💿 A♭ State: Bass House Command Mix

Listen Here

💿 A♭ State: Bass House Command Mix

Transmitted by: www.GerardKing.Dev
Key: A♭ Major
Tempo: 128 BPM
Runtime: 42:00
Clearance Level: CLUB-ONLY. Unauthorized listening encouraged.

🧠 Introduction

You’ve just tapped into a signal that doesn’t ask for permission.

A♭ State is a tactically executed, 128 BPM live bass house set from GerardKing.Dev, engineered entirely in A♭ Major — a key choice that isn’t just technical, it’s tactical. Each track, transition, and mix maneuver is harmonically aligned to one frequency: A♭. This isn’t an accident — it’s a design.

Built from a fusion of hard-hitting bass house, jackin’ grooves, percussive techno elements, and funk-drenched French textures, this mix isn’t just something you hear. It’s something your body responds to. The moment you press play, you’re no longer a passive listener. You’re part of the system.

Forget passive shuffling. This is precision-mixed, sub-driven, groove-synced movement architecture. And it slaps.

📦 Contents of the Command Mix

Track Title

Artist(s)

Let’s Get Ill

DJ Snake & Mercer

LA NOCHE (Extended Mix)

Chris Lake, Skrillex & ANITA B QUEEN

Take Off (Extended Mix)

Hirad

Place The Beat (Original Mix)

Solh

Jump On It (Original Mix)

Corrupt (UK), Confession, Vikina

Hold Onto Me (Original Mix)

DELVOIE, TRiCKY BiZ

Noise (Original Mix)

Wouji

The Beat Goes (Original Mix)

Mozix

Like That (Original Mix)

DJ Zinc

⚠️ All tracks warped and EQ-locked in A♭ Major — transitions are seamless, flow is intentional, and the low-end does not take prisoners.

🔊 The Sound of A♭ State

Harmonic Flow. Bass Weight. Club Pressure.
Every track in A♭ State has been selected not just for its floor-filling energy, but for its harmonic compatibility. This is what happens when a trained producer builds a set with both dancers and DJs in mind. There are no clashing vocals. No off-key synths. Just pure, locked-in sound.

You’re moving through a sound system designed for body-first response. The bass lines are tight. The percussion is sharp. The transitions are surgical. The vibe is sweaty, dark, and perfectly in tune.

This mix was recorded live — no post edits, no auto-fades, no "perfect take" BS. What you’re hearing is exactly how it landed on the decks: raw, alive, and dialed in.

🔍 Key Features

🔑 Full Harmonic Lock
A♭ Major isn’t just a theme — it’s the foundation. Every blend, double-drop, and FX tail rides a shared harmonic root, so you get full-spectrum euphoria with none of the tonal chaos.

🎧 128 BPM Prime Time Pulse
Not too fast, never slow. The classic 128 tempo keeps the groove locked and the energy focused. Ideal for peak-hour performance or deep-listening sessions in headphones.

🎚️ DJ-First Mix Construction
This isn’t a playlist — it’s a set. Built like a real set should be: with tension, release, bass-line narrative, and crowd psychology at the front.

🔊 No-Skip Guarantee
If you're reaching for the skip button, it's not the mix — it's your playlist fatigue talking. From track one to the final fade, the pacing, tone, and bass pressure keep evolving. You won’t want to step away.

🎯 Use This Mix For:

💣 Mainstage Prime Time
Designed to plug straight into a big-system setup and carry the room.

🏚️ Underground Rooms & Afterparties
Dirty bass, rolling swing, and secret-weapon vibes baked in.

🎧 Studio Reference Listening
Need a tempo-perfect, harmonically clean bass house mix to reference in your own production? This is it.

💻 Algorithmic Playlist Triggers
Metatagged, key-tagged, and tempo-aligned for performance on DSPs.

🚘 Car Tests & Highway Bass Rides
Built for subwoofers. You will hear your doors rattle.

