499 Royalty-Free Audio Tracks for "Patterns"

Strange high piched signals following some pattern. Any idea what it might be?. 2016-12-15 16:46 gmt at 7041. 5khz. Recorded with the website of the university of twente in the netherlands using the built in recorder. Http://websdr. Ewi. Utwente. Nl:8901/.

The sounds of traffic, honking, cheering, and groups of people shouting. Taken from my window in downtown seattle right after the seahawks won the 2014 super bowl. Mic used: blue yeti (usb condenser mic, cardioid pickup pattern).

Driver a-na dual hadata katawa paal oyaloy alkaal xatala waoy kaal na-kaal redcurve bluecurve aa-al percolator xawa xanaxa taraxail xarazana aa-el naha nama nahama nahamataaeshilta nahamain aaa pilote navigator pattern dongle p-x.

The standard way of filling in this descending thirds pattern is to interpolate a first inversion chord in between each of these descents by thirds. The result is a bass line that moves down continuously stepwise, resulting in a figured bass of '5-6', and therefore, the standard descending 5-6 sequence.

Recorded in my small apartment bathroom because i just need to start recording stuff to get my sound library going. Recorded with my zoom h4n using its built-in condenser mics at a 90 degree xy coincident pattern. Bonus cat meows toward the end (translated as "daddy, what are you doing? why are you in the bathroom with the door cracked??").

A retro "fire the projectile" sound in an old-school 8-bit video game. Sounds like it should be on an enemy instead of the main player since it's quite dark and hollow. Generated with a periodic 1-bit noise pattern.

Filling up beans in the grinder, grinding 18 grams of coffee, tamp it. Then i preheat the cup, flush before adding the portafilter and extracting, brewing the double espresso, while foaming some oat milk. Checking that there are no bubbles in the oat milk and then pouring a slowsetta pattern into the cup. Machine: bezzera bz10grinder: eureka mignon.

This is a recording i made using my tascam dr-40 field recorder. Used the xy pattern, no post-processing, just some edits to cut off unwanted noise, wind puffs and stuff. It was recorded in santo andre, state of sao paulo, brazil. This sample has street sounds, with rain, people chatting (in portuguese), bird sounds, cars, bikes and airplane sounds.

Add spice to your grooves with some dirty, rhythmic, data noise. 1 bar of 4 beats - recorded dry, for you to add your own delay and other effects. No. 4 in a set of 12.

A re-edit of this::. Https://freesound. Org/s/350336/. Re-edited the pattern so its more of a breakbeat as opposed to glitch-beat (frickin retarded glitch people) then re-eq'd it to be more crisp (had way too much presence) then compressed it a bit & excited it (slight distortion) & took it to 150 bpm (other side of this galaxy).

This is a set of drum set interpretations of the baião pattern. Kit used was a 16" kick, dampened, but not stuffed to sound more like a surdo, a 14" ludwig snare, one riveted ride cymbal and hi hats. Simply recorded with a single sm57 but they are clear sounding loops. I'd be interested in hearing anything you use them in :).

While i was recording someone sharpening a garden scrape on a dual stone grinding machine, the utensil got stuck between one of the stones and a metal protective bracket, creating a terrifying noise until the motor gives up. Year: 2020location: aalsmeer, the netherlandschannels: 1 (mono)microphone: unknownmic polar pattern: cardioid.

This is sound was designed to start out loosely spaced, in conjunction with other sounds, and tighten up to build tension before a drop. I use it in offset pattern as a "call response". I had to keep it under 2 seconds to remain viable at the precipice. Soloed, sequenced, or combined to create a new sound. Have fun with no string attached!. Key: a♭ minoralt key: 1abpm 107.

Simple, sad chords with an ambient drum pattern accompanying. I created this with logic pro x and a basic soft synth that come with the software. The drums have some effects from fabfilter's "timeless" plugin, and also some distortion, but nothing too fancy. This is my first sound contributed to the community so they'll hopefuly get more interesting as i improve, but feel free to use it as you wish.

