Find a sound. Make it yours.

The lowest four notes of this sound. Start a melody here, then answer with a higher group.

Four higher notes. Try a pair above the first group, or continue your melody upward.

Four bright, high notes. Add a small answering phrase above the lower groups.

The highest four notes. Finish a phrase here, then return to a lower note for contrast.

The lowest four notes of this sound. Start a melody here, then answer with a higher group.

Four higher notes. Try a pair above the first group, or continue your melody upward.

Four bright, high notes. Add a small answering phrase above the lower groups.

The highest four notes. Finish a phrase here, then return to a lower note for contrast.

The lowest four notes of this sound. Start a melody here, then answer with a higher group.

Four higher notes. Try a pair above the first group, or continue your melody upward.

Four bright, high notes. Add a small answering phrase above the lower groups.

The highest four notes. Finish a phrase here, then return to a lower note for contrast.

Four repeating layers: voice beat, drums, keys and a musical phrase. Tap each to start; tap it again to stop.

Four jazz guitar riffs. Answer one riff with another, or play them over the loops.

A boing, two effects and a muted phrase. Drop in one at a time to change the scene.

Scratch, camera, bottle and snap recordings. Use them as unexpected punctuation.

Congo phrases on 1–3 and a bass note on 4. Build a pulse, then add the low sound.

Bass on 5–6, melody on 7–8. Trade a low sound for a brighter answer.

Melody on 9–10, effects on 11–12. Keep the tune moving and add a surprise.

An effect on 13 and synth tones on 14–15. Sound 16 is empty.

Long recordings with the strongest low tones in this pack. Leave space for each sound to unfold.

Four long sounds that move between deeper and brighter colour. Try two together.

Four brighter, ringing recordings. Add one above the deeper first group.

One ringing recording on 13. Sounds 14–16 are empty; return to the first groups to answer it.

The lowest four kalimba notes. Start a gentle melody here.

Four higher kalimba notes. Answer a note from the first group.

Four brighter kalimba notes. Move between this group and the lower notes.

The highest four kalimba notes. Add a light finishing note to your phrase.

Four recordings of different lengths. Play one, let it unfold, then answer with another.

Sound 5 lasts about 27 seconds; 6–8 are shorter. Let the long phrase sit behind a brief reply.

Sound 10 is the longest in this group. Alternate its extended phrase with the shorter neighbours.

Three longer recordings on 13–15. Give them room to unfold; sound 16 is empty.

A deep first sound followed by brighter sounds. Try a repeating 1–2 pulse and add 3 or 4.

Four low, focused tones. Use one at a time underneath the brighter groups.

Four tones in the middle of the pack. Try a short melody over a low sound.

Two deeper tones followed by two brighter ones. Answer low with high.

A deep first hit and three brighter sounds. Build a pulse with 1 and 2, then add detail.

Four closely related low tones. Change the foundation by switching between them.

Four darker middle tones. Try two together, then answer with the brighter last group.

Four brighter recordings. Add a short answer above the low tones.

A low first hit and three contrasting bright sounds. Start with a sparse repeating pattern.

Four low tones with different colours. Choose a foundation and change it between phrases.

Four closely related middle tones. Try pairs to find a combination you like.

Three middle-to-bright sounds and a much brighter final sound. Use 16 as a finishing accent.

Four recordings with a similar bright character. Try them separately to hear the differences.

Four focused low tones. Use them underneath the bright first group.

Another set of bright recordings. Answer a sound from 1–4 with one from this group.

Four more bright recordings in the original order. Swap one into a phrase to change its colour.

A low first hit and three brighter sounds. Make a simple pulse before adding the other groups.

Four middle tones with similar colour. Try one, then add a second for a fuller sound.

Four progressively brighter tones. Move between them for a rising sense of colour.

Two middle sounds frame two much brighter ones. Drop in a contrasting sound between phrases.

A low hit, two brighter sounds and a softer final colour. Make a relaxed repeating pattern.

Four low, focused tones. Change one at a time beneath the middle group.

Four warm middle tones. Try pairs, then return to a single tone for space.

Four brighter recordings. Answer a middle tone with one of these sounds.

A low first hit, two bright sounds and a middle-coloured fourth sound. Build a pulse, then add detail.

Four related low tones. Switch between them to move the foundation.

Four tones with contrasting brightness. Try a short phrase above a low sound.

Four middle-to-bright recordings. Add an occasional accent between phrases.

Two deeper sounds followed by two brighter ones. Try a low pulse with a light answer.

Four middle tones, brighter than the deepest rhythm sounds. Try one beneath a short phrase.

Four related middle tones. Answer the second group with a different combination.

The brightest group in this pack. Use one sound to lift a phrase above the middle layers.

