Drum and Bass Liquid Rollers

The drums are the two-step: the kick on the one and again around the third beat, a snare - not a clap - on the two and the four, and the ghost notes of a break around it. 10 recipes, each with its own kick, snare and hat figure: kicks that skip, push or double, snares with ghosts before and after the backbeat. Swing runs from 0.01 to 0.08. Eight kits, from Liquid and Velvet to Jungle, Neuro and Breaker. The bass comes in two layers that follow the same chords. The sub is a clean low body in fourteen characters, from a pure sine to a square, a saw and a frequency-modulated tone. The reese is a filtered synth voice in sixteen characters: growls, a rubber bass, an acid line, one where a notch sweeps through the harmonics so the note seems to rotate without changing pitch, and three that talk - a formant filter moves the vowel while the note stays put. The tuned loops are four bars long and change chord every bar, on six progressions: i-VI-iv-v, i-iv-i-VII, VI-iv-i-v, i-VII-VI-iv, iv-v-i-i, i-III-iv-VI. Each key carries three of them, and in each key every tuned category - reese, sub, electric piano, bells, pads and vocal chops - has a loop on each of those three. Pick a key and a progression and the parts fit together, chord for chord. The progression is in the file name (Dawn, Drift, Haze, Glide, Ember, Tide), so finding the matching parts takes one search. The parts are played, not listed. Electric piano loops hold, push, lift, play off the beat or late, in four voicings - close, open, wide and without the root - and choose which notes of the chord sound on each hit. Bells break the chord into rolling, broken, sparse or busy lines. The bass lines move by root, octave, fifth, a climb, a fall or the seventh, and on some figures step a semitone into the next chord just before it changes. Everything sits on a light swing, with the downbeats leaning harder than the sixteenths. The electric piano is modelled as a tine clamped at one end, so its second mode sits more than two and a half octaves above the note - that is the bell in the attack - and its pickup answers asymmetrically, which is what makes it growl when it is played hard. Bells and mallets keep the mode ratios of the real instruments: a marimba bar tuned so its second mode falls two octaves up, a xylophone at the twelfth, a kalimba tine, a balafon, a vibraphone. Pads loop without a seam by construction: every frequency sits on the loop's own grid and every slow movement completes whole cycles. Vocal chops sing short phrases on the same progressions - a floating line, a breath, a call and its answer, a sigh, a climb and an echo - and the vocal one shots give all twelve vocal characters in three registers. What makes all of it different is how it was made. Every sound, the voices included, is synthesised from scratch by our own DSP code, not sampled. No re-licensed libraries, nothing to clear. That makes the pack original, and it means whatever you build with it is yours. It also means every decision was deliberate, and measurable. Nothing clips anywhere, every file keeps 3 dB of headroom, and the DC offset is below -63 dB on every file. Levels are balanced the way a record is balanced, not normalised flat - load any four files at unity and they already sound like a mix.