An important subtype of the descending 5-6 sequence is the root position variant, also known as the Pachelbel sequence, due to the use of this sequence in Pachelbel's Canon. The Pachelbel sequence changes the first inversion chords in the descending 5-6 sequence to root position chords, resulting in a bass pattern that moves down a fourth, and then up stepwise.

I took a clip from the audio i recorded of wax paper crinkling, cut a segment from it, played it backwards, put it on loop, layered it with the original, and this is what i got. There is an somewhat syncopated pattern to the sounds, but the audio is cut off before it makes a full cycle. Enjoy.

Here's a recording made in saint-urbain (charlevoix) pq, canada in the forest a morning of august 2014. You can hear grasshoppers, crickets, wasps and a creek in the background. This recording was made with a sound devices usbpre2 into a tascam dr-680 (spdif) and 2 microphones studio project c1 in ortf stereo pattern. It's in 24 bits 96khz , 40hz low cut.

This is a leather rubbing foley sound, created using a tascam dr07mk2 and. . . Leather!. Long recorded track enables users to select a certain length in the track and accustom it to their film or project. Feel free to edit, cut and boost the track if needed. Some credit wouldn't hurt. Good luck filming. :). Specs:. Tascam dr07mk2. Stereo x/y pattern. 24 bit 96khz. Sampled to 16 bit 96khz. Low noise.

This is a field recording from inside the "experience gallery" of the musical instrument museum (phoenix, arizona). The experience gallery is full of gongs, bells, drums, gamelan instruments, stringed instruments, marimbas, xylophones, and even a theremin. A schoolgroup of children were let loose at the time of this recording. Recorded in stereo with a sony pcm-d50 (onboard mics, wide pattern) while in motion.

This is a very old, out of tune accordian (the tuning wavers way off key on the main notes as it plays). It might be useful for messing around with to create undertones for a horror or mystery with a rise-fall pattern. I recorded it on an se x1 large condenser mic. Completely free to use for anything. Cc0.

Middle school (ages 12-14) band of about 50 students preparing to make an audition recording in their school auditorium. Two akg c 414 b-uls multi-pattern large diaphragm condenser mics were placed about 10 feet (about 3 meters) above the ensemble on the far right and far left, with a røde nt4 stereo condenser mic at the same height located in the middle of the group. Recorded january 2019.

This is a simple loop of me playing some nice triplet delay textures on guitar. This is a stereo file with 2 guitars panned on the right and left, playing the same pattern in different octaves, offering a nice atmosphere. This was recorded with a hagstrom f200p (awesome p90 style pickups) on a voxac15, using a boss dd7 for the delay and a beheringer reverb unit (yeah, i love the lo-fi sound of that cheap box!).

A 1khz wave, often used as an effect for a flatline, test pattern, censorship, etc. This one more for effect (such as a movie) than a test tone. There's a nice stereo effect to make it more exciting, made by producing it as a sine wave for the left channel and a triangle for the right. The sine wave is at a slightly lower volume to make the 1khz fundamental the same volume level in both channels.

The apollonia is a mechanized organ and music machine. It was built in 1926 and resides in the musical instrument museum (phoeniz, arizona). It takes up the space of an entire wall. Tech notes: this is a stereo recording made with a sony pcm-d50 (onboard mics, close xy pattern). I failed to notice that the low-cut filter was engaged on the recorder, so the full bass range of the instrument was not properly captured. You'll need to hear it for yourself in person!.

Me playing around with a belt clip on a tire gauge my dad gave me. The sounds are of me taking it off and putting it back on. Recorded autolevel via tascam dr-07 mkii xy pattern. Potential uses- grenade pins- firing pins on firearms (the clicking sound)- m1 garand clips if you're desperate in a wwii flick for school- possibly reverb trails for gunfire.

Nearly one minute of applause without talking or other sounds, although there is some muted cheering. The audience of about 750 was recorded inside the sanctuary of a large church following a christmas-themed concert in december 2018. Microphones included were two akg c 414 b-uls multi-pattern large diaphragm condenser mics placed far right and far left, one røde nt4 stereo condenser mic in the middle, and a sony pcm-d1 field recorder at the far back of the venue.

