with lifecam hd3000 webcam. This is a much better recording than my previous oxygen concentrator file, as i hauled my desktop into the bedroom at the other end of the apartment where the machine now is, when i was home alone. The webcam is on the bed about 3 or 4 feet from the machineat the beginning of the file you hear me flip the big switch and the machine comes on with a long on beep and thumps. I edited it to start then. At 00:1. 8 what i suspect is the water pump comes on, though i may be wrong. That's when the gurgling starts though. The machine has a small reservoir for distilled water to moisten the airflow. A cup or two lasts several daysyou'll hear various hisses and thumps in a 15. 6 second cycle as it runs. At 03:03 i flip the big switch to shut the machine off, and it bubbles and gurgles away for the rest of the file, as water i assume slowly perculates back into the reservoir, the bubbling getting quieter and quieter until it doesn't even sound like bubbling anymore, until it finally ticks to a stop. At 03:16 you hear me step as i get my foot loose from the mic cord lol. At 04:13 the furnace shuts down as a car finishes going by outside in the bass register, faint traffic noises and the furnace being the only background noises you'll hear aside from my moving around a couple times, and a faint bluejay at the end. At about 07:00 you can barely hear the machine anymore, but i could hear a faint ticking with my own ears. At 07:04 the furnace comes back on. At 07:08 you'll hear a bluejay faintly calling outside and a car going by outside after, which finishes the file at 07:20. I edited out my walking to the computer to shut the recording down. From wikipediaoxygen concentrators typically use pressure swing adsorption technology and are used very widely for oxygen provision in healthcare applications, especially where liquid or pressurised oxygen is too dangerous or inconvenient, such as in homes or in portable clinics. Oxygen concentrators are also used to provide an economical source of oxygen in industrial processes, where they are also known as oxygen gas generators or oxygen generation plants. Oxygen concentrators utilize a molecular sieve to adsorb gasses and operate on the principle of rapid pressure swing adsorption of atmospheric nitrogen onto zeolite minerals and then venting the nitrogen. This type of adsorption system is therefore functionally a nitrogen scrubber leaving the other atmospheric gasses to pass through. This leaves oxygen as the primary gas remaining. Psa technology is a reliable and economical technique for small to mid-scale oxygen generation, with cryogenic separation more suitable at higher volumes and external delivery generally more suitable for small volumes. [1]at high pressure, the porous zeolite adsorbs large quantities of nitrogen, due to its large surface area and chemical character. After the oxygen and other free components are collected the pressure drops which allows nitrogen to desorb. An oxygen concentrator has an air compressor, two cylinders filled with zeolite pellets, a pressure equalizing reservoir, and some valves and tubes. In the first half-cycle the first cylinder receives air from the compressor, which lasts about 3 seconds. During that time the pressure in the first cylinder rises from atmospheric to about 1. 5 times normal atmospheric pressure (typically 20 psi/138 kpa gauge, or 1. 36 atmospheres absolute) and the zeolite becomes saturated with nitrogen. As the first cylinder reaches near pure oxygen (there are small amounts of argon, co2, water vapour, radon and other minor atmospheric components) in the first half-cycle, a valve opens and the oxygen enriched gas flows to the pressure equalizing reservoir, which connects to the patient's oxygen hose. At the end of the first half of the cycle, there is another valve position change so that the air from the compressor is directed to the 2nd cylinder. Pressure in the first cylinder drops as the enriched oxygen moves into the reservoir, allowing the nitrogen to be desorbed back into gas. Part way through the second half of the cycle there is another valve position change to vent the gas in the first cylinder back into the ambient atmosphere, keeping the concentration of oxygen in the pressure equalizing reservoir from falling below about 90%. The pressure in the hose delivering oxygen from the equalizing reservoir is kept steady by a pressure reducing valve. Older units cycled with a period of about 20 seconds, and supplied up to 5 litres per minute of 90+% oxygen. Since about 1999, units capable of supplying up to 10 lpm have been available.

