bobman86, I'm the guy that runs this place, it's my *job* to nitpick
I think freqman means:
it's a very quirky song by the way... reminded me a bit of "beige" on leaf records.
hehehe, as you can see it will be very difficult to please everyone, and in the end I might have to go with the 3 licenses, like soundhead says.
soundhead: I agree, choice is nice, but it also creates confusion. Look at ccMixter, they have "all" licenses to choose from and it's a bit of a chaos. For example, when someone remixes a sound, what licenses are possible for this sound?!
ermine: I'm not going to enforce non-commercial only. I have to go with the "relatively most common denominator" to please as many people possible. In the end -for the uploader- it could be as simple as choosing between:
(a) people who use my sound have to mention my name.
(b) people who use my sound have to mention my name, and can't use the sample for commercial purpuses without asking explicitly.
(c) people can do whatever they want with my sample.
and set (a) to default.
1. Let's not jump to conclusions just yet, I plan to let this poll go for a rather long time.
2. Let's try to keep as civilized as possible, if this thread turns into a flame war I'm deleting posts, I want this thread to be as constructive as possibke
and switch off your firewall software for a second, people seem to have trouble with FTP and firewalls.
I think our user Sonic could help you with this... Sonic, over here!
When I recorded thunderstorms I was afraid to damage my microphones by the rain. I am currently looking for "do it yourself" solutions to protect a pair of small diaphragm mics from the wind and water. There are only very expensive professional soutions on the Market (e. g. Schoeps), do you have an alternative idea?
but the fact that you have posted sounds on this site and the sampling license they have been released under do allow free uses of those sounds in commercial ways. I hope you're aware of that.
I am now, and I truly appreciate the efforts you and others have made to highlight this, and of Bram to take the necessary corrective action so that FS reflects more accurately the needs of its user community.
My beef with the pro community's approach to this still stands. It is the attitude "I want to be free to make money with this stuff, but I don't want to pay for it, I don't want to credit it, and I don't want to contact the author, I'm a busy pro, man, gimme NOW with no strings". It is repeated somewhat in
I just figured this was the 'free'sound project. Not the "cost of a beer" sound project.
It is free for a large community of users. In the same way as open source software is free for a large community of users. That community does NOT, however, include Microsoft in its current business model. Or shareware authors, in the case of GPL code. Is it really so unreasonable to ask if you are using sounds from here in a commercial project you should at least talk to the author and be prepared to pay, or credit?
If you like retro, 8-bit sounds then check out Tweakbench's site. I use their vst's for making video-game songs. Check out Peach, Toad, Triforce, and Tapeworm for sure.
Some pretty cool stuff!
Pardon me for the misunderstanding.
I still can't think of an easy solution.
I don't think one pair of microphones, or one recording can do what you want.
Perhaps someone else will.
I would either combine two recordings - one of the fireworks and another of the crowd - close up.
Or I'd set up four micophones and mix it (bring up the crowd at key moments).
Thank you for your tips, but I'm not sure it would solve the problem...
My explanations were poor...
Take fireworks : you want the explosions as well as the reactions of the public around (like I did on NYC fireworks, which I posted here, and wich I recorded with a simple MD). My point is : how to avoid this "pumping" of the sound after the limiter of the Tascam HDP2 goes off ? I don't want to have silent just after an explosion and before the cheerngs of the croud !
I know a compressor would do the trick but... they rarely come handheld...
Thanks again for your patience, english is not my mother language, and I know I must sound retarded ... :wink:
I can log into site with user name and password but when I go to FTP page I can not type anything in the password box...I type and nothing....Then I get a message my user name os password is wrong...Yes password is wrong...I can't type it in....When I hit the help button nothing happens...Do I have to have my computer firewall set a certain way(fairly new to file sharing) ??? Or is it the site ???
I just want to contribute sounds since I have downloaded some...GREAT SOUNDS YOU PEOPLE MAKE....Well, most of you anyway....Thanx
Since you're recording loud sounds - try switching the PAD to -20db
Next try it with the limiter off.
If that doesn't work, and you're unable to overide the automatic gain adjustment.
I suggest you find a mixer and go through the LINE IN RCA plugs.
If you don't have a mixer, try another recording device that doesn't have autogain... and loop it through to the LINE IN RCA plugs.
Not sure what else to suggest.
Does anyone know how I could get the looped keyboard sound in the song by Joe Walsh called Life's Been Good To Me, just before the guitar solo
As I know that it's one of the most popular sound on Internet, I'd like to record gunshots but...