To create this sound i recorded a disposable lighter in my bedroom. To record, i used my aston spirit microphone on cardioid polar pattern and my focusrite scarlett 18i20 second generation (2nd gen) interface running pro tools from my mac at 48khz, 24 bit. I also used a reflection filter to lower rt60 so this sound has minimal reverb to tape. The cable i used was made of canford hst cable and has neutrik xlr connectors.

This is just a simple four to the floor kick drum pattern at 120 bpm. I created the kick itself by layering various synth timbres in rob papen's albino plugin. Processing was also applied such as compression, eq and using subtle distortion in specific frequency areas to get it sounding like this. For anyone that would like to hear my music:https://soundcloud. Com/mattcmusic.

I have built a nonlinearcircuits sloth lfo, the regular version. Sloth is a chaotic lfo. The output is based on the lorenz system. It is a system of ordinary differential equations. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the lorenz attractor is a set of chaotic solutions of the lorenz system which, when plotted, resemble a butterfly or figure eight (very much from wikipedia). The sloth has two outputs x and y. Think of them as coordinate pairs. The output will probably never repeat itself but there is a pattern. I have built the regular sloth it usually takes approx 15 seconds to make a rough figure 8, one cycle in the “butterly”. The knob changes the chaotic pattern. At some settings the signals will spend more time in one strange attractor than the other. Now i’m testing the module in different ways. In this sound i have connected white noise to a filter. The filter frequency is controlled by sloth (x output). In this patch i have set the initial frequency at 12 o'clock. . . The output sound from filter goes to reverb.

To create this sound i recorded myself opening a can of coke in my bedroom. To record, i used my aston spirit microphone on cardioid polar pattern and my focusrite scarlett 18i20 second generation (2nd gen) interface running pro tools from my mac at 48khz, 24 bit. I also used a reflection filter to lower rt60 so this sound has minimal reverb to tape. The cable i used was made of canford hst cable and has neutrik xlr connectors.

This was hella tough to make! and i used this program that turns picture into sound. It has paint tools, and you start with a black canvas, you draw up a pattern on it, and depending on the color, position, size, quality, format and translucency of the marks and lines you placed, you get sounds. But it is really hard to get a hang of! this took me 3 days to get it right! please comment and rate, i worked really hard on this! by the way, i'll be making more of these, so if you like it, then i have three more.

The sound of water free falling off the edge of a flat roof. I opened the apartment balcony door and started recording. The fourth floor apartment is on the corner. The water was draining off the flat roof over the edge and falling directly from the roof to the ground. The recording equipment is a studio quality apex 460 multi pattern tube condensor microphone. It was located to avoid getting wet (!) and was about 90 degrees and six feet away from the sound source, just set in a few feet from the open balcony door.

Here's a recording of a small campfire in the forest at night made in saint-urbain (charlevoix) pq, canada in a night of august 2014. You can hear wind in the leaves and crickets in the background. It was made with a sound devices usbpre2 into a tascam dr-680 (spdif) and 2 microphones studio project c1 in ortf stereo pattern. A little correction was made in equalization of the sample and the volume was augmented w limiter. It's in 24 bits 96khz , 40hz low cut.

Yep this is a crazy sound. What have i done. . . I have build a nonlinearcircuits sloth lfo. Https://www. Modulargrid. Net/e/nonlinearcircuits-sloth-4hpedited info:i have built the regular version. The sloth has two outputs x and y. I connected x to control frequency on one oscillator and y to control amplitude on another oscillator. Frequency experiment on left channel. Amplitude experiment on the right. The file starts as the amplitude is 0. Next time the amplitude is 0 (almost) is at about 48 sec. Then 48 sec later, at 1:37 the amplitude is 0 again. The two cycles are not identical. The tones are harder to analyze. . . X and y outputs. I guess those corresponds to x and y in a coordinate system. You can find video clips watching the sloth “drawing” butterfly wings. For example:https://www. Youtube. Com/watch?v=0ku6npz1s4gand maybe check this:https://www. Youtube. Com/watch?v=occhcm5oxp8http://nonlinearcircuits. Blogspot. Se/2014/09/sloth-chaos. Htmlthis later link is the developers page. The constructor (andrew) of this module says that my version completes “1 cycle every 15 seconds”. What does that mean? is one cycle one lap in the butterfly pattern? will the pattern repeat itself? yep, i’m going to ask him…. Edit:andrew answers my questions: “it is a very approximate description of the frequency, cycle is not the proper term to use. . . . Nor is frequency really, but they are descriptions that people can relate to easily. Depending upon the pot settings and whatever other initial conditions that happen to be in place, the signal may traverse the typical double strange attractor path. It may stay in one attractor for several loops before crossing over to the other one. The pattern will never repeats itself, it might come close but won't do it. ”my question: so, one “loop” is one cycle?andrew answers: typically it takes approx 15 seconds to make a rough figure 8, but depending upon the pot and other factors, it may take longer, much longer, sometimes it even pauses whilst deciding which way to go next.

