Updated 30 Oct 2026
A 2hollis type beat is the sound of a club track that went through a blown-out amp. Fast, synthy and uptempo, it sits between hyperpop, rap and electronic, and everything is pushed louder and harder than it should be. The energy is the whole point: screaming supersaws, a distorted bass that doubles as the melody, and a kick that pumps the entire mix. If you want loops that already carry that synthy, hyper feel so you can build the drums and bass around them in minutes, the ones below are free and played by hand. Everything here is general synth-rap technique you can reuse on any uptempo beat, so you are learning the pocket, not copying one song.
You do not need a finished beat to start. The 2hollis loops sit in step 1 and again at the bottom, ready to play.
Most of these beats run fast, from 140 to 160 BPM, and 145 BPM is the value that comes up again and again in the tutorials. That high tempo is where the frantic, driving energy lives, and it is why the plucks and arps can fly by so quickly without turning into mush.
The key is mostly minor, with C minor and A minor turning up a lot, because minor gives the synths that dark, slightly menacing edge even at a happy tempo. Take the key straight off your loop and set the bass and every synth to the same root so nothing fights.
Lock the project tempo to the loop first. If a loop feels too busy at 150, you can run the drums at a half-time feel while the synths keep moving, and that split between a fast top and a slower thump is a big part of the bounce.
The lead is the signature. In Serum, start with saw waves, stack a lot of unison voices and detune them so the sound is already wide and thick before you add anything. That detuned supersaw is the core of the whole style.
Then make it move. Fast pluck and arp patterns at this tempo are what give it the hyper feel, so write short, staccato notes rather than long pads. A touch of FM on both oscillators adds that metallic, aggressive bite, and automating a filter open across a bar keeps the synth from sounding static.
Keep it mono-ish in the low mids and wide up top. A supersaw with built-in spread sits perfectly over the bass, and a quick reverb or a short delay on the lead glues it to the beat without washing out the attack.
The bass does double duty: it holds the low end and it is often part of the melody. A staccato synth bass, sometimes called a donk bass, played in short stabbing notes, is classic for this sound. Layer it with a second Serum bass or an 808 for weight.
Distortion is not optional. Run the bass through distortion or a saturator so it growls and cuts through the loudness. Pitching some notes up an octave and leaving open space between hits keeps the pattern from feeling like a wall, and it is where a lot of the bounce comes from.
Tune the bass to the loop key and keep the patterns simple at this speed. A few notes that lock to the kick read far better than busy runs, because at 150 BPM the ear only catches the strong hits anyway.
The kick is often four on the floor, a steady club thump on every beat, which is what pushes the track forward and separates this from normal trap. A hard, punchy kick that mirrors the bass works best.
Sidechain everything to that kick. A plugin like Kickstart or a simple compressor set to duck on each kick makes the whole mix breathe and pump, and that pumping is a huge part of why these beats feel alive and loud.
On top, a hard clap or snare on the backbeat, plus hi-hats with light rolls and a simple white-noise perc for extra groove. Randomize the hat velocity so the pattern never repeats the same hit, and drop a quick open hat into the gaps to add bounce.
Think in sections that flip hard. A common move is to drop into a four-on-the-floor section, bring the bass back in, then switch the synth or the bass sound entirely so the energy jumps. These beats live on contrast, not on one idea held for two minutes.
Use risers and downlifters to turn corners. A riser into a drop and a reversed downlifter into a quieter section tell the listener a change is coming, and a white-noise impact on the downbeat of a new section hits like a punch.
Keep the strongest eight bars early. Pitch a synth up an octave for a brighter section, pull it back down for a heavier one, and leave two bars of near silence before the main part returns so it slams when it drops back in.
The loudness is a deliberate aesthetic, not a mixing accident. Distortion and saturation on the bass, the synths and sometimes the whole master are what give it that blown-out, in-the-red character. Add it in steps so the sound stays punchy instead of turning to fizz.
The pumping sidechain against the four-on-the-floor kick is the other half. When every synth and bass note ducks under the kick, the beat feels like it is breathing hard, and that is the energy the style is built on.
Do not fully clean it up. A little clipping, a bit of grit and a wide, slightly harsh top end are the sound. Tame only the frequencies that actually hurt, and keep the aggression that makes it a 2hollis type beat in the first place.
Every loop on NDA Company is played by hand, no AI, and free as an mp3. Pick one of the synthy, distorted loops below that already has that hyper, dark movement, drop it in at 140 to 160 BPM, and build the distorted bass, the four-on-the-floor kick and the drums around it with the steps above.
The loops stream right on the page so you can hear the pocket before you commit. A free account lets you save the ones you like and come back to them, so you are not re-digging every session.
Pick a loop and drag it into your DAW. 808 under it, clap on top, your first 2hollis beat is running.
Browse all loopsTempo, key and mood of the 2hollis loops, straight from our catalog.
| Loop | BPM | Key | Vibe |
|---|---|---|---|
| Askin | 140 | D#min | Dark, Virtual |
| Nano Void | 143 | Emin | |
| Gates | 132 | Amin | Ambient, Happy, Hyper, Virtual |
| Futsal | 130 | G#min | Hyper, Virtual |
| Monkeyball | 140 | Bmin | Dark, Hard, Virtual |
| Nasty | 140 | Cmin | Dark, Hard, Virtual |
| Maiskolben | 140 | Bmin | Dark, Hard, Virtual |
| Selfish | 140 | Cmin | Dark, Vintage |
| Core | 150 | C#min | Dark, Virtual |
| Magazin | 130 | Dark, Hard |
Fast, usually 140 to 160 BPM, with 145 BPM the most common value in the tutorials. A half-time drum feel under the fast synths is a common trick.
Mostly minor, often C minor or A minor, which gives the synths their dark edge. Easiest is to take the key from your loop and set the bass to the same root.
Serum is the go-to. Stack saw waves with heavy unison and detune for the supersaw lead, add a little FM for bite, and use a staccato synth bass for the low end.
On purpose. Distortion and saturation on the bass and synths, plus a pumping sidechain against a four-on-the-floor kick, give it that blown-out, in-the-red energy.
A four-on-the-floor kick, a hard clap or snare on the backbeat, hi-hats with light rolls and white-noise percs, all sidechained to the kick so the mix pumps.
Yes, every loop is a free mp3, played by hand with no AI. It is not royalty-free: a commercial release means a 50/50 split with NDA Company.
They are not royalty-