1,234 Royalty-Free Audio Tracks for "Sequence"

Your stereotypical wind chime sound effect. Used a lot for transitions into dream sequences and flashbacks in movies and films. I took a very fast recording of someone hitting some orchestral chimes, slowed it down by over 200% and added some harmonic excitement and equalization in post production. Tools used:- usb logitech microphone (no lies, seriously used this $10 mic)- fl studio 12 by image line- vitamin by waves- dynamic eq by izotop. If you'd like me to edit or create any additional sounds for your project, please let me know. I'd be happy to help.

This is a percussion beats made at tempo 124. It spans 8 bars and is ready to be looped in your daw. This is a sound i've found in my old foxdot projects, it has a really cool "ocean" or "wave" noise-like sound that repeats at the right then left of stereo, in the end of each 4-bar segement. It layers multiple kicks and snares, with one of the sounds being stretched, that produce this "wave" sound. It can be evaluated in foxdot with the following code to replicate this result. D1 >> play(p[" [--]o h: -"]. Layer("mirror"),dur=pdur(5,8), rate=expvar([0. 09,2],8),sample=2, pan=sinvar([-1,1],16),amplify=0. 5).

Did this bit of spookiness in garageband for a thing called victors crypt. Think it would work great to a game, youtube-channel, episode, movie or whatever you feel like. Could be perfect in a thrilling suspence part or an eerie scary sequence. Feel free to use it as you like as long as you subscribe to and watch my channel :). Be cool watch and subscribe to victors crypt:https://www. Youtube. Com/channel/uca8o46_wrqzehsdzuwfq3rq. Throw horns, dance & hail satan!.

This is the sound of a spaceship's underbelly cargo hatch closing mid-flight after receiving a cargo transfer. The sequence begins with a warning alarm indicating the hatch closing, followed by the sound of the giant servos rotating the dual bay doors up and inward until the bay is sealed shut and locked. An all clear signal is given, reverberating into the dark, silent chamber. Made in logic pro, completely synthesized with es2 and mac's built in speech synthesis for vocal alarm. No unoriginal samples or sounds were used in the creation of this sound. Use freely as desired, but i would appreciate credit.

Created with a korg electribe 2 processed by a zoom multistomp ms-70cdr guitar multi-fx pedal, using the particle reverb. The manual states that it models the line6 m9 particle verb. Particle reverb. In this piece of audio the electribe only uses triangle oscillators. Here's a video showing the setup: https://youtu. Be/zytc4gofwmq. It's always nice to hear what projects you use these sounds for. Let me know. ;-). Please also check out my pond5 and unity asset store profiles for more:http://www. Pond5. Com/artist/cabled_messhttps://www. Assetstore. Unity3d. Com/en/#!/search/page=1/sortby=popularity/query=publisher:20154.

This is a clip of various engine sounds recorded on my 2003 subaru impreza wrx with a 3" turbo-back exhaust system. The audio starts with the engine at idle and includes a few engine revs at different rpms. You can hear some turbo whistling and also some rattling of god-knows-what parts. It's a little muffled (kind of a muddy sound), but could be used as part of an action sequence or with a music track laid over. As always, i love knowing how people use my tracks! i'd appreciate a comment letting me know what kind of project you're doing and, if possible, a link to any finished work! thanks.

This is the recording of an audible pedestrians traffic light in paris, france. These devices are here to help visually impaired people cross the streets in a safe way. They come under the form of a little beige box with a hidden button underneath. You have to push the button to hear the annoucement. You can find them all over the city. The sequence goes as follows: first, an annoucement in french says "red light for pedestrians", followed by the street name, then a jingle goes on, followed by a series of bell-like sounds, signaling a green light. I maed this recording because i needed that particular sound for a show i was working on and couldn't find it on freesound. Recorded with a zoom h2n in stereo m/s mode (set to mono).

Hello all,. I do hope that i am doing it all okay by the book, and if it is picked by the moderator, than do enjoy the file, thank you. Process :i did download a cc open scream file from freesound. Org. I imported that file to my ableton live. I reverse the sample and shorten a little. From the sample window i changed flux and grain values to bring out uneasy tones in front. I did make two other copies of the sample and played them all in same sequence, with slight different transpose values. I rendered it out and from the rendered file i did do further cleaning with audacity and export mp3 file for final. Here is the original sound http://www. Freesound. Org/people/claracarpintero/bottom one (female scream). Thank you kindly.

