Get clean and 100% Royalty Free sounds here     https://functionalsoftware.net/syndromesounds/
Note: This Demo sounds contains audible watermarks (like chirping crickets).

Driving Basses,  Stomping Kicks, Loud and Clean,  Punchy Sounds, Optimally Processed,  Production Ready Mixed.

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#Bassline #Groove #Loop #Kick #Bass #SubBass #LowEnd #Mixing #Producer #SamplePack #psytrance #samplepacks 
#LowCut #Phase #PhaseCancelation #PhaseAlignment #SideChain #Ducking #Dynamic #Compression #Saturation #Limiter #Expander
#HowTo #MixTips #MixingTips #KickAndBass #Tutorial #Mastering #SubBass #SubHarmonic #Rumble #Quake

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SYNDRM - 49 Tuned KICKs And Psy BASS Grooves, 147 BPM, 3 Beat CutMix20230302 101515 900

SYNDRM - 49 Tuned Psy KICKs And Analog BASS Grooves, 147 BPM, 4 Beat CutMix20230302 101515 630

SYNDRM - 49 Tuned KICK And Analog BASS Groove, 147 BPM,Off Beat CutMix20230302 101515 754

For jam 13 I did some banana patching. I suppose you could call this an exercise in peculiar panning.

Jamuary 13

Subharmonics from a DTG suspended in heaps of reverb

Jamuary 28 - reverberant subharmonics

Let's start this patch with the Stochastic Inspiration Generator providing a melody and some rhythm. It's feeding 1v/oct into a Befaco Even VCO The Even VCO is being FM'd by a later created version of itself (we'll get to that). From here, its even output goes two ways: 1) most directly through a vco that has an envelope triggered by the trigger from the SIG to an output channel. It's the most pure sound you hear in the right channel; 2) it goes into the clock of the Ring Divisions (since we've been talking about using subharmonics around here lately).

From the Ring Divisions we use three divided frequencies: /2 which goes to a Doepfer A106-5 SEM filter that is getting CV modulations from the Erica Synths Black Octosource which is being synced by the trigger from the SIG (this is the sound in the left channel); /4 which goes into an Ikarie filter that is having the cutoff modulated by Ochd and getting converted to stereo (this sound is in both channels); /6 is being fed back to the FM input of the Even VCO through a VCA being controlled by an Ochd LFO.

I think that's everything going on to make this happy little toe tapper!

FM - Subharmonics

Funny vocal crack at the end tho I think I reached lower notes here!

New PolySubs En Funny Vocal Crack At The End (1st Octave Lows Around D1 Or Lower)

PolySub Notes With Cool Patterns

Very robotic-sounding polyphonic subharmonic notes that are quite low!

Funny Yet Nice Robotic PolySub Effects On Lows

I went super low on this recording using the polyphonic subharmonic technique that kinda makes my voice sound like speeding cars racing on the highway, and I also included some random head voice highs that are a bit louder!

My Lowest Polyphonic Subharmonic Notes With Extra Head Voice Highs

Low polyphonic subharmonic notes with nice bass pattern that I cannot stop practicing, plus some extra chest voice lows with normal humming technique!

Nice PolySubs Bass Effect En Chest Voice Lows

I'm just here for fun, not money or fame!

(Headphones suggested for full enjoyment!)

Kick Bass Loops for Dance Music Production
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https://FunctionalSoftware.net/
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Rolling Basslines Beats Grooves PSY-TRANCE GOA EDM Electro

Driving Basses, 
Stomping Kicks, 
Loud and Clean, 
Punchy Sounds, 
Optimally Processed, 
Production Ready Mixed.


Kick and Bass Mixing Tips Checklist
=============================

This checklist provides a list of tasks that producers typically perform when mixing kick and bass sounds in psytrance music. However, with the LOOP Sample Pack, customers do not need to perform any of these tasks, such as synthesizing kick and bass sounds, searching for mixing tips, investing in sound design tools, and checking their tracks on different speaker systems. Instead, customers can simply buy the sample pack, choose the desired tempo and tone, and use the kick and bass loops as a foundation for their music. The checklist emphasizes the ease and convenience of using the LOOP Sample Pack and encourages creativity in music production.


Where do you stand in this not-so-fictional Kick and Bass Tips Checklist below?

With this LOOP Sample Pack, all you DON’T NEED to do (in the “words” of some tutorials) :