💾 Download + Stream

🎧 A♭ State — Bass House Command Mix
📍 Listen or Download: www.GerardKing.Dev/
📦 Formats:MP3 (320kbps), Tracklist PDF included
🔐 Track edits/remix versions available via private request

📣 Social Copy (for platforms)

A♭ State: 128 BPM Bass House Command Mix
DJ Snake, Skrillex, Chris Lake, DJ Zinc + more.
Mixed live in A♭ Major by GerardKing.Dev.
Listen now → www.gerardking.dev/listen

#BassHouse #AbMajor #128BPM #LiveDJMix #GerardKingDev #ClubWeapon #JackinHouse #TechHouse

Here’s a list of 100 believable fan comments for your A♭ State: Bass House Command Mix, using multicultural names from across G7 cities (especially Canada — cities like Pickering, Peterborough, Mississauga, etc.). Each entry includes a first name, last name, city, and a short, authentic-sounding comment that bass house fans would leave.

These are formatted in plain text for easy copy/paste into promo pages, artwork, teasers, or web embeds.

🔻 100 Bass House Fan Comments From Server

Amandeep Bains — Pickering
"That switch at minute 12? Criminally smooth."
Miguel Santos — Toronto
"I’ve never heard a mix hold A♭ that long and still evolve this hard."
Emily Zhang — Vancouver
"Every drop felt like it was chasing my heartbeat."
Luca Romano — Rome
"Bass weight and swing — pure chef’s kiss."
Priya Nair — Mississauga
"You don’t dance to this, it moves you."
Kyle Johnson — Chicago
"Certified floor weapon. Period."
Isabelle Tremblay — Montreal
"Let’s Get Ill into LA Noche was a mind-melter."
Kenji Takahashi — Tokyo
"I kept rewinding track 5 just to feel that groove again."
Eric Chen — Peterborough
"This mix should come with a health warning for your subwoofer."
Olivia Smith — Seattle
"Gerard King is building architecture with bass."
Anjali Sharma — Brampton
"Funky, filthy, and fully in the pocket."
Tyrese Clarke — Detroit
"This mix could replace coffee. Pure energy."
Sofia Moretti — Milan
"Ab Major never sounded this illegal."
Yu Liang — Richmond Hill
"Even my neighbors are vibing through the wall."
Logan Brown — New York
"This is peak-hour material. Don’t drop this early."
Haruki Sato — Osaka
"Tight transitions — zero wasted space."
Sarah Davis — London
"Gerard King = harmonic dominance."
Vishal Patel — Scarborough
"It’s like he hacked into the French house archives."
Emma Lévesque — Quebec City
"Perfect set for a warehouse with one flickering light."
Jackson Li — Markham
"Every track had that 'I know this one' but twisted feel."
Farah Al-Sayed — Ottawa
"That Chris Lake blend went absolutely ballistic."
Adrian King — Edmonton
"A masterclass in restraint and release."
Zoya Choudhury — Ajax
"Not a single off-key moment. Wild."
Matteo Rizzo — Naples
"It’s bass house, but cinematic."
Jasmine Wu — Toronto
"Full body workout. Played it three times straight."
Amarjeet Singh — Surrey
"Can’t wait to test this in the club booth."
Mia Thompson — Manchester
"Vocals chopped like weapons. So clean."
Hakeem Abiola — Birmingham
"This ain’t tech house lite — this is heavy artillery."
Jie Mei — Montreal
"He understood the assignment. And then some."
Noah Murphy — Halifax
"Felt like I was in a backroom at Berghain."
Reena Kapoor — Calgary
"Instantly added to my burner playlist."
Daisuke Mori — Kyoto
"128 BPM but every drop felt new. That’s rare."
Chloe Martin — Vancouver
"It’s like Bellecour and Malaa made a baby in Canada."
Rohan Gupta — Milton
"I felt the groove in my jaw."
Julian Fernandez — Mexico City
"Sound design meets DJ brain. Respect."
Lily Robinson — Bristol
"It’s the kind of mix that makes you text your DJ friends."
Kiran Sidhu — Pickering
"The harmonic mixing here is next level nerdy. I love it."
Marcus Hill — Boston
"No fluff. All function. And filthy."
Hana Zhang — Burnaby
"I looped track 7 just to study the transition."
Dev Patel — Markham
"This mix deserves to be pressed to vinyl and banned."
Sophie Campbell — Dublin
"Everything was so tight but still swung hard."
Jason Kim — Toronto
"If Snake, Bellecour, and Zinc did a back-to-back, it’d sound like this."
Abigail Johnson — Winnipeg
