Be one of the first ten people to leave a comment below (don’t forget to leave your email!) and you will win a free copy of 500 trap music synthesized instrument samples!! :D :D :D
UPDATE!! This giveaway is now over, but you are welcome to consider the buying the sample pack, it’s on sale for a limited time!
Yes, a new sample package is coming out today from Bassadelic, and it includes tons of great trap samples! Scroll down a little bit to get the details! :)
So how’s this work?
Well, the first ten comments on this page (don’t forget to leave your email) will get a free copy of this product. Please give me up to a day to deliver the samples (it probably won’t take that long, but I want to have that 24 hour grace period in case my house burns down or something.. lol)
Ooooh Snippity Snap! 500 all-original trap music melodic synth samples, including over 70 bass samples, almost 50 melody loops, there’s tons of trumpets & trombones, as well as tons of modern EDM high pitched synth notes that you’ve come to expect from trap music today. This package provides the best possible value for producers hoping to get involved in the exciting world of trap music.
This production package was desgined for producers trying to get synth melodies for their tunes – and especially producers who are influenced or inspired by popular trap artists such as Flosstradamus, Baauer, UZ, TI, Wacka Flacka, and many other artists from both the Dirty South as well as the outta’ town rave.
So here’s what’s inside:
– 72 Bass Samples!
– 48 Melody Loops!
– 384 Synth Samples!
– including: trombones, trumpets (sustains and stabz) wobbles, saws, buzzers, beeps, wonky and rave sounds to fuse the middle ground between EDM and dirty south trap hip hop music with these helpful sounds.
Many of these samples (the one-shots) come in scales (with each of 12 notes labeled correctly) to give flexibility to the producer who wants WAV files, but wants to make sure to keep things in key during mixdown, which is obviously very important when layering sounds together and making full tracks and songs properly in the studio.
So, altogether you get 500 premier sounds — actually, the final count was 504, but I decided NOT to delete the last 4.. I mean, would you? (;
If you don’t win a free copy of the samples, that’s ok, you can still get ’em here!
BASSADELIC.COM
Some exciting things to come from the Bassadelic Studios… This one is sure to help many musicians and producers interested in the new fusion of EDM and trap music…
IMPORTANT UPDATE: Musician / super hero, Non Nnon, was kind enough to point out that one of the samples in the new Trap Synths package (specifically, “Phasah Bass – Low Range Scale – Note F1,” was missing. So, you can get that missing note by clicking here. Thanks again, Non Nnon!!
Ooooh Snippity Snap! 500 all-original trap music melodic synth samples, available now! From loops to one-shots, brass to 8bit to dynamic and awesome beeps, you’ll have the melodic scales and sounds to make some KILLER fucking music!
And yes, as always, there is most definitely a demo package to start you out with some of these sounds, so you can decide for yourself if you want to download this package or not :) So why not download these loops and check em out? Watcha got to lose?
This production package was desgined for producers trying to get synth melodies for their tunes – and especially producers who are influenced or inspired by popular trap artists such as Flosstradamus, Baauer, UZ, TI, Wacka Flacka, and many other artists from both the Dirty South as well as the outta’ town rave.
So here’s what’s inside:
-> 72 Bass Samples!
-> 48 Melody Loops!
-> 384 Synth Samples!
-> including trombones, trumpets (sustains and stabz) wobbles, saws, buzzers, beeps, wonky and rave sounds to fuse the middle ground between EDM and dirty south trap hip hop music with these helpful sounds.
Many of these samples (the one-shots) come in scales (with each note labeled correctly) to give flexibility to the producer who wants WAV files, but wants to make sure to keep things in key during mixdown, which is obviously very important.
Decided to re-open the ol’ “StrangeFlow Goes Too Far Folder,” once more, and drop this on the unsuspecting world… So here’s a preview for the new StrangeFlow movie, “Butt City.” Comin’ soon…
Think, “yellow submarine,” only funky as hell, and with electronic music, and… easily-not-as-well-produced as Yellow Submarine… Oh yeah, and reeeaallly adult-themes.. So, not too much like Yellow Submarine, now that I think of it, except it will be a full-on cartoon with awesome crunkalicious / juketastic / glitch-hoppenin’ tunes playing throughout the whole damn thing..
Hope ya guys enjoy it… Or hate it. One of the two is preferable..
Synthesthetics recently posted a remix of a tune by John Coltrane and Duke Ellington on his soundcloud. Eventually, it was taken down due to ‘copyright infringement,’ but the remix currently rests, safely, at a Bandcamp page Synthesthetics set up.
