14 Royalty-Free Audio Tracks for "Phase Shift"

Phase shifted fibonacchi sequence for a scalar wave.

Cinematic This piece originally found on glbtm* - Phase Shift

Cinematic This piece originally found on glbtm* - Phase Shift

Just a small test with harmonics, and placing a floor and ceiling on some sine waves.

The sound of altered states.

Another reversed noise from the nothing that is space.

The fat phase of a growing monster. Recorded using ngt-2 directly by laptop microphone in. Pitch shifted using audacity.

Ocean waves recorded from between two rocks. Recorded on a zoom h4 with the mics covered in zeppelin fur at 44100 hz 24-bit. There's some slight wind noise that can be filtered from 150hz downward. This is part of a series of recordings for an ambient music project i'm working on. There are some excellent ocean recordings on freesound if you're looking for a more traditional ocean sound, but my intent with these clips was to try to capture some natural phase-shifting by placing the h4 in cracks and crevices for a more hollow, "closed-in" sound.

This second sound is a recorded sound of a bike chain, i modified it using some effects :1-normalize2-wahwah effect with-frequency = 3. 3 hz-start phase = 0-depth = 70%-resonance = 2. 5-wah frequency shift = 30%3-melt closingthe final sound gives an impression of a sound under water.

A jazz sample at 130 bpm composed on fl studio. The left channel preceding phase shift was implement by the removal of a sinelike oscillation. I deleted a left channel sinelike oscillation after the attack (and actually i omitted one more oscillation, because i didn't want to remove the very energetic ones).

Thanks to cinematic-laboratories for the source from didge-morph. Wav and makenoise for their brilliant gear!. Morphagene settings slf full blue. Morph full cw shift controlled by tempo of o-ctrl. Mimeophon and erbe-verb used for final outputs. Rendering in reaper 48khz, 32 bit. Feel free to put in your own markers wherever you wish.

Dare 31 signature soundhttps://www. Freesound. Org/forum/dare-the-community/35630/this is my signature sound. It’s the ambience of an airport (got) recorded with my mobile phone. In audacity i amplified, phase shifted and time stretched it a little. I wanted an all round strange ambience sound. Made a 12s loop. This sound will be used and recognizable in the forthcoming three dare submissions from me.

Creategenerate sine wave tone, frequency = 340. 00 hz, amplitude = 0. 80, 30 secondsduplicatedapplied effect wahwah…frequency = 4. 0 hz, start phase = 280 deg, depht = 92%resonance = 6. 9 frequency offset = 30%applied effect : tremolodeleted 30 seconds at t = 0. 0generate sine wave tone, frequency = 330. 00 hz, amplitude = 1. 00,30 secondsapplied effect wahwah… frequency = 1. 5 hz, start phase = 359 deg, depht = 33%, resonance = 6. 9, frequency offset = 30%duplicatedtime shifted tracks/clips right 0. 61 secondsmixed and rendered 2 tracks into one new mono trackapplied effect : tremoloapllied effect : apple : audistortionapplied effect : valve saturationapplied effect sliding time scale/pitch shiftduplicatedgenerate sine wave tone, frequency = 120. 00 hz, amplitude = 1. 00, 22. 000000 secondsdeleted 44. 91 seconds at t = 0. 00mixed and rendered 2 tracks into one new mono trackapplied effect: compressornormalize to 0 db.

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.