Created with a doepfer a-100 modular synthesizer sequenced by a korg sq-1 processed by a zoom multistomp ms-70cdr guitar multi-fx pedal, using the particle and hd reverb. Audio source is a self-resonating, modulated doepfer a-108 vcf8. The reverbs ran in series. The manual states that the particle reverb is based on the line6 m9 particle verb. Here's a video showing the setup: https://youtu. Be/5h-mblcybbo. It's always nice to hear what projects you use these sounds for. Let me know. ;-). Please also check out my pond5 and unity asset store profiles for more:http://www. Pond5. Com/artist/cabled_messhttps://www. Assetstore. Unity3d. Com/en/#!/search/page=1/sortby=popularity/query=publisher:20154.

Hey!. I've made this for a friend's project. But the project is now stalled, so i decided to release my work to the world. The sound is created with multiple layers of zynaddsubfx digital synthesizer. Sequenced and rendered using lmms. This was my first serious attempt at creating high-quality game sounds. I've spend quite some time refining and adding detail to the sounds, so they are rich and convincing. I hope this is a production at top level, that could be used in a commercial motion picture. Have i reached my goal?. If you want to use them, you'll need to edit it by yourself :). There are several different firing sounds, laser beams, discharge, sounds of plasma projectiles hitting a wall etc. . . Have fun and don't forget to give me a credit and link to this page!.

Algorithmic drone music program. The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem osc_1 - wave shaped sin oscillator (osc) - tuned to 130hz00 rem osc_2 - clean sin from oscillator - tuned to 130hz00 rem osc_3 - sqr from oscillator through filter - osc tuned to 130hz00 rem clk speed = 0. 5 hz00 rem line 01 each of the 3 vcas gets an unique cv value ([gate] -> [3 s/h] -> [3 vca])00 rem ---------------------------------------------------01 sample values for vca (cv in) x 3 (osc_1, osc_2, osc_3)02 sample frq for osc_103 sample frq for osc_204 sample new clk speed05 sample frq for vibrato in osc_106 sample frq for osc_307 env to all vca08 sample cv for (osc_3) filter10 goto 01. When i begin the recording the program has been running for a while.

Algorithmic modular music program (man3_2019). The computer is my analog modular synth. 00 rem -------------- man3_2019 --------------00 rem man3 - modular algorithm no 300 rem the steps/command lines, 01 to 08, are steps on a step sequencer00 rem main clock (lfo_2) 3hz00 rem the cv sequencer (seq) are tuned to an octave split in 5 equal parts. 00 rem seq has its own clock00 rem lfo_2 controls vco_2 via vca_2 and vca_300 rem lfo_3 controls wave shaper and vcf00 rem vco_1 tuned to 150hz sin -> wave shaper00 rem vco_2 tuned to 150hz tri00 rem vco_3 tuned to 75hz sqr -> vcf00 rem ----------------------------------------01 sampl lfo_1 -> vca_1 (vco_1)02 sampl seq -> vco_203 sampl lfo_1 -> vca_2 (vca_3) : rem [lfo_2 -> vca_2 -> vca_3 (vco_2)]04 sampl seq -> vco_105 trg -> noise -> delay_106 sampl seq -> vco_307 trg -> env (vco_3)08 trg -> noise -> delay_110 goto 01.

Created solely from freesound. Org instruments and sequenced in jeskola buzz. This is recorded at 90 bpm for the continuum 4 project. You can visit the thread here:. Http://www. Freesound. Org/forum/dare-the-community/32704/. Here are the sounds used in the break:. Snare: http://www. Freesound. Org/people/ltibbits/sounds/16306/kick boom: http://www. Freesound. Org/people/jobro/sounds/33523/short kick: http://www. Freesound. Org/people/crescendo/sounds/16709/closed hat: http://www. Freesound. Org/people/atomwrath/sounds/11394/rim: http://www. Freesound. Org/people/opm/sounds/2095/open hat: http://www. Freesound. Org/people/tictacshutup/sounds/423/static: http://www. Freesound. Org/people/hello_flowers/sounds/30974/rev crash: http://www. Freesound. Org/people/halleck/sounds/30938/. I've added an amplitube 80's ballad effect to this one.