A deep first sound and three brighter ones. Start a pulse, then add the brighter sounds sparingly.

Four very low tones with little bright energy. Choose one as the foundation.

Four contrasting middle tones. Try a pair above a deep tone.

Two darker sounds followed by two brighter ones. Use the contrast to answer your phrase.

Deep sounds on 1 and 4, brighter sounds on 2 and 3. Alternate deep and bright.

Three low tones followed by a much brighter sound on 8. Use that last sound as a reply.

Four middle tones that move from brighter to darker. Try a phrase in either direction.

Three middle recordings and a bright accent on 16. Leave room before the accent.

A deep first sound and three contrasting brighter ones. Build a steady low pulse and vary the answers.

Four very low, focused tones. Change one at a time under your rhythm.

Four recordings about half the length of the other groups. Use them for brief melodic replies.

Two darker tones followed by two brighter recordings. Trade a deep answer for a bright one.

A deep hit, a bright sound and two contrasting middle sounds. Keep the first pattern simple.

Four low tones with closely related colour. Swap the low sound between phrases.

Four focused, brighter tones. Try two together above the low group.

Dark, bright and noisy colours share this block. Add one surprise sound rather than all four.

Two deeper sounds followed by two brighter ones. Make a pulse with a light answering sound.

Four low, focused recordings. Use them as a foundation for the next group.

Four darker middle tones. Try a slow phrase or a pair of sounds.

Four recordings with a little more brightness. Answer the third group and leave room between sounds.

One deep sound and three brighter sounds. Build a simple repeating pattern.

Four very low tones. Use one underneath the brighter recordings.

Four darker middle tones with similar colour. Try pairs above a deep tone.

A darker first recording and three brighter ones. Answer low with high.

Four piano recordings to begin a phrase. Try one at a time, then a pair.

Another four piano tones. Answer the first group with a different combination.

Four brighter piano recordings. Add one above a phrase from the first groups.

The brightest piano recordings in this pack. Use a light finishing sound.

Four brief recordings with contrasting deep and bright colour. Use them to build a quick pulse.

Four short tones, from middle colour to a deeper final sound. Try a descending reply.

Four brief, brighter tones. Add a small melodic answer above the first two groups.

Two brief sounds and two longer ones. Use the short sounds to answer a longer recording.

Four recordings with very different lengths and colours. Let one unfold, then overlap a second.

Two recordings on 5–6. Try a brief answer after a longer first-group sound; 7–8 are empty.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

Four drum recordings with different lengths. Build a sparse pulse and add the longer sound for colour.

Four bass recordings, from brighter to deeper colour. Change the foundation between phrases.

Two brighter keys and two darker, shorter keys. Answer a bright tone with a dark one.

Four voice recordings, including a very bright final sound. Use one as a reply to the keys.

Four drum recordings with contrasting colour. Start a pulse, then change one sound at a time.

Four bass sounds; 6 is the briefest. Add a short reply between the longer low sounds.

Four key recordings with a related middle colour. Try two together over the bass.

Four voice recordings, from darker to brighter colour. Add a single voice as a finishing accent.

Two rhythm sounds on 1–2, bass on 3–4. Alternate a hit with a low answer.

Bass on 5–6 and melody on 7–8. Move from low to bright without changing groups.

Four melodic recordings with increasingly bright colour. Try a short rising phrase.

Voices on 13–14, effects on 15–16. The last sound is longest; give it room.

Kick, snare, hat and a choir layer. Make a pulse with the first three and add the choir on 4.

Four brief low recordings. Use one as a quick answer underneath the choir.

Four brighter recordings with varied lengths. Try brief replies rather than a dense layer.

Two longer bright sounds followed by two brief darker ones. Answer a long sound with a short one.

Kick, congo, hat and snare. Build a simple pulse before adding the sax.

Four sax recordings. Trade one phrase for another over the drums.

A sax on 9, keys on 10–12. Let the sax ask and the keys answer.

Key, melody, flute and marimba recordings. The flute is longest; leave space around it.

Bass, wolf and two chord recordings. Start with one long sound and add a contrasting colour.

Four piano recordings. Play a sparse phrase against the first group.

Three string recordings and a piano-named recording. Try a single layer under the piano group.

A scratch, two violin-named recordings and a pluck. Use the scratch to interrupt a long texture.

Jingle, timpani, bells and bass strings. Begin with one low sound and add a bright answer.

Four pizzicato recordings. Try a small repeating pattern.

One pizzicato on 9 and three chords on 10–12. Move from a small pluck to a fuller layer.

A chord, two bell phrases and a trumpet. Let the trumpet answer the bells.

Kick, bong, wood and a bright rhythmic sound. Build a pulse with a deep hit and a light answer.

Four low bass recordings. Change the low sound between phrases.