Calm ambient track. Winter woods / pinewood february 12. 41 pm (noon) in the netherlands near village giersbergen. Bram’s admin request-text and my answer in audio. Hello freesounders,it happens very infrequently that i post requests. However, i have an extraordinary sad reason to do so today. I don't want to go into detail in this public forum, but someone incredibly important and incredibly young in my life and my wife's just passed away. I am thus looking for an extra long recording of a peaceful "forrest ambience" to play during the good-bye ceremony. Something with some birds and perhaps some wind through the leaves,. . . . Currently the ceremony is planned for april 6th so i would need this before then. I know i can look through freesound, but i would like something specifically recorded with this in mind, something we will be able to listen to later as well, remembering this important and sad time in our life. . . Yours in grief,- bram & familywhat you hear;general-noise; soft wind in woods, sometime a bit increasing. A far kid at the edge of hamlet giersbergen. Far hum of the woods. Remark that the far high altitude planes are on a very lo noise level. Off and on craws and woodpeckers. 00. 00-02. 18 clean background-sound02. 18-06. 57 far high altitude plane- 04. 08-05. 42 people passing06. 05- 08. 13 clean background-sound- 07. 15-08. 12 woodpecker08. 16-10. 33 far high altitude plane10. 33-11. 44 clean background-sound- 10. 44-11. 32 (far) woodpeckers11. 33-12. 53 far police serine12. 55-14. 11 clean with some far yelling kids and woodpeckers14. 15-16. 14 far high altitude plane16. 14-26. 11 clean background-sound with some friendly increasing wind gusts- 23. 06-23. 56 woodpeckers- 25. 53-26. 08 woodpecker26. 08-end far high altitude plane and people. More recordings here search: giersbergen. About the area, national park loonse en drunense duinen. (text by irma de potter,ranger of this area) dutch website: https://www. Natuurmonumenten. Nl/natuurgebieden/nationaal-park-loonse-en-drunense-duinen. In the loonse en drunense duinen you will find forest, heathland and especially a lot of sand. It is one of the largest shifting sand areas in western europe. The wind can blow undisturbed in many places, resulting in an ever-changing landscape. By purchasing it in 1921, it has been protected for 100 years and we can still enjoy this brabant sahara today. You can roam freely on the sand plain. So there is plenty of room to explore extensively. Marvel at the submerged trees, enjoy the chirping field crickets and quench your thirst at one of the many cafes or restaurants on the edge of this nature reserve. Walking, cycling or on horseback: it's all possible here. With the wind in your hair and the sand in your shoes. You may even come across the sheep herd. The sheep keep the heath short and eat away saplings. This is how they keep the area open. The loonse en drunense duinen still has 270 hectares of shifting sand. That sand creates rather extreme conditions: the soil is dry and nutrient-poor. The difference in temperature between day and night can be as much as 50 degrees celsius. This ensures a unique flora and fauna. The animals and plants have adapted or feel at home in drought, aridity and temperature fluctuations. Sand sedge and various lichens, for example. And the viviparous lizard, sandpit beetles and sand bees. All species that love sand. In the last ice age, the polar winds blew sand from the north to brabant, where it remained in thick packages. For a long time this sandy plain was covered with primeval forests. Until the fourteenth century the trees were felled by people. They used the wood as fuel. The bare plain was filled with heather, where the farmers grazed their cattle. This intensive grazing and the sod cutting of the soil depleted the soil. This gave the sand free play. For a long time, the sand was a major problem for the residents. Villages and fields threatened to disappear under it. Trees were planted to stop the advancing sand. You can still see the traces of this today: find the submerged trees that only peak above the sand hills with their crowns. Date/time: february 15th tuesday 2017, start 12. 44 pm. Weather: 13c, clear sky, wind se 2-3bft , 1023 hpa. Mic pointed ne. Location; soft-wood-forest giersbergen (drunen), national park “loonse en drunense duinen”, drunen, noord-brabant, netherlands (holland), europe geo 51. 65566 5. 15774. Gear chain: sennheiser mkh30/50 ms, in rycote cyclone small, windjammer > sound devices 302 >tascam dr-100 mk2. Low cut 140hz 6db/octave. Level around -33db for background. Decoded mid-side to stereo.