Created solely from freesound. Org instruments and sequenced in jeskola buzz. This is recorded at 90 bpm for the continuum 4 project. You can visit the thread here:. Http://www. Freesound. Org/forum/dare-the-community/32704/. Here are the sounds used in the break:. Snare: http://www. Freesound. Org/people/ltibbits/sounds/16306/kick boom: http://www. Freesound. Org/people/jobro/sounds/33523/short kick: http://www. Freesound. Org/people/crescendo/sounds/16709/closed hat: http://www. Freesound. Org/people/atomwrath/sounds/11394/rim: http://www. Freesound. Org/people/opm/sounds/2095/open hat: http://www. Freesound. Org/people/tictacshutup/sounds/423/static: http://www. Freesound. Org/people/hello_flowers/sounds/30974/rev crash: http://www. Freesound. Org/people/halleck/sounds/30938/.

Title: en:Roland MC-202 Creator: Sven Buresch for Wikipedia Description: simple song arrangement using en:Roland's en:MC-202 for the filter hookline, en:SH-101 for the bass and en:TR-808 for drums; no additional effects. Sequencing was done with en:Steinberg en:Cubase SX 2.2; MC-202 and SH-101 had been connected via Harms en:MIDI/CV-Interface, en:TR-808 (Kenton MIDI modified) via Steinberg Midex8. Copyright dispute? Re: MC202 audio exampes Hi. http://en.wikipedia.org/wiki/Image:Mc202example.ogg and http://en.wikipedia.org/wiki/Image:Discobotter.ogg both were written, performed and recorded by myself. I am the copyright owner and I chose to have it PD for Wikipedia as there were no listening examples. If you doubt we can make music at all check out our myspace: [1] - another tune with a 202 on it or go to [2] - loads of noise with 202,303,404's and so on ;)) Hope this helps. Cheers, Sven. --audioschotter.net 13:38, 31 May 2007 (UTC)

Made some adjustements and a new recording. Terrible result but fun work/programming!. Algorithmic drone music program. The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem osc_1 - wave shaped sin oscillator (osc) - tuned to 130hz00 rem osc_2 - clean sin from oscillator - tuned to 130hz00 rem osc_3 - sqr from oscillator through filter - osc tuned to 130hz00 rem clk speed = 0. 5 hz00 rem line 01 each of the 3 vcas gets an unique cv value ([gate] -> [3 s/h] -> [3 vca])00 rem ---------------------------------------------------01 sample values for vca (cv in) x 3 (osc_1, osc_2, osc_3)02 sample frq for osc_103 sample frq for osc_204 sample new clk speed05 sample frq for vibrato in osc_106 sample frq for osc_307 env to all vca08 sample cv for (osc_3) filter10 goto 01. When i begin the recording the program has been running for a while.

The Ride of the Valkyries from Richard Wagner's 1870 opera Die Walküre, the second opera in the sequence Der Ring des Nibelungen. Performed by the American Symphony Orchestra for Edison Records. This is Edison Diamond Disc 80638-R, Matrix 7846-B-1-6, NPS object catalog number: EDIS 41877 Català: La cavalcada de les valquíries, interpretada per l'American Symphony Orchestra per a Edison Records en 1921. Valkyrieridtet opført af American Symphony Orchestra for Edison Records i 1921. "Ritt der Walküren" aus Die Walküre, dem zweiten Teil des Hauptwerks Der Ring des Nibelungen von Richard Wagner, uraufgeführt im Jahr 1870. La chevauchée des Walkyries, interprété par l'American Symphony Orchestra pour Edison Records en 1921.

Electro-magnetic interference from a desktop computer, and an at&t; cordless phone handset cl82301 when held near the internal ferrite antenna on the back right of a 13-year-old boombox listening to the am broadcast band. Recorded 2 years ago so i forget where i was listening. Recorded with goldwave from line-in. You hear emi from the computer at first, then i bring the phone on standby near the radio and you hear a series of nearly pure tones. The phone comes on and you hear a distorted dial tone. I move the phone away from the radio for a few seconds and you hear the computer again, then i bring the phone near and you hear a distorted busy signal. I disconnect and the phone continues sending to the base for a few seconds so you just hear a hum, then the idle tones are heard, then the computer noise as i remove the phone.

