Electronica Glass Horizon

130 BPM and a straight kick that is never quite plain: ghost kicks after the one and the three, snares with ghost notes on the backbeat, and sixteenth hats whose accents rise and fall, swung from 6 to 14 percent the way a played break is swung. Long, resonant, softly struck percussion rings under the groove. Full, stripped, top, percussion and hi-hat loops are separate folders. The harmony is wide and minor: minor ninths, major sevenths, minor sevenths and add9 chords, on four progressions - Rise, Fold, Arc, Shore. The tuned loops are four bars long and change chord every bar. Chords, arps and sub bass cover all four progressions across the twelve keys, three in each key; pads and melodies 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. The chord loops are the heart of the pack: five vintage-style polysynth characters, from warm and dreamy to vector-like and wide, playing the chords stabbed, off the beat, pushed, held or in a broken figure, through a low-pass filter that opens and closes once or twice across the loop - the movement of the style. The arps run on four characters, from a soft pluck and a dancing echo to diamond-bright and bell-like, in straight sixteenths, a gallop or eighths, up, down, up and down, broken or around a pedal note. The pad holds the chord or breathes on the half bar. The melody loops put a chord part and an arp together on the same progression, ready to drop in, and every one of them also comes as two stems - chords and arp - at exactly the level they have in the full loop, so you can mute, swap or re-voice either part and the balance stays the same. The sub bass is written for the music, not on top of it: each of the 60 loops belongs to one chord loop or one melody loop and plays the root on the same hits, lifting to the octave on the last hit of the bar. The partner is in the name - Chord07, Melody12 - on two clean sub characters. One shots: kicks in two tones each, dry and room snares, claps, closed and open hats, shakers, rimshots and woodblocks, chords (Am9 and Fmaj7) on the five polysynths, plucks on C4 and C5, 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, arps, pad and sub 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 -70 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.