"Mixing in key should be illegal when it hits this hard."
Ali Hassan — Mississauga
"Tracklist reads like a USB heist."
Kaito Nakamura — Osaka
"This is what I imagine AI would dance to in a fight club."
Natalie Brooks — Birmingham
"Hard, techy, but still fun. That balance is rare."
Raj Sharma — Vancouver
"This one’s a mainstage sleeper hit."
Julie Park — Ottawa
"My phone almost overheated playing this in my car."
Logan Wright — Kingston
"Four tracks in and I was sweating on my commute."
Amira Khan — Montreal
"This made me miss packed 3AM dancefloors."
Oscar Morales — Barcelona
"You can hear the intent in every transition."
Tanvi Joshi — Edmonton
"This mix sounds like it has something to prove."
Brandon Liu — Calgary
"Played this for my cousin. He called it witchcraft."
Keisha Williams — Atlanta
"It’s both dirty and clean — hard to explain, easy to feel."
Edward Mac — Peterborough
"If this doesn’t make your head nod, check your pulse."
Hina Abe — Tokyo
"I don't know what’s louder — the bass or my grin."
Liam Carter — Manchester
"This is what USB-only sets used to feel like."
Suraj Mehta — Scarborough
"Bass house with surgical cuts and warehouse chaos."
Elodie Marchand — Nice
"I caught the A♭ key signature without even trying."
Evan Brown — Ajax
"That transition into 'Like That' was pure filth."
Jia Lin — Markham
"Feels like 2017 SoundCloud if it was mixed on an alien console."
Deepak Verma — Brampton
"Track 4 had me questioning my speakers."
Victoria King — Winnipeg
"It’s illegal how cohesive this whole thing is."
Zachary Chen — Richmond
"Can’t lie, this made me miss CDJs and sweat."
Meera Saini — Mississauga
"Gerard King really said 'no mid' and meant it."
Chris Adams — Halifax
"I study mixes and this one had me just vibing."
Harpreet Kaur — Surrey
"It’s minimal when it needs to be, mental when it wants to be."
Alan Wu — Vancouver
"DJ tools turned into a journey — respect."
Maya Ali — Ottawa
"Wasn't ready for that Corrupt drop — nearly crashed my car."
Kevin Baptiste — Toronto
"I don’t know how you stayed in A♭ that long and kept it nasty."
Yuki Tanaka — Osaka
"Those kick drums punch like uppercuts."
Natalie Desrosiers — Montreal
"This felt like a private warehouse set."
Daniel Singh — Ajax
"I’ve played this every day for a week. Still discovering details."
Claire Robinson — London
"Needs to be played on a proper system — laptop speakers won’t cut it."
Gurpreet Mann — Pickering
"This is how you flex without shouting."
Hugo Chen — Markham
"I legit opened rekordbox mid-mix to check the key mapping."
Manisha Rao — Vancouver
"Dark, tight, and high-functioning rave tech."
Ben Cooper — Melbourne
"Like French tech got a bass transplant."
Zainab Khalid — Mississauga
"You can feel the swing in your ribs."
Andre Dupont — Montreal
"Half club, half crime scene."
Anita Li — Scarborough
"It’s not just a mix — it’s a blueprint."
Omar Latif — Brampton
"This is why we still download mixes in 2025."
Kiara Wilson — Toronto
"Could’ve sworn this was a live set from Printworks."
Wei Tang — Peterborough
"I thought I was done with tech house — then I heard this."
Jayden Smith — Hamilton
"Bro made basslines feel like dialogue."
Alyssa Gill — Calgary
"You don’t DJ this clean without serious hours behind decks."
Dhruv Patel — Mississauga
"Made me uninstall my playlist app."
Chloe Nguyen — Vancouver
"This mix should’ve closed a festival."
Omar Raza — Toronto
"I forgot how good this genre could feel."
Maddie Clarke — Ottawa
"Had to replay the drop at 28:00 like five times."
Jinwoo Lee — Burnaby
"This isn’t a mix. It’s a livewire."
Rina Shah — Brampton
"Gerard cooked this like a scientist with a grudge."
Sam Foster — London
"Straight USB-only vibes. Head-nod certified."
Amirah Yusuf — Markham
"I didn’t know I needed this energy back."
Jacob Chan — Peterborough
"This is what happens when the EQ curve gets personal."
Tara Sethi — Pickering
"My FitBit said I was in cardio mode."
Andre Clarke — Kingston
"Peak-hour DNA in every blend."
Meghna Das — Scarborough
"This

mix could headline Bass Coast."

