Dubstep Fault Line

The drums are half-time: 140 BPM with the snare on the three. 8 groove recipes, each with its own kick, snare and hat figure, from a single kick on the one to kicks that push, skip and double. Six kits - Quake, Rubble, Vault, Girder, Grime and Halftime. Full loops have everything, stripped loops keep the core, and top, percussion and hi-hat loops come as layers of their own. 24 one-bar fills - stutters, rolls, doubles, accelerating rolls, tom falls and ride builds - lead into the next downbeat. The wobble is a resonant filter swept by a tempo-locked movement, and that movement changes speed note by note: half notes, eighths, triplets and sixteenths inside the same phrase. That is what separates a wobble from a filter left oscillating. Six phrases - Half, Triplet, Build, Stutter, Slow and Drop - on nine characters, from a reese and a rotor to an acid line, a rubber bass and an organ. The growls are the bass that talks: a formant filter moves the vowel while the note holds, and the octave alternates from note to note. Five phrases - Chop, Gallop, Talk, Stab and Roll - on six characters. The lead loops play short hooks over the chords. The tuned loops are four bars long and change chord every bar, on six progressions: Doom, Fall, Pressure, Dark, Grind, Rise. Each key carries three of them, and in each key wobble, growl and lead have a loop on each of those three. The key and the progression are in the file name, so finding the parts that fit takes one search. One shots: wobble notes in eighths, triplets and sixteenths, sub bass in eight characters from a pure sine to a saw and a square, and synth hits - minor chords on the same bass voices (reese, growl, hollow, bright, rotor, talk, organ, fat) in two registers, with the root in the file name. Kicks in two tones, snares dry and with a room tail, claps, closed and open hats, crashes, impacts, and riser and downer sweeps. What makes all of it different is how it was made. Every sound 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 -68 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.