Nu-Disco Mirrorball Nights

123 BPM and minor keys: the tempo and the mode most of the current nu disco charts sit on. The drums keep the kick on every beat with pushes before the bar, the clap on the two and the four with the odd extra, the open hat on the off-beat, and congas and bongos around it. Full, stripped, top, percussion and hi-hat loops are separate folders. The bass is the disco bass: octave jumps, fifths, walks and approach notes that step into the next chord, on quarters, eighths, sixteenths, gallops, off-beats and syncopations, on ten characters from round analog to slapped and picked. The funk guitar strums the chord in sixteenths, down and up, with muted ghost strokes between the open chords: six strum patterns on seven guitars - four plucked strings through an amp, from bridge and neck pickups to a jazz tone and a twang, and three synth guitars. The electric piano plays the chords held, pulsing, ahead of the beat, split between the hands, on the off-beat or as short hits, in close, open, wide and rootless voicings, on six characters. The strings - thirteen characters from string machines to symphonic sections - hold the chords, play halves, push ahead of the bar or punctuate with stabs. The piano adds a brighter percussive layer on the same chords. The tuned loops are four bars long and change chord every bar, on six progressions: Mirrorball, Boulevard, Marquee, Sundown, Lights, Skyline. Each key carries three of them, and in each key every tuned category has a loop on each of those three. The key and the progression are in the file name. One shots: kicks, snares, claps, closed and open hats, rides, crashes, shakers, congas, bongos and tambourines, bass on C2 and G1, electric piano on C3, G3 and C4, and synth hits - minor chords in two registers with the root in the file name - plus riser and downer sweeps. How it was made. Every sound in the pack is synthesised, not sampled: the drums, percussion, piano and sweeps by our own sound-design code, and the bass, guitar, electric piano, strings and synth hits 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 -71 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.