soundarchive.online

All mp3 audio sounds for free download!  

Soundarchive-online is a transformation of the German archive www.hoerspielbox.de which has been offering free access to high quality sound and noise archives, including many historical samples, since the year 2000.
In December 2014, we redesigned the site and expanded a great number of functions. The problem was: the descriptive texts of the archived sounds, the search functions, the tags and the categories were only available in German language. That has been changed in parts already and we are working hardly to continue the translation of all!

Next step is to include also the practical tips for working with and organising sounds, and in addition providing texts on the historical and aesthetic development of radio plays and sound art. The original German archive does already offer this content and in our opinion, this is one of the reasons why the archive is particularly popular in a pedagogical context.
Soundarchive.online and the German original Hoerspielbox.de are resonating contributions to net culture. The targeted audience for the archive includes, at present, independent and creative initiatives in educational institutions, i.e. theatre and radio play classes in schools, as part of the curriculum or as extracurricular activities, film workshops and all those who would like to broaden their perception by learning to listen more consciously. But also journalists, musicians, youTube filmmakers or private people who want to create a soundtrack for their holiday pictures will find a reliable tool in the soundarchive.online.

All those who believe that creative work is an essential value for a society that is mostly economically minded can help with a donation to support individual and cultural education. In addition, they will promote creative interaction with the media. The major share of the donated money will go back into the enhancement of the archive, the adequate translation of the texts and the practical tips.
By providing an English version of the archive, we – hopefully – will enable more people to gain access to culture – especially in less privileged places of our world.
The descriptive texts of the archived sounds and the practical tips for working with sound recordings should be translated into English and thus be made available worldwide. We expect that the English edition of the Hoerspielbox will be met with the same enthusiasm as the German archive already in place. This would encourage us to further expand the archive’s range of functions so that English sources could be added to the current explanatory texts. Parallel to this, we are already working on adding recordings from other cultures and countries to the existing, mostly historical, sounds.
… of noisy arts – 1st aspect: the radio (abstract)
Radio – Power – Masses – Art

Where new things happen there is the desire not only to maintain the old in the new but also to go beyond limits and to expand one’s acting space.

This is how you could explain, in a relatively undisputed manner, the emergence of radiophone art in Germany, at the introduction of radio. In this context, at the beginning of 20th century, the so-called traditional arts are often described as “exhausted”. So, for them, radio as a new medium presented an opportunity for going beyond limits and it was used for those purposes. That they were able to really develop artistically within the apparatus that was about unfold has to do with a conflict that the government authorities faced who were regulating radio:

On the one hand, radio was seen as an instrument to enlighten and educate the masses. On the other hand, one feared the power that such a medium might develop for steering the masses. Therefore radio became a cultural instrument early on. That the fear of potential influence on the masses was not unfounded was proven by the Nazis once and for all. After the end of World War II, the Allied Forces programmed radio as a public and decentralized system – and the task was to provide re-education, information and culture.
So electronic and electro-acoustic music and – being right at home – experimental radio dramas encountered ideal production facilities in well-equipped studios of radio stations which were funded by public money, consequently developing the concept of “Ars Acustica” and Radio Art since the 60s.