Four longer chord recordings. Try one at a time above the bass.

Phone- and sax-named recordings, then two contrasting sounds. Add one as an occasional reply.

Repeating layers on 1–2, brief sounds on 3–4. Tap a loop again to stop; answer it with a short hit.

Four brief recordings with related middle colour. Try a quick repeating phrase.

Two brief sounds followed by two longer, brighter recordings. Answer short with long.

This archived pack has no sounds on these four contacts.

Loops on 1–2, individual sounds on 3–4. Start one loop, then play an answer; tap the loop again to stop.

Four brief recordings with different bright colours. Try a small changing phrase.

Three individual sounds and a long repeating layer on 12. Tap 12 again to stop the layer.

This archived pack has no sounds on these four contacts.

A repeating drum layer on 1 and contrasting recordings on 2–4. Tap 1 again to stop the layer.

Two longer, brighter recordings followed by two shorter, deeper ones. Trade a long sound for a brief reply.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

A deep first sound followed by brighter sounds and a darker fourth sound. Try a light repeating pulse.

Four low, focused recordings. Change one at a time underneath the other groups.

Four focused tones with increasing brightness. Try a short rising phrase.

Four darker tones than the third group. Use them to bring a bright phrase back down.

A deep hit and three brighter colours. Build a pulse with 1 and 2, then add a light accent.

Four low, focused tones. Swap the low sound between phrases.

Four related middle tones. Try a pair above one low sound.

Four recordings with varied dark and bright colour. Use 15 for a brighter reply.

A deep hit followed by bright contrasting sounds. Start a sparse repeating pattern.

Four low, focused recordings. Change the foundation between phrases.

Four recordings about half the length of the other groups. Try a brief pair over a low sound.

Four brighter tones. Add an occasional reply above the shorter layers.

Two deeper sounds followed by two brighter ones. Build a pulse with a light answer.

Three low recordings on 5, 6 and 8. Sound 7 is unavailable in the archived source.

Four darker middle tones. Try a phrase above the available low sounds.

Two brighter recordings followed by two darker ones. Answer a bright phrase with a darker colour.

Only sound 1 is present in this archived pack. Tap it to play the recording; 2–4 are empty.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

Cat, dogs and parrot recordings on 1–3. The bird recording is longest; sound 4 is empty.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

Door, chair, squeak and bicycle-brake recordings. Turn everyday noises into a slow phrase.

Metallic screech, laughter and two more screech recordings. Drop in one surprise at a time.

Three longer squeaks around a very brief sound on 10. Answer long with short.

A tune-named recording on 13, then squeak, screech and brakes. Let the tune meet an unexpected noise.

Four recordings lasting roughly 12–19 seconds. Let one unfold before adding a contrasting sound.

Two extended recordings on 5–6. Try them separately, then together; 7–8 are empty.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

Heartbeat-, gurgling-, flying- and pat-named recordings. The gurgling sound is longest; give it space.

Tom, clap and low tom on 5–7. Add a small rhythm under the longer recordings; 8 is empty.

This archived pack has no sounds on these four contacts.

This archived pack has no sounds on these four contacts.

A repeating congo layer on 1, two congo phrases and bass on 4. Tap 1 again to stop its loop.

Bass on 5–6, melody on 7–8. Trade a low sound for a brighter answer.

Melody on 9–10, effects on 11–12. Keep the tune moving and add a surprise.

An effect on 13 and synth tones on 14–15. Sound 16 is empty.

The lowest four kalimba notes. Start a gentle melody here.

Four higher kalimba notes. Answer a note from the first group.

Four brighter kalimba notes. Move between this group and the lower notes.

The highest four kalimba notes. Add a light finishing note to your phrase.

Kick, snare, hat and rim. Make a relaxed pulse with a light accent.

Four bass recordings. Change one low sound at a time under the rhythm.

Four melodic recordings. Play a brief phrase above the bass.

Four short stab recordings. Add a finishing sound between melodic phrases.

Kick, percussion, hat and plock. Build a pulse, then add the plock as a playful reply.

Four bass recordings. Use one underneath your rhythm.

Four chord recordings. Try a pair over one bass sound.

Four effect recordings. Add one surprise between phrases.

Four recordings with closely related middle colour. Try a simple phrase with space between sounds.

Another four middle tones, with a darker overall colour. Answer the first group with this one.

Three repeating layers on 9–11. Start one, add another, and tap either again to stop it; 12 is empty.

This archived pack has no sounds on these four contacts.

Kick, shaker, hat and rim. Build a soft pulse with a light bright answer.

Four longer bass recordings. Change the low sound underneath your pulse.

Four chord recordings, about ten seconds each. Leave room for one to unfold before adding another.

Four stab recordings with different lengths. Use a brief sound to answer a longer one.