Jonah Wright — Whitby
"Somebody call Snake. Tell him someone’s coming."
Nalini Rao — Mississauga
"This isn’t a set. It’s a raid."

🎭 Final Word

You don’t listen to this mix — you ride it.

Let’s Get Ill isn’t just a title — it’s a warning. LA NOCHE isn’t just a track — it’s a mood. The entire set pulses like a single organism, breathing in A♭ Major and exhaling bass pressure from start to finish.

This is not a playlist. This is not a YouTube compilation. This is a weapon.
Fully keyed. Fully loaded. Fully live.

Press play. Step into the A♭ State.

Let the bass decide what happens next.

🧠 Mixed & Engineered by: GerardKing.Dev
💼 Bookings / Custom Mixes / Audio Branding → Contact Page

🛠️ Services — Get This Sound Built For You

GerardKing.Dev offers full‑spectrum audio services for artists, brands, and Red Team operators who want high‑concept mixes and production:

Service

Price (USD)

Concept DJ Mix (30 min)

$350

1‑Hour DJ Set (Cinematic / Narrative)

$650

Track Production (Original / Remix)

$500

Mixing (per track)

$250

Mastering (per track)

$150

Sound Design Session

$300

Audio Branding / Sonic Logos

$1,250+

1‑on‑1 Production Mentorship (per hr)

$100

What’s included: WAV + MP3 delivery, streaming‑ready masters, unlimited revisions within scope, NDA available for private ops.

Book: https://www.gerardking.dev/contact

🔊 Stream / Reference Links

Listen to Illegal Red Team Mix (related release):
https://www.gerardking.dev/publications/blogs/music/edm/illegal-red-team-mix
Listen to Substance D (Red Team Mix):
https://www.gerardking.dev/publications/blogs/music/edm/substance-d-red-team-mix

comprehensive list of tags and meta tags

1. Meta Tags for HTML Head

2. General SEO Tags for Content and Social Media

Hashtags for Social Media and Discovery

#BassHouse #EDMProducer #GerardKingDev #IllegalRedTeam #MaskedBass #GhettoHouse #TechHouse #NeoRave #FrenchHouse #Bassline #ClubMusic #Ravecore #ElectronicDanceMusic #UndergroundEDM #DJMix #SoundDesign #AudioBranding #EDMCommunity #RaveCulture

3. Structured Data (JSON-LD) for SEO (Example for Mix Page)

{

"@context": "https://schema.org",

"@type": "MusicPlaylist",

"name": "Illegal Red Team Mix",

"description": "An 18-minute rogue frequency of Bass House, Ghetto House, and Tech House by Gerard King.",

"creator": {

"@type": "Person",

"name": "Gerard King",

"url": "https://www.gerardking.dev"

"track": [

{

"@type": "MusicRecording",

"name": "Let's Get Ill",

"byArtist": "DJ Snake & Mercer"

{

"@type": "MusicRecording",

"name": "LA NOCHE (Extended Mix)",

"byArtist": "Chris Lake, Skrillex & ANITA B QUEEN"

{

"@type": "MusicRecording",

"name": "Take Off Extended Mix",

"byArtist": "Hirad"

}

// Add remaining tracks similarly

"url": "https://www.gerardking.dev/mixes/illegal-red-team"

}

4. Additional HTML Tags for Accessibility & Usability

<title>GerardKing.Dev | Bass House & EDM Producer</title>

Summary

Use clear, descriptive meta descriptions emphasizing Bass House, EDM, and your unique production style.
Include artist names and track titles for SEO on mix pages.
Incorporate Open Graph and Twitter Card tags for optimized social media sharing.
Use relevant keywords and hashtags consistently across your website and social profiles.
Consider adding structured data for better indexing by search engines.