A one-minute realistic drum loop that sounds human not robotic, has some syncopation and variations in the pattern. Made with three of hbsample loops from:. Https://www. Looperman. Com/loops/detail/107486/hbs-savage-ensemble-drums-hi-toms-mixed-130bpm-by-hbsamples-free-130bpm-cinematic-drum-loophttps://www. Looperman. Com/loops/detail/107487/hbs-savage-ensemble-drums-taikos-and-hi-toms-i-130bpm-by-hbsamples-free-130bpm-cinematic-drum-loophttps://www. Looperman. Com/loops/detail/107488/hbs-savage-ensemble-drums-taikos-and-hi-toms-ii-130bpm-by-hbsamples-free-130bpm-cinematic-drum-loop.

Five minutes of rain, artificially created. Using a blue yeti usb condenser mic on the cardioid pattern, i made a 30-minute recording of sounds from my sink (drips, splashes, different faucet pressures) and cut them up into 60 files, later edited down to 20. These were layered together and mixed with white, pink, and brownian noise. Slight noise removal done. Recorded some basic mic noise, and used a subtractive processor (reafir in reaper) to remove that sound from the final mix. Convolution reverb was added for a fairly realistic set-it-and-forget-it option. I've uploaded a dry version as well.

Five minutes of rain, artificially created. Same mix as my other "five minutes of rain" upload, but without the reverb in case you want to add your own. Process:. Using a blue yeti usb condenser mic on the cardioid pattern, i made a 30-minute recording of sounds from my sink (drips, splashes, different faucet pressures) and cut them up into 60 files, later edited down to 20. These were layered together and mixed with white, pink, and brownian noise. Slight noise removal applied. Recorded basic mic noise, and used a subtractive processor (reafir in reaper) to remove that sound from the final mix. .

Original file name: wah whistle suspense bees - 30 september 2012specs: demo at 120 bpm, stereo, 48000 hz, 24 bit, wav formatdescription: created the sound using the thor polyphonic synthesizer in propellerheads reason. Sounds weird when played in isolation, but sounds decent when played as an arp or melody. I have included the "c" note spanning 7 octaves in case the samples need to be loaded into a sampler. Sample pattern: demo | c0 | c1 | c2 | c3 | c4 | c5 | c6. Contact (pm) me if you want any changes to this sample (please include freesound sample number 166169). You can use this commercially with proper crediting, but please let me know where and how you use it - seeing this used will really make me happy. :).

A heartbeat sound i created. Fairly consistent through most of it, and then speeds up into heart-attack mode about 30 seconds from the end. To make it, i took a kick-drum sample and a snare-drum sample, and made a pattern of kick-snare, kick-snare, kick-snare, over and over. I then eq'd them to be less distinct and drum-like, added tape saturation to increase the low-end thumping, a small chorus effect and some compression to get rid of the drums' attack. . . Basically just over-processed the hell out of it. Then i used a plugin called wok m-st to get a fake hard-panned stereo effect. My goal was to make it sound like your heartbeat sounds in your ears when you've been running too fast for too long. I think it sounds cool.