A third version of https://www. Freesound. Org/people/gis_sweden/sounds/352940/. Now i let the alm pip slope affect a filter. I play a little sequence made with cvlfo , clock divider, attenuverter, quantiziser. The way i usually do…. But the interesting thing is the cvad (?) voltage controllable envelope generator. But in the case of alm pip slope you just control attack and decay. Seems to be enough. As in the other versions of this sound i connect one lfo to attack and a second lfo to decay. But this time i connect the vcad to control the frequency of a filter. Interesting. I wish i had two more cvlfos… should open up for rhythmical usage. I use no vca or adsr. I have connected the vco straight to the vcf and the vcf to mixer. In the beginning i have the frequency pot at 2 a clock then i gradually move it clock wise and let the vcad take control. 1 minute in the pot is fully clock wise. The vco is playing a sawtooth wave. If you dl and inspect the wave you can see that in the beginning and the end it is a sawtooth wave, but in the middle part the filter affects the wave form.

Algorithmic modular music program (man2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem -------------- man2_2019 --------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 if (lfo_2 = high) then goto 01 [= reset]03 rnd frq lfo_1 (run speed)04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)06 trg long env (vco_2): rnd pitch @ eoc (vco_2)07 trg long env (vco_3): rnd pitch @ eoc (vco_3)08 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)10 goto 01.

Algorithmic modular music program (man2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. 00 rem -------------- man2_2019 --------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 if (lfo_2 = high) then goto 01 [= reset]03 rnd frq lfo_1 (run speed)04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)06 trg long env (vco_2): rnd pitch @ eoc (vco_2)07 trg long env (vco_3): rnd pitch @ eoc (vco_3)08 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)10 goto 01.

A was busy doing some big muff basedenvelope follower, envelope filteredcomposition, when it hit me, a small portioncould be used for the max. 12 second loopof a loop exercice we're doing in the class. Here, i manipulate the envelope filter twice. First, a recorded loop, of my vintage teisco60's 70's don't remember anymore, doesn't matterguitar, i found for 90 euro at an online rommelmarktlet's say. . . I put the envelope filter so that it 'just' triggerson the peaks of my audio file. . . Oww yeah !!!. The second time i trigger the envelope filter, is wheni play live on top of the recorded loop, i'm playing on purposepercussive, a coup of my hand with an immediate attack, toeven further more let the filter open & because of the amazinggrainy low-frequency based russian sovtek big muff the filtergrowls even more. . . On top of the just percussive behavior, i playof course an harmonic, content related sequence, feeling that the loopwhile being in an odd measure, already is repeating itself , the liveplaying, contrastwise, makes variation in texture & harmonic/melodice content. . . This is only a small portion of the biggercomposition, that's comin'curious ? head to. Https://jozefaleksanderpedro. Bandcamp. Com/. For support : paypal/jozefaleksanderpedro. Peace !04012021.

This sample was created solely from instruments downloaded on freesound. Org. Having experimented more, i created another break with lfo band frequencies adjusted to create a white noise type break. I then played them simultaneously and mixed one into the other to create the effect of moving the eq in real time. To fully appreciate this, you need to download and play it seemlessly looped. This is recorded at 90 bpm for the continuum 4 project. You can visit the thread here:. Http://www. Freesound. Org/forum/dare-the-community/32704/. Here are the sounds used in the break:. Snare: http://www. Freesound. Org/people/ltibbits/sounds/16306/kick boom: http://www. Freesound. Org/people/jobro/sounds/33523/short kick: http://www. Freesound. Org/people/crescendo/sounds/16709/closed hat: http://www. Freesound. Org/people/atomwrath/sounds/11394/rim: http://www. Freesound. Org/people/opm/sounds/2095/open hat: http://www. Freesound. Org/people/tictacshutup/sounds/423/static: http://www. Freesound. Org/people/hello_flowers/sounds/30974/rev crash: http://www. Freesound. Org/people/halleck/sounds/30938/.

This sample was created solely from instruments downloaded on freesound. Org. Having experimented more, i created another break with lfo band frequencies adjusted to create a white noise type break. I then played them simultaneously and mixed one into the other to create the effect of moving the eq in real time. To fully appreciate this, you need to download and play it seemlessly looped. This is recorded at 90 bpm for the continuum 4 project. You can visit the thread here:. Http://www. Freesound. Org/forum/dare-the-community/32704/. Here are the sounds used in the break:. Snare: http://www. Freesound. Org/people/ltibbits/sounds/16306/kick boom: http://www. Freesound. Org/people/jobro/sounds/33523/short kick: http://www. Freesound. Org/people/crescendo/sounds/16709/closed hat: http://www. Freesound. Org/people/atomwrath/sounds/11394/rim: http://www. Freesound. Org/people/opm/sounds/2095/open hat: http://www. Freesound. Org/people/tictacshutup/sounds/423/static: http://www. Freesound. Org/people/hello_flowers/sounds/30974/rev crash: http://www. Freesound. Org/people/halleck/sounds/30938/.