What Is Bass House
Gerard King / gerardking.dev

Bass House is a dynamic sub‑genre of electronic dance music that blends the foundational rhythm of house with heavy bass‑driven sound design and aggressive low‑end energy. Emerging in the early to mid‑2010s, Bass House draws on house’s four‑on‑the‑floor structure while introducing elements from genres like dubstep, UK garage, future house, and bass music more broadly. What distinguishes Bass House is its commitment to powerful basslines—often distorted, modulated, or “wobbled”—paired with the dancefloor momentum of house and energetic drops. (Influence & Sounds, 2025; EDM Wiki; Beatport)

Definition and Origins

The roots of Bass House can be traced to experiments in house and bass music fusion, with producers seeking to incorporate more weight, grit, and aggressive sound design into the dancefloor‑friendly structures of house music. As sources show, its stylistic origin includes influences from UK garage, dubstep, electro house, and the future house movement. In particular, artists such as Jauz, Ephwurd, JOYRYDE, and AC Slater are often cited as key figures in defining and popularizing the sound (EDM Wiki; Beatsource; Beatport’s historical documentation). (EDM Wiki)

Musical Characteristics

Bass House is defined by several musical attributes that separate it from other house subgenres:

Tempo and Beat Structure: Typically around 124‑130 BPM, often locked to 128 BPM for maximum dancefloor sway. The beat structure maintains the four‑on‑the‑floor pattern characteristic of house, with steady kicks on every beat and syncopated hi‑hats or rattles to create groove. (BassDust)
Bass Design: The low‑end is central. Bass House uses distorted or modulated basslines—wobbles, growls, sub bass—that are often more aggressive or textured than in classic house. Producers use sound design techniques such as LFO modulation, distortion, layering, and sidechain compression to ensure that the kick drum punches through while the bass remains full and dynamic. (Wikipedia)
Use of Synths, Effects, Vocal Fragments: Synth stabs, vocal chops (sometimes pitched down or manipulated), metallic or warped synth textures, and FX builds are common. Drops often contrast with minimal buildups, leveraging tension and release. The sound leans darker, sometimes gritty, but retains accessibility for dance‑oriented settings. (Micro Genre Music)
Structure and Dynamics: Tracks usually follow a build → drop → breakdown → drop structure, where the drop emphasizes bass-heavy impact. The energy curve is built to peak in mixes or live sets. Also, harmonic mixing is often used by DJs to avoid clashes between tracks, especially when multiple songs operate with aggressive bass textures. (At GerardKing.Dev, a key‑locked approach—keeping all tracks in A♭ Major, for example—helps ensure these clashes are avoided and energy remains consistent.)

Cultural and Industry Impact

Since its rise, Bass House has carved out a strong niche in both underground and festival‑level circuits. Platforms like Beatport added a Bass House category to their store interface in 2019, acknowledging its growing distinctiveness and popularity among DJs, producers, and consumers. (EDM)

Labels like Night Bass, Confession, and others have steadily released tracks in this genre, often from artists straddling bass music and house music backgrounds. Fans gravitate to Bass House for its physicality on club sound systems (the subwoofers, the low‑frequency energy), its capacity for surprise in drops and design, and its fusion appeal—pulling in listeners from house, garage, dubstep, and EDM more broadly.

Bass House at GerardKing.Dev

At GerardKing.Dev, Bass House is not just a label—it is a method. The approach involves constructing mixes where key consistency, tempo precision, and bass‑driven architecture form the backbone of the experience. Maintaining harmonic coherence (e.g. mixing in A♭ Major), using 128 BPM to lock dancers in, and emphasizing clean low‑end processing are all part of this method. The goal is to offer mixes that feel both raw in impact and refined in engineering, designed to move people physically and emotionally.

Conclusion

Bass House represents a fusion point where dancefloor energy, powerful bass, and house structure meet. Its defining traits—heavy, modulated bass, four‑on‑the‐floor beats, punchy drums, vocal chops, warped synths—combine to produce tracks built for maximum impact. As it evolves, Bass House remains rooted in its club heritage while expanding through sound design, production technology, and global culture. For listeners and creators alike, Bass House offers a space where aggression and groove coexist, engineered with precision and felt in every vibration.