I really enjoyed the remix, and I saw a description on the site about how Synthesthetics made it to honor his late grandfather. It seemed like a touching thing to do, and I was curious about it, so I asked this talented musician if he could explain the whole story to me. He did, and instead of wasting time paraphrasing, I’ll just post what he wrote about it:
“Well, the reason that I chose that song, was because a number of years ago, my grandfather took me to a local restaurant that had live jazz every weekend. So we went, and a jazz quartet from the local college was there and they were playing mostly what my friend nick calls “snobby jazz”, in that only music snobs can appreciate what they are throwing down. I would call it non-melodic jazz.
“I am not a huge fan. My grandfather who was a jazz saxophonist was also not a huge fan. However, they broke into Coltrane’s In a sentimental mood, and I immediately got that feeling that I get when I hear good music (almost like goosebumps on the back of my neck). and as if he got the same thing, he leaned over to me and whispered “This is real jazz”…, words that keep with me. A few years after he passed away I had a dream about said dinner, and I woke up and made the remix.
“It took 1 day to make the song. I started with chopping out piano lines that I liked on one audio track, and sax lines that I liked on another track. Then without a drum track or click track I started to chop up and arrange something new that sounded nice. In my head I was trying to create a conversation between the 2 instruments, and when I got something that I liked, I muted both tracks and started writing the drums. When I got a nice groove going, I added in the sax and piano tracks back into the mix and it sounded great!
“The rest of the track came together very quickly, or what felt quickly….I soon realized it was dark out and I started in the morning. I though it was a day well spent. I kept the original intro, and added some restaurant ambiance samples to keep to the feeling of the memory/dream. On a mixing/mixdown note, it was nice because the piano and sax were already panned to left and right in the original recording so the mix came together nicely.”
It’s mixed well, it’s fun, and after considering the story behind it, I would say it’s a very touching way to honor someone you care about. I hope you guys enjoy this one as much as I do! This remix has some of that “real jazz” in it :)
By the way, you can download this mix for free from Synthesthetics’ Bandcamp page!
Thanks for posting this awesome track, Synthesthetics !
Yep, this article is about the future future… Fuck 2013, what does 2014 have in store for us???
Jungle’s Return
Ok, admittedly, it’s a wonky name for an article; but who cares – it’s probably accurate, when you get right down to it. Let me explain!
Jungle is coming back. That kind of fast-paced energy only stays on the low for so long… Now I know, some folks say it’s already been back, and many would point to drumstep… But drumstep is not, in my opinion, a very endearing revitalization of drum n bass / jungle. It has that overly-thick-rubber pop-dubby ‘EDM: “slow-but-it-thinks-its-fast,” aesthetic, that kind of diminishes the fundamental agility of a sound like jungle.
Plus it just kinda sucks..
And anyway, I’ve felt for years that in order for drum n bass to reaaallly make a comeback, it needed something new… True, the dubstep-influenced super-wobbly bassy shit definitely leaves a fresh stain on d’n’b, but I’m hungry much more, and I know jungle is capable of it.
I’ve been hearing some very interesting things in the realms of both Chicago juke/footwork AND rave music in recent days, as well as the two coming together to form, “a more perfect union,” – it’s something that really excites the fuck outta’ me, as a fan of old school electronic, and as a douchebag who thinks he’s cool enough to enjoy all the newer styles of dance music, too.
A More Perfect Union
In some ways, the rhythms of these two are already identical – and in many ways, different: let’s say that at this point in their relationship, they’re just exploring each other’s bodies, and learning a lot; just like two virgins, exploring each other for the first time… Or, well, actually, I guess jungle is about 30-ish, and juke is… what, 15? 16? Somewhere around there? I’m not really sure, but… Ok, so footwork-jungle is a lot like a fast, abrasive thirty year old exploring an underage kid who likes to dance and lives in Chicago – hmmm… wait, that’s a lot darker then I meant to, uh…
Alright, moving on…
The point is – … well, I don’t know exactly what the point was with that… I guess the point is that the kid from Chicago should probably call the police, as there’s some creepy thirty year old trying to have relations with it. But, uh, in terms of music, it’s a good sound. And, going back to the title premise, I think it’s 2014 style shit, because really, juke hasn’t even caught on all the way (the way dubstep or trap or moombah have) but I’m confident it will make it’s mark.