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.

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.

Algorithmic modular music program ver. 2 (man2v2_2019). The computer is my analog modular synth. 01 to 08 are clock sequencer steps. Admit, the spring reverb makes a nice job!. 00 rem -------------- man2_2019 --------------00 rem ------------------ v2 -----------------00 rem vco_1 sin through wave folder00 rem vco_2 tri00 rem vco_3 sqr through vcf00 rem (vco_1, vco_2, vco_3) tuned to 130 hz00 rem rnd pitch cv from attenuated tri lfo00 rem rnd cv from tri lfo00 rem main clock (lfo_1) start frq 10 hz00 rem reset is tricky, trg -> short env -> reset00 rem (noise) is noise through a lfo sweeped vcf00 rem ---------------------------------------01 rnd -> vca cv in (vco_1)02 rnd -> wave folder (vco_1): rnd -> vcf (vco_3)00 rem line 08 in ver. 103 rnd frq lfo_1 (run speed)00 rem [less secitive for cv change]04 rnd fm mod (vco_1) with audio from (vco_2)05 rnd -> vca cv in (vco_1, vco_2, vco_3): invert cv -> vca cv in (noise)00 rem [added some offset with attenuverter]06 trg short env (vco_2): rnd pitch @ eoc (vco_2)00 rem [long env in ver. 1 - with long env i seldom reach eoc]07 if (lfo_2 = high) then goto 01 [= reset]00 rem line 02 in ver. 108 [07] trg short env (vco_3): rnd pitch @ eoc (vco_3)00 rem line 07 in ver. 100 rem [long env in ver. 1 - with long env i seldom reach eoc]10 goto 01.

We are writing the end of the 20th century _ _ _ cheer up !. After a nice concerto @ the charlatans, ghentduring the infamous ghentse fiestas ! ! ! ! !one of the guitarists of the band torturadodrives back home,. . . 72h after the concertthat is. . . He don't remember having slept. . . Ghentse fiestas are hardcore, he does rememberthe hamburger @ the vlasmarkt though. . . &he thought he heared 'vree wijs' like a thousand timesbut back then he couldn't decifre the real meaning of thosemumblings. . . So he always answered back to the girls, with 'i'm latino !' ( the usual reply). Hm,. . . Suddenly on the radio he hears musicwhich strangely seems familiar to himwhen the radio host describes the artisthe seems to be talking about the torturado boi ??!!!!##is he ??!!!!!#é"'((('à)§!(çà. Is this some kind of message from the future ???. The reference of glenn branca is there, but 2015 ??? never happened yet. . . Wooooooojoo !!!!. There is also this clear 'why nut' 2020 duyvisch nuts publicity reference !!!that he obviously doesn"t get yet, but an invisible force, makes him grab some nuts (not what you think), he bought just before entering the car ??!!! (you see!). Is this some kind of message from the future ???. No ! as the host continues the little descriptionhe makes a t e r r i b l e trabalengua or you knowknot explosion with the tongue & has to repeatthree times the sequence of the stroboscope. Wtf is going on here. . . The future seems to besending a very unflattering non elegant message to him _ _ _. It just seems to be just a rehearsal for a descriptionof the solo artist he is going to be. . . What the fuuuuuuuuukkkkk ?!!!èy"é'!'"''çé'ç"'à"'"é'é")*¨%££££££=:;ù%%%%. -----------------------------------------------------------------------. Recorded with my new dpa 4060very happy with iti can write a whole essayabout how i found it & stuffbut i think it's better totell you live in a barwith a beer or 5 ! ! ! ! ! !. 11112020josé !. P. S. All references to real persons/situations/musicians/latino's/birthdates, es-pe-cially for tindr dates / ! \ are very fictive, jaja !.

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.

