Track Details

Ruthless 3 (60) - 5 mixes

  1. Play
    Ruthless 1957/6 Bob Bradley (PRS)
    Energetic dubstep with glitchy textures, bass overtones & a cheeky boing
    3:22
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    • Tempo NotesFast
    • ISRCGB-FFM-13-95706
    • PublisherAudio Network Limited
    • Release Year2013
    FactoidEach pitch that we hear contains additional pitches within it that are termed overtones or harmonics. The relative strength or weakness of these overtones determines the tone colour or timbre of the pitch. This is why no two instruments sound alike.
  2. Play
    Ruthless 2 1957/46 Bob Bradley (PRS)
    Energetic glitchy textures with snippets of bass. Light mix
    3:21
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    • Tempo NotesFast
    • ISRCGB-FFM-13-95746
    • PublisherAudio Network Limited
    • Release Year2013
    FactoidEach pitch that we hear contains additional pitches within it that are termed overtones or harmonics. The relative strength or weakness of these overtones determines the tone colour or timbre of the pitch. This is why no two instruments sound alike.
  3. Play
    Ruthless 3 (60) 1957/47 Bob Bradley (PRS)
    Energetic dubstep with glitchy textures, bass overtones & a cheeky boing
    1:00
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    • Tempo NotesFast
    • ISRCGB-FFM-13-95747
    • PublisherAudio Network Limited
    • Release Year2013
    FactoidEach pitch that we hear contains additional pitches within it that are termed overtones or harmonics. The relative strength or weakness of these overtones determines the tone colour or timbre of the pitch. This is why no two instruments sound alike.
  4. Play
    Ruthless 4 (30) 1957/48 Bob Bradley (PRS)
    Energetic dubstep with glitchy textures, bass overtones & a cheeky boing
    0:30
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    • Tempo NotesFast
    • ISRCGB-FFM-13-95748
    • PublisherAudio Network Limited
    • Release Year2013
    FactoidEach pitch that we hear contains additional pitches within it that are termed overtones or harmonics. The relative strength or weakness of these overtones determines the tone colour or timbre of the pitch. This is why no two instruments sound alike.
  5. Play
    0:08
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    • Tempo NotesFast
    • ISRCGB-FFM-13-95749
    • PublisherAudio Network Limited
    • Release Year2013
    FactoidEach pitch that we hear contains additional pitches within it that are termed overtones or harmonics. The relative strength or weakness of these overtones determines the tone colour or timbre of the pitch. This is why no two instruments sound alike.
  1. Play
    Abuse 1957/2 9 mixes Bob Bradley (PRS)
    Dirty dubstep mutating into criminal drum & bass
    2:58
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  2. Play
    Acceleration 2270/5 13 mixes Darren Leigh Purkiss (PRS)
    Growling urban bass with cool fx jumping between hard house & dubstep beats
    2:09
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  3. Play
    Chain Crush 2792/4 10 mixes Dan Weniger (BMI)
    Huge drums with angry electronic bass, beats & fx build to explosive climax
    1:38
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  4. Play
    Cool Power 1793/6 8 mixes Darren Leigh Purkiss (PRS)
    Anthemic synths cruising over super cool, post dubstep, edgy beats & bass
    3:07
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  5. Play
    Dark Filth 1957/3 9 mixes Bob Bradley (PRS)
    Cinematic swelling pads blasted into futuristic dubstep
    3:01
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  6. Play
    Grit 1957/5 9 mixes Bob Bradley (PRS)
    Industrial dubstep with hard hitting synths & dynamic, cinematic textures
    2:52
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  7. Play
    Magnetic Crystal Step 1665/8 16 mixes John 00 Fleming (PRS)
    Dark dubstep/drumstep. Haunting opening building to massive ending
    3:34
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  8. Play
    Mutate Or Die 2494/1 8 mixes Bob Bradley (PRS) | Sebastian James Beresford (PRS)
    Hard hitting dubstep with glitchy synths, huge drum groove & ripping bassline
    4:56
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  9. Play
    NRG Flex 1681/6 9 mixes Darren Leigh Purkiss (PRS)
    Driving, warped synth bass groove above house/dubstep beats
    2:30
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  10. Play
    Rapscallion 1981/3 13 mixes Paul Ressel (PRS)
    Weird keys & liquid synths into intense piano & heavy electro beats
    3:07
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  11. Play
    Urban Revolution 1665/9 8 mixes Matt Hill (PRS)
    Aggressive dubstep with robotic speech samples. Builds to double time rhythm
    4:28
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