Plus, people love jungle. It’s stood the test of time, and I felt that it had to come back, in some form or another, but in a new and interesting way, as previously stated, and it fits in well with my Genre Base Theory, which I’ll explain in a minute…
Also, in this case, the thirty-something year old has just as much it could take from the teenager as the teenager could learn from the thirty year old. (I really regret having made that analogy.) But what I like about the juke/jook/footwork/footwerk music (beyond just speed – which is important, of course) is the loop’d out, housey Chicago soul vibe it has, wrapped deep inside it’s DNA.
The city that brought us house music, decades ago, never strayed too far from its love (and definite skill) of rhythm and dance, and it certainly shows in a lot of what they’ve come out with over the years.
Structurally, I love how D.I.Y. the music sounds; and in that way, it’s got that punk dynamic to it. (Jungle has that, too – jungle DEFINITELY had that…) Juke artists will sample the shit out of everything and everyone. I love that. It’s also got that sort of drumbox-swing to it, and I love when I hear a footwork beat and the snare is sometimes placed at the VEEEERY end of the beat, jerking you around, but jerking you around consistently and quickly, and in a very rough fashion… like a really fast and aggressive handjob. But you’re likely to remember a juke track (and that fucking insane footwork dancing) much longer than a lubeless handjob that didn’t last very long. Goddamn, this article is starting to get a lot more graphic than I originally intended. I meant to just talk about fast beats, and how much post-90s music has seen quite the evolution, going from slow to midrange, and now getting faster, again (finally).
Genre Base Theory
Something I’ve noticed about music trends that make a comeback: sometimes it takes a minute for a style to form a base in culture – initially, it might do exceedingly well, pop, and “die out,” only to return, a decade or two later, reinstating it’s place in culture. It might not be as big as it seemed to be when it had it’s initial and momentary blitzkrieg on the world (or, depending on the style, it might) but if it does manage to come back, it’s likely to stay around a lot longer.
Disco is a perfect example. The real reason disco died was not ONLY over-exposure, despite what a lot of people think, but also, it was a case of over-exposure at a time when people weren’t ready for it, culturally. Homophobia, racism, and a fear of anything pre-recorded and “not-rockin’-enough,” also had a LOT to do with it.
But then, twenty years later, all anyone ever tried to do in the late 90s was try to sound like it was the late 70s. Remember Beck, Jamiraquai? (…oh yea – and ALL of HOUSE music?)
I draw a parallel between disco’s rise and fall, and it’s slower, second rise, to the progression of fast electronic music in America. At first, the music got going, going, going; and then it stalled, and fell apart… The pieces got put back together, and now it’s starting to race up to speed again.
Obviously, I have to point out that there have been jungle and juke fans, producers, DJs, and 160 bpm pioneers cracking great tunes out throughout the entirety of this Fast Music Recession that we’re just getting out of now; so I guess I’m only referring to what tends to be most popular… which is why I’m not going to pretend as though something as wild as footwork jungle is all the rage right now, as a lot of folks are STILL busy battling out how to dance to 70 bpm dubstep that people keep claiming is ACTUALLY 140 bpm dubstep (spoiler alert: you can’t…) but – perhaps in 2014…
Also, I’ll point out that downtempo has already been around (though it’s been making a ‘comeback,’ lately, which might seem to disprove my notion of the rise of fast music – however, there will ALWAYS be slow and midtempo music, it’s inevitable; fast music, on the other hand, seems to come and go, which I think can be attributed to the simple fact that it’s a little on the fringe, musically. Not to say that it can’t go mainstream, but just to say that no matter what year it is, there are always going to be ten million people dancing to midtempo house music. It’s more accessible to a wider audience. But as far as the really speedy shit, it’s something to watch, as it comes and goes as fast as it’s sped-up tempo. (In fact, you might be able to draw a real parallel between the speed of a genre to the pace of it’s popularity… But, I’m not going to think about that right now. Lololol.)
And here’s an excellent tune by Manni Dee and Deft:
What the Fuck Else?
I gotta say, some of these combinations (especially that Skimatix one) remind me of breakcore…which is AWESOME. I’ll definitely be posting more soon, but these were a few of the tunes I’ve been enjoying recently..
So, what else do I predict for 2014, outside of music? Biohacking, the mainstreaming of DMT, as well as lingerie barista’s and white coffee (Ask Seattle). Well, I predict at least one or two of those might happen, anyway. Alright, long rant over. Thanks for listening. I hope you’ve been confused/inspired enough to go out and create some awesome tunes of your own!
Alright, alright, I’ll add a picture of a pin up model holding onto vinyl records now, as I often like to do after a rant, to reward you for paying attention. Sort of a habit, at this point.
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