Created from roughly 256 sounds in reaper by looping and batch actions. All sounds came from a folder of freesound cc0 sounds i've been collecting. Here is the file list if you are curious:. 103117__geronimo83__elephant. Mp3107216__keithpeter__birmingham-botanical-gardens-mains-hum-from-tannoy. Wav110456__sagetyrtle__wings-121110. Wav119161__reinsamba__110419-000-sheep-bleating. Wav120107__toc1__bird-wings. Aiff134025__danielrutterfilms__necksnap-build. Wav135506__chriddof__heavenly-computer. Wav14102__adcbicycle__15. Wav146558__john129pats__hybrid-monster-growl. Wav146957__zabuhailo__systemload. Wav151641__jamesmontour__8mm-film-camera. Aiff152317__logos-chroma__arp-odyssey-wind. Flac155800__mario1298__elevator-the-sixth-floor. Wav156522__timbre__retro-video-game-sweep. Flac165486__venaportae__wild-bees. Wav16793__pushtobreak__earth1. Aiff170761__esperar__bees. Mp3178995__beatproduction__emotional-string. Wav182110__qubodup__film-countdown. Flac184700__lloydevans09__spooky-love. 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My first upload! this sound i made using the zmors synth on my ipad air2 - i used audiobus which is a great routing software allowing many of a lot of awesome sounding synths that are now on ipad and can be played professionally via a usb keyboard controller (very handy for gigging) okay this is getting too wordy. . . I used audiobus overall with zmors in the first slot being routed through the wonderful aufx eq app in the center (effects) slot then ran the most useful of all ---> audioshare app in the 3rd or output slot to record it all. . . Keep in mind that the number of devices you can run in these three slots is virtually limitless - as much as your device can handle so you can get really nuts with several synths, a drum machine, etc all routing to the middle (fx) stop in the chain and picking up a fat 3 or 4 nice sounding effects devices then on to output to audioshare or you can now use just audioshare as host and run zmors in it directly (and probably more smoothly). I chose zmors because on a couple of other ipads (ipad mini, ipad 2 especially, and ipad air a little bit) i was noticing that it was a resource hog and was not playing correctly or there was a huge lag in the latency so with the new(er) ipad air 2 i wanted to hear the zmors synth and it really is an underappreciated majestic sounding beast if you ask me. I am going to experiment further with it as the unique architecture and just the way it sounds is totally different from any other synth i've yet to hear on ipad or in general. It kind of reminds me of a fatter, more modern. Sequential circuits 6 track. Which i've had a couple of and have a thick layered sound - kind of like a really nice turkey sandwich with a good portion of swiss cheese then you notice that there's still some roast beef left and put a good amount of that between bread as well. Hell, that's a sandwich that's gonna be filling! thanks for reading.

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.

project nine is a sparse yet melodic minimalist tune that was written to be used in sequences where time is of the essence. Thank you for listening. If you enjoyed this music, please subscribe to my youtube-channel. Apply the following credit if this track is used in your production:✂ -----------------------------------------------------------time is of the essence minimalist tune (project nine) - by kjartan abel. Visit https://kjartan-abel. Com/library to find free music for your next project. This work is licensed under the following: cc by-sa 4. 0 attribution-sharealike 4. 0 international. ✂ -----------------------------------------------------------. 📜 usage rights and limitations:simply put – music in the music library is free to download and to use in any productions, even for commercial use, as long as attribution is given! downloadable files are licensed under the creative commons attribution by-sa 4. 0 international license (cc by sa 4. 0) unless stated otherwise. To learn more about your usage rights and limitations, please visit https://kjartan-abel. Com/usage/. 🎹 about the artist:best known for his immersive musical journeys, kjartan abel composes original music and soundscapes for a variety of media projects, including youtube videos, podcasts, television shows, games, art installations and for feature films. Creatively influenced by the likes of vangelis, jean michel jarre, koto, laserdance, and røyksopp, tangerine dream and kraftwerk to name a few. 🎵 listen to kjartan abel:spotify: https://kjartan-abel. Com/spotifyapple music: https://kjartan-abel. Com/applemusicamazon music: https://kjartan-abel. Com/amazonmusicsoundcloud: https://kjartan-abel. Com/soundcloudyoutube music: https://kjartan-abel. Com/ytmusic. 👍 follow kjartan abel:youtube https://kjartan-abel. Com/youtubeinstagram https://kjartan-abel. Com/instagramfacebook https://kjartan-abel. Com/facebooktwitter https://kjartan-abel. Com/twitterpinterest https://kjartan-abel. Com/pinterest. © copyright issues:no copyright issues should occur if you use my music on youtube or any other service. If you experience copyright issues with your youtube videos, please visit https://kjartan-abel. Com/copyright-issues/ for help and to report the issue. 💰 this track was supported by donations:if you enjoy this music, please consider making a donation to help support future creative commons releases. I appreciate your generosity in making a contribution using https://kjartan-abel. Com/paypal. ❓ for inquiries, please use the contact form at https://kjartan-abel. Com/contact/. 🤝 thank you:first and foremost, i would like to show my gratitude to you! my music would be meaningless if it weren't for you. Because of your feedback and the fact that you incorporate the music into your own work, i am motivated to continue improving my skills and to make more music available to the public under the creative commons license. In addition, i would like to express my appreciation for your use of creative commons licenses in order to share, remix, and collaborate. Take care, and i hope you enjoy this composition!.