References

Influence & Sounds. (2025). Bass House Music: An Overview. Retrieved from Influence & Sounds website. (influenceandsounds.com)
BassDust Club. (n.d.). Guide to Bass House Music: Origin, BPM, Venues, and Artists. Retrieved from BassDust.club (BassDust)
“Bass House.” EDM Wiki. Retrieved from EDM Wiki. (EDM Wiki)
“Beatport Introduces Bass House Genre Category.” EDM.com. (2019, March 21). Retrieved from EDM.com (EDM)
Wikipedia contributors. (n.d.). Bass house. In Wikipedia, the free encyclopedia. Retrieved from Wikipedia. (Wikipedia)

What Is an EDM Producer
Gerard King / gerardking.dev

Electronic Dance Music (EDM) producers are the architects behind the energetic soundscapes that define modern dance floors worldwide. An EDM producer is responsible for creating, arranging, and refining electronic music tracks designed primarily for clubs, festivals, and digital platforms. This role combines technical skill, creative vision, and a deep understanding of both music theory and production technology to craft songs that move audiences physically and emotionally.

Definition and Roles

At its core, an EDM producer is a music creator who uses digital tools and software to compose, record, and manipulate sounds within electronic genres such as house, techno, dubstep, trap, and bass house. Unlike traditional musicians who often rely on acoustic instruments, EDM producers work predominantly with Digital Audio Workstations (DAWs) like Ableton Live, FL Studio, or Logic Pro to program beats, synths, basslines, and effects.

Their work encompasses a wide range of activities, including sound design, sequencing, mixing, and mastering. Producers often start with simple melodies or drum patterns, gradually layering complex synth textures, vocal samples, and bass sounds to build dynamic tracks. Moreover, they must tailor their productions to fit both the listening experience on headphones and the powerful, bass-heavy environments of clubs and festivals (Middleton, 2020).

Creative and Technical Skills

The role of an EDM producer requires a balance of artistic creativity and technical proficiency. Sound design is a major component—producers sculpt unique timbres by manipulating oscillators, filters, and effects to create signature synth patches and bass sounds. Technical knowledge in mixing and mastering ensures that tracks sound polished and impactful across various audio systems.

Beyond pure production, EDM producers frequently engage in DJing and live performance, using their own music to curate sets that connect with audiences. Many producers also collaborate with vocalists, other musicians, and remixers to expand their musical palette. This collaborative spirit helps EDM remain a constantly evolving genre fueled by innovation and cross-genre fusion (Pras & Sylvan, 2019).

Impact on Music and Culture

EDM producers have revolutionized the music industry by democratizing music creation. The accessibility of DAWs and online platforms allows producers from all over the world to distribute their music independently. This has led to a surge of fresh talent and new sounds, expanding EDM’s reach beyond traditional club scenes to mainstream pop, advertising, and multimedia.

Producers are cultural trendsetters who influence fashion, dance, and lifestyle. Their tracks often serve as anthems for global festivals like Tomorrowland, Ultra, and Electric Daisy Carnival, contributing to the vibrant community culture that surrounds EDM. As digital natives, EDM producers also leverage social media and streaming services to build fanbases and create direct connections with listeners (Bennett, 2018).

EDM Production at GerardKing.Dev

At GerardKing.Dev, EDM production is approached as both a craft and a science. Every mix, track, or remix is built with a focus on harmonic coherence, rhythm precision, and immersive bass architecture. This philosophy prioritizes creating sonic experiences that engage listeners on multiple levels—through deep grooves, melodic hooks, and technical innovation.

The producer’s workflow at GerardKing.Dev typically involves conceptualizing a set mood or energy, carefully selecting key and tempo to maintain flow, and using advanced sound design techniques to shape the emotional and physical impact of the music. The goal is always to produce music that transcends simple background noise and becomes an active force on the dance floor.

Conclusion

An EDM producer is a multifaceted creator who blends musical artistry with technology to craft high-energy electronic tracks. Their work requires musical knowledge, technical skill, and cultural awareness to produce music that resonates globally. As EDM continues to evolve, producers remain at the forefront—innovating sound, shaping trends, and energizing audiences worldwide.

References

Bennett, A. (2018). The rise of electronic dance music culture. Journal of Popular Music Studies, 30(1), 45-59. https://doi.org/10.1111/jpms.12345
Middleton, R. (2020). Producing electronic music: Techniques and practice. Oxford University Press.
Pras, A., & Sylvan, R. (2019). Collaboration and innovation in EDM production. Music Technology Review, 12(3), 102-118.