Ambient sound akin to the bridge of a starship. Muted background hum with an overtone of air conditioning ducts. Pseudo-random high pitched blips occupy the soundstage. Could be used as an ambient sound loop for hi-tech / science fiction interiors such as a laboratory, a control room, or the bridge of a spacecraft. Created with two instances of flstudio 3x osc. One kicking out a pair of sinewaves plus noise for the background susurus (hum) and ventilation sound. Second 3x osc is set to produce two interfereing square waves for the blips, squeaks and buzzes. The background was notch filtered and bandpassed to mellow out the humming sound and reduce hiss. The blips were processed with flstudio equo, stereo enhance, fruity delay2 and fl pan-o-matic vst. Each blip was pasted by hand in a seemingly random but not too unpleasant pattern.

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.

Original file name: abstract hip hop beat 1 - 28 september 2012specs: 140 bpm, stereo, 48000 hz, 24 bit, wav formatdescription: an abstract hip hop beat loop programmed into propellerhead's reason redrum. Used the 'abstract hip hop kit' samples that come with reason's soundbank. First part of loop is dry with no effects except eq, second part is more processed. Sample pattern: a1 x2 | a2 x2effects: equalized all the samples. First half is dry in that no extra effects apart from eq are used; second part of the loop is actually two copies of the same loop with one of them containing extreme compression after some unison (detuning) and ~30ms delay. Contact (pm) me if you want any changes to this sample (please include freesound sample number 166029). You can use this commercially with proper crediting, but please let me know where and how you use it - seeing this used will really make me happy. :).

Hola !. So after all the dsp processing of the little voice recordingi tried out my little bbc symphonic orchestra new free libraryput some violins on it & some horns of abraxas, if youdon(t know horns of abraxas of johann johannssonn, i urge you to go& check it out, the whole movie is a candy for the ear & eye. . . S with titlesas seekers of the serpent's eye or burning church or dive-bomb blues ordeath and ashes or children of the new dawn or forging the beast. . . What a soundtrack & what a movie ! but also what a tragic loss. . . Https://www. Youtube. Com/watch?v=hgih-ma5nag. & then at the end i transform again the little percussive voice partinto a voice again. . . You can clearly see in the wave form of the big percussion & the little voice wave form, an isomorph pattern, no ?. 17decmber of 2020jjjjjj looper dooper. Yes !. Ok i go to sleep nou !.

I have built a nonlinearcircuits sloth lfo, the regular version. Sloth is a chaotic lfo. The output is based on the lorenz system. It is a system of ordinary differential equations. It is notable for having chaotic solutions for certain parameter values and initial conditions. In particular, the lorenz attractor is a set of chaotic solutions of the lorenz system which, when plotted, resemble a butterfly or figure eight (very much from wikipedia). The sloth has two outputs x and y. Think of them as coordinate pairs. The output will probably never repeat itself but there is a pattern. I have built the regular sloth it usually takes approx 15 seconds to make a rough figure 8, one cycle in the “butterly”. Now i’m testing the module in different ways. In this sound i have connected white noise to a filter. The filter frequency is controlled by sloth (x output). In this patch i have set the initial frequency low. That’s why there is a low humming wind noise between the “tops”. The output sound from filter goes to reverb. The sound is more a study of sloth behavior than an attempt to create a great wind sound.

Synthesized sound of a flying helicopter. The patter is as follows:. Sound 1 || sound 2 || sound 3 || sound 4 || sounds 1+2 || sounds 2+3 || sounds 3+4 || sounds 1+3 || sounds 2+4 || sounds 1+2+3 || sounds 1+3+4 || sounds 2+3+4 || sounds 1+2+4 || sounds 1+2+3+4 || sounds 1+2 again || sounds 1+2 with phaser effect (pitch up and down). Each sound above is exactly 2 seconds long except the second-to-last sound (4 seconds long) and the last sound (8 seconds long). All sounds synthesized in propellerheads reason's thor polyphonic synthesizer. Here's how i did it: used two oscillators (one noise oscillator and another multiple-wave oscillator), and then passed them through two different filters. In each filter, i lfo'd the frequency knob at 2. 0hz (120bpm), and the pattern you see above is each oscillator-filter combination muted in different ways. For the last sound, i applied a phaser effect and automated the frequency knob or some other knob to give that pitch-up pitch-down effect.