Sounds of orchestral drums that can be used for film scoring or making other kinds of soundtrack music. Begins with oneshots, there's also rolls, accents and phrases. This is synthesized with zynaddsubfx. Sequenced and rendered with lmms, eqd, normalized and edited with audacity. Paste the following text into a text file and import that as labels in audacity, you can then export multiple files from this one and have them properly named. A neat trick to put order into this sample collection, quickly (i did the hard work for you), it alsow is much easier to uplaod multiple files i this way, as describing them all would take ages. 0. 000000 30. 545306 oneshots 0130. 545306 61. 272766 oneshots 0261. 272766 92. 018435 oneshots 0392. 018435 123. 000884 oneshots 04123. 000884 153. 710113 oneshots 05153. 710113 184. 692562 oneshots 06184. 692562 244. 690340 oneshots 07244. 690340 304. 360249 oneshots 08304. 360249 309. 860952 roll short 01309. 860952 314. 924512 roll short 02314. 924512 320. 060930 roll short 03320. 060930 325. 124490 roll short 04325. 124490 330. 333787 roll short 05330. 333787 335. 506621 roll short 06335. 506621 340. 706803 roll short 07340. 706803 350. 915896 roll decelerating 01350. 915896 361. 115873 roll decelerating 02361. 115873 371. 534422 roll decelerating 03371. 534422 381. 989410 roll decelerating 04381. 989410 392. 189388 roll decelerating 05392. 189388 402. 498662 roll decelerating 06402. 498662 414. 647574 roll decelerating 07414. 647574 422. 752925 roll long 01422. 752925 430. 803628 roll long 02430. 803628 438. 854331 roll long 03438. 854331 446. 795737 roll long 04455. 101429 463. 152132 roll glide up 01463. 152132 471. 202834 roll glide up 02471. 202834 479. 326395 roll glide up 03479. 326395 487. 413537 roll glide up 04487. 413537 495. 500658 roll glide up 05495. 500658 503. 587800 roll glide down 01503. 587800 511. 565646 roll glide down 02511. 565646 519. 652766 roll glide down 03519. 652766 527. 776327 roll glide down 04527. 776327 535. 972744 roll glide down 05535. 972744 542. 019887 phrase a 01542. 019887 548. 176304 phrase a 02548. 176304 554. 296281 phrase a 03554. 296281 560. 379841 phrase a 04560. 379841 566. 463401 phrase a 05566. 463401 574. 696258 phrase a 06574. 696258 578. 666961 accent 01578. 666961 582. 819819 accent 02582. 819819 586. 899796 accent 03586. 899796 590. 761224 accent 04590. 761224 594. 768367 accent 05594. 768367 600. 997642 accent 06600. 997642 606. 316213 phrase b 01606. 316213 611. 634762 phrase b 02611. 634762 617. 026190 phrase b 03617. 026190 622. 344762 phrase b 04622. 344762 630. 431882 phrase b 05630. 431882 635. 714014 glide up 01635. 714014 640. 959728 glide up 02640. 959728 646. 387574 glide up 03646. 387574 651. 669705 glide up 04651. 669705 657. 061134 glide up 05657. 061134 662. 416122 glide up 06662. 416122 667. 698254 glide down 01667. 698254 673. 089683 glide down 02673. 089683 678. 444671 glide down 03678. 444671 683. 799660 glide down 04683. 799660 689. 045374 glide down 05689. 045374 695. 071319 glide down 06703. 454324 711. 891179 roll long 05711. 891179 720. 076735 roll long 06720. 076735 728. 540499 roll long 07728. 540499 733. 672177 wobble 01733. 672177 739. 129206 wobble 02739. 129206 744. 406735 wobble 03744. 406735 749. 731383 wobble 04749. 731383 755. 116599 wobble 05755. 116599 761. 650683 wobble 06.