- Searching for how to produce psytrance
- Buy a cheap psytrance sample pack
- Watching multiple Kick and Bass video tutorials
- Buy best tool for Kick sound creation
- Buy best synthesizer for analog bass sounds
- Design stomping Kick sounds
- Synthesize Bassline sounds
- Investing more time to practice sound design
- Searching for Kick and Bass sound design tips and tricks
- Buy good speaker system
- Start all over with hearing Psy-Trance music again
- Start all over with sound design for new room acoustics
- Buy a Kick Sample Pack
- Buy a Bass Sample Pack
- Make Kick and Bass groove together
- Searching for how to mix Kick and Bass and mixing tricks
- Search for free processing VST plugins for Kick and Bass
- Buy best processing VST plugins for EQ, Compression, ….
- Saturate your Kick and Bass
- Phasing the Bass to get punchy waveform
- Exactly Side-chaining Bass to the Kick
- Buy Side-chaining tool
- Tuning the Kick to the Bass
- Phase-align the Bass and Kick
- Use Multiband compression for the Bass
- Use Clippers for Kick and Bass
- Adjust channel timing delay and fix latency
- Set up a mix group bus for Kick and Bass
- Balance Kick and Bass
- EQ-ing the Bass
- Use linear filters for Kick and Bass
- Use parallel compression for Kick and Bass
- Use Sub-Bass enhancers for Kick and Bass
- Compress Kick and Bass
- Sample the Bass and apply cut and fades
- Glueing Kick and Bass together with a Glue-Compressor
- Low-Cut Kick and Bass
- Mastering Limiter for Bass and Kick
- Record and Sample your mixed Kick and Bass
- Check Kick and Bass on large speaker systems
- Check Kick and Bass on headphones
- Check Kick and Bass on smart phones
- Check Kick and Bass in cars
- Now you can start creating your track with your Kick and Bass as fundament.
- Do it all over again when you want to change the BPM tempo or note pitch or create a new track 😉
- or
- Buy this Kick Bass Loop Sample Pack
- Choose Tempo, Tone and Kick Bass Loop as fundament.
- Now be creative and make music..

I have an unique voice type -- sopranino, with my vocal subtype being coloratura, and my tonal purity 100% aka 'glassvoice' sounding or crystalline tone meaning the sound is pure or crystal clear aka has no dark undertones. This has resulted in what I like to call a weightless voice which allows me to sing stratospheric high notes in head voice without straining, as the notes always come out naturally.

Most of my high note vocalizations on SC I've done with my mouth closed, which is a technique I use a lot when vocalizing and doing scales -- this may have further affected the sound quality/clarity on those recordings. I used a camera and cell phones to record them, so the sound quality is not too good, as cameras and phones are unable to capture the real note sound, voice timbre, and intensity (only pro recording equipment in a studio could do that) so my voice in real life does not sound like it does in the recordings.

In real life my high notes sound like birdcalls or flutes and my highest notes sound very beautiful like a bell (distant and echo-y) or like glass or raindrops on glass (IDK how to explain it) while on recording they sound, um, wrong/kinda weird (it changes my timbre, my tonality, my intensity etc) so I don't like my recorded voice BUT, I uploaded for the range mostly, as some people questioned my vocal range and singing range claims.

My total vocal range and my total singing range are wider than my recorded ones, because I suffer from chronic hoarseness (IDK if it's permanent or if it will go away if I am moved to some warmer place) and on a good day (when my hoarseness level is below 25%) I can always go lower and higher than usual.

Higher notes are harder to hear anyway, as the higher it goes the more distant the sound/note becomes.

My full head voice range is C6 to C8.

My full chest voice range is A0 to A5 -- I actually do have recorded A5s in chest belts, but due to copywrong rules I can't upload that voice sample on SC, but I can always send via email, so if anyone wants to hear those samples, just let me know!

So, my full singing range (the modal voice range) is A0 to C8.

My most used range however is from A1 to A7 -- I can access this range pretty much all the time (even when extremely hoarse) or almost all the time.

My whistle register: my whistles, they go from around C4 to A10+ as my highest whistle notes go into the inaudible, so IDK exactly what's my absolute highest whistle note as I can't even record such notes with a phone; but I rarely use this vocal register tho as WR is not flexible at all and this makes it hard to control it as sometimes the notes may sound broken IDK and whistles are usually accompanied by some other sound which is a weird 'vocal noise' (that reminds me of the sound of static noise) I can't control...

I usually use my head voice for highs since I can sing all the notes on a piano and the clarity of headvoice notes is superior to that of whistles, and only use whistle register in random WR vocalizations or when I try to imitate chicken sounds and certain bird sounds & thrills.

I am a natural-born artist and self-trained singer, so creating art and singing always came naturally. But being the perfectionist, I always made sure my technique was also perfect. So I did research singing and vocal techniques before I started singing.

So I am both a natural and a very technical singer at the same time.

This allowed me to sing for many hours without getting sore or losing my voice. I used to spend all day singing, before I was moved...

Sadly, I can't belt or sing loudly (normally, without holding back/fear) at the moment.

That's why on the acapella recordings on SC I sang quietly -- without diaphragm support.

Can't wait to be moved to a proper home where there's no one else/no neighbors living in it or around, so that I can finally be able to sing properly and belt again.

Besides singing, I also love to write lyrics and create vocal melodies for my unfinished songs!

Jonathan Zorn works as a composer, performer, and curator of experimental, electronic, and improvised music. His electronic music pairs improvising musicians with interactive computer systems to create hybrid, human-machine ensembles. Zorn's interest in vocal utterance has resulted in a series of pieces in which spoken language is interrupted by electronic forces, drawing attention to the gap between speech and sound. Zorn has been active as an improvisor on bass and electronics for 15 years and has performed at Red Cat, the Walker Art Center, the Verona Jazz Festival, the Library of Congress, the Seattle Festival of Improvised Music, Line Space Line Festival, and the Chelsea Art Museum. His work has been published in Ord und Bild, the SEAMUS Journal, Notations 21, and UbuWeb. 

New tracks tagged #SubHarmonics