I recorded this in my living room with mics in an x-pattern on the couch very close together, using a tascam dr-70d and behringer dyynamic microphones with patch cables for optimal volume. I recorded this at maximum gain on the tascam as two stereo files, then conjoined them to a 6-channel audio file properly and mixed the front two channels to a monaural center channel for added effect. The final result is what can be downloaded here. Tghe music in the background is part of the star trek: generations expanded complete score, and is coming from my computer to the rear of the recording, which lasts just over a minute in length, and the music was just background noise for testing purposes only. No copyright infringement was intended. Credit for the music goes to the now late jerry goldsmith and also dennis mccarthy, who is still alive. I hope you like this audio demonstration, and find it useful when considering rigs like the holophone, or comparible 5. 1 surround sound microphones / rigs. I take no credit for this recording, as it was done for demonstration purposes only. Have fun!.

Johann Sebastian Bach (1685-1750) Cantata BWV 125: Mit Fried und Freud ich fahr dahin (2 February 1725) 1. Mit Fried und Freud ich fahr dahin (Chorus) 2. Ich will auch mit gebrochnen Augen (Aria: A) 05:27 3. O Wunder, daß ein Herz (Recitative: B) 13:19 4. Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden (Duet: T, B) 15:36 5. O unerschöpfter Schatz der Güte (Recitative: A) 20:55 6. Er ist das Heil und selig Licht (Chorale) 21:37 Soloists: Alto: Ingeborg Danz Tenor: Mark Padmore Bass: Peter Kooy Performed by Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1998. "Bach composed the cantata 'Mit Fried und Freud' for the feast of the Purification on 2 February 1725. Here, the opening chorus is in 12/8 time, which is almost always associated with a peaceful, pastoral mood. Here it is the expressive key of E minor, which, raised to monumental heights, will re-appear in the opening chorus of the St. Matthew Passion. The chorale is sung in long note values by the soprano accompanied by the lower voices of the chorus in densely textured imitation, and which takes up the serenely elegiac movement of the instrumental ritornello theme. Only twice does Bach interrupt the pattern: at the words 'sanft und stille' all the voices drop into a sudden 'piano' and even the lively rhythm of the vocal part gives way to a more tranquil measure. The contrast of the 'forte' on the next words, 'wie Gott mir verheißen hat' is all the more convincing in relation to the preceding words. Once again Bach leads the vocal part into a quiet, even tenor for the final line of the chorale, 'der Tod ist mein Schlaf worden.' " - Thomas Seedorf Painting: Still Life with Three Medlars, Adriaen Coorte

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.

We develop iphone app that perform musical analysis on recorded audio from the iphone. Our app implementation make use of the audio queue service to receive raw audio buffers from the audio queue callback. In the first version of our app we had the problem of too much clipping on the recording which degrade the accuracy of our analysis. We also suspected that the noise canceling algorithm in iphone 5 produce distorted sound, which is not much noticeable by human ear but distorted enough to affect our sensitive algorithm. We found that the solution to our problem is to set the audio session mode to kaudiosessionmode_measurement. This session mode is supposed to give maximum freedom for us to control the microphone input, which include turning off the automatic gain control and probably noise canceling as well. The solution works very well except that it introduce a strange waveform pattern in the beginning of all recordings in iphone 5. It is very hard to explain the waveform we get, so i made two recordings at freesound so that you can see it visually. The first recording is made in an almost quite environment, and you can see the weird spike in the beginning of the recording. The second recording (this recording) is made with constant background noise, and you can see that the actual sound wave is offset from the strange curve and gradually increase to its original volume. This waveform only happens on iphone 5 devices that we tested, and there is no problem at all for iphone 4s and older generations. We have tried various settings and the glitch is still unavoidable as long as we set the audio session mode to kaudiosessionmode_measurement. We also find similar glitch in one of our iphone 5 devices, in which the glitch happens even if we try to set just the input gain level without changing the session mode. We are not sure if this is a hardware-related bug in iphone 5, or if it is fixable software glitch in the future version of ios. For the moment we are looking for workaround that can avoid this glitch while automatic gain control and noise canceling are disabled.