Deep House Backroom Groove

126 BPM and a loose, bumpy pocket. The kick is four on the floor until it isn't: some grooves skip the third beat, push it a sixteenth early or add a pickup before the bar, and that hiccup is the bump. Hats and claps are swung from 14 to 22 percent, with ghost claps and long open hats, on five feels shuffle, lean, skip, nod and strut across eight drum kits. Full, stripped, top, percussion and hi-hat loops are separate folders, and the kick sits up front. The harmony is natural minor with minor sevenths and ninths and major sevenths, on four progressions: Afterhours, Backroom, Lamplight, Southbank. The tuned loops are four bars long and change chord every bar. Chords and bass cover three progressions in every key, keys, stabs and pads two. The key and the progression are in every file name, so any two parts in the same key and progression stack chord for chord. Every melodic loop has its own phrase. Within the chord, bass, stab and keys loops no two share the same line or the same rhythm, not even in another key: you will not find the same phrase transposed twelve times. The phrases repeat the way a player repeats them a figure, the same figure again, an answer so each loop is a hook, not a noodle. The chord loops play on four characters, two electric pianos and two polysynths, stabbed off the beat, pushed a sixteenth ahead of the next chord, held or bouncing, with the top note moving as little as possible from chord to chord and, now and then, the root dropped an octave for a wider voicing. The chord stab loops are the classic deep house gesture: one key that sounds a chord shape, with the fourth and the octave built into the sound, on two characters, in short rhythmic phrases. The keys loops are mallet and bell melodies on three characters - glassy keys, a marimba and a vibraphone-like pluck. Stabs and keys come with fifteen percent of room already in the file, with the tail folded back so the loop still repeats without a gap. The pads hold the chord, breathe on the half bar or swell into it. The bass loops are the engine of the style: four characters, from a round analog bass and a gritty one to a clean flat bass and a bright FM bass, playing on the off-beats and the sixteenths around the kick, jumping to the octave, the fifth or the seventh and leaning into the next chord with an approach note. One shots: kicks, claps, snares, closed and open hats, shakers and rimshots, chords (Am9, Dm9 and Em7) on four characters, bass on C2 and G1, impacts and reverse cymbals, plus riser and downer sweeps. How it was made. Every sound in the pack is synthesised, not sampled: the drums, percussion and effects by our own sound-design code, and the chords, stabs, keys, pads and bass played note by note on synthesizers. No sample libraries and no re-licensed recordings, nothing to clear - whatever you build with it is yours. Every melodic loop is one continuous performance, with the tail that rings past the end folded back onto the start, so it repeats without a gap. Nothing clips anywhere, every file keeps 3 dB of headroom, and the DC offset is below -72 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.