I have a Tascam HDP2, two electrostatic mics I am ashamed of (Sontronics, I didn't save enough money...), but I don't know how to do to record such big sounds without saturation or too low level...
The Tascam has a limiter, but it "pumps" the sound after the saturation.
Same problem with fireworks : how to record the explosions and the reactions of the public ?
Sounds silly, isn't it ?
If anybody had an idea on how to do it...
ermineshareware game programmers, or someone making tapes to sell out of their basement
Cool. You wanna use a FS sound in a commercial project - talk to the author. Or shoot the sound yourself. If it isn't worth an email, it's no big deal if you don't have the sound, right? If it is a big deal or you have to get on a plane to record it, it's worth the effort of an email and maybe the price of a beer?
Shareware ain't free. So why should its components be? Don't wanna talk to the author because you might have to pay - heck, make it freeware, or even better, open source. Why is commercial use causing such chiseling? If you aren't going to work for your users for free, then I ain't gonna work for you for free. Just what part of that is so hard to understand?
Your point was that commercial users wouldn't give back to the community. You are wrong. Many (such as shareware developers or hobbiests that plan to sell their work for shits and giggles, or kids in their garage even) would.
Also you assume you can reach the author. This is THE INTERNETS. They might have stopped making sounds, stopped using the internet, or have died. Maybe they changed their email and never updated it here.
And ok, fine shareware isnt free. Fine make it opensource. Its still subject to making it be a more restrictive license than it has to be. For example, I couldnt use it in something that uses a freeBSD-esque license.
I just figured this was the 'free'sound project. Not the "cost of a beer" sound project. Musta typed the url in wrong.
I chose "I want to use "attribution", "attribution-noncommercial" and "public domain" depending on the sample"
Let the makers of the sound decide what terms they want to release it on. The license use maybe a little confusing to new users, in that they need to read each Creative Commons deed, but really that is what anyone should actually do that is going to use these sounds anyway.
As far as giving a person the option to remove attributions, the option is there no matter what license its released under whether its commercial or non commercial attribution. A user just has to speak with the author and the author can give that individual a waiver of the license if they so choose.(whether the waiver is allowed for free or allowed for a fee). At least by having commercial attribution available a person may make free use of work with it as long as they use attribution. This is especially useful if the author needs to use that sound in a deadline but can't get in touch with the author in time.(but has no problem giving credit to that sound in their work)
If the site becomes non commercial use only, I believe users like me will run across this site and quickly ditch it because it becomes a bunch of unuseable sounds. I find it rather aggravating to find sites advertising free sounds to use, but you can't use it to actually make money with. A change to only a non commercial attribution only license will truly make this project become Unfreesound.
Personally, 99% of the time I'm not going to bother contacting a non commercial attribution sound to negotiate it into a commercial project.(the sound would have to be truly one of a kind for me to do so) It becomes way too much time to negotiate over what is one particular sound.
If you multiple licenses are implemented, a search filter that searches for sounds that only fall under a certain license would be very handy for people.
Ermine your responses really bother me, not because of your opinions but the fact that you have posted sounds on this site and the sampling license they have been released under do allow free uses of those sounds in commercial ways. I hope you're aware of that.
Dual license makes most sense. Let those who want to release for free or at least with a clearer more open ended attribution license do so and let those who want to only release on a non profit basis do so.
Honestly, I don't think its that hard to find sounds on this site. Its usually here or it isn't. The sound previews and sample packs make it easy to download a lot and listen through later to find more of what you actually need.
There are people and groups who do freely give away sounds. Great examples of people who've practically given away excellent samples are:
1) The G-Town church project. Tobias Marburger, a commercial composer now I believe. Excellent percussion sounds.(Same license as FreeSounds)
2) University of Iowa - some excellent recordings of instruments with note ranges http://theremin.music.uiowa.edu/MIS.html
3) Philharmonia Orchestra http://www.philharmonia.co.uk/thesoundexchange/sound_samples/sample_libraries/
I've also found the drum samples of Max Albelga helpful as well as some on this site. I don't think most people posting drum cymbal hits up here just put them up for people to listen to.
Hi there. It's more of the high-pitched, fast "chee chee" or "bwoop bwoop" that I'm looking for.
search for "dun" and make sure you click the filename toggle - I know I created something like that a while back.
As in when the piezos of the car alarm get set of for a couple of beeps, or just the lock noise? I got the ker-chunk of my car locks somewhere, and very satisfying it is too, but it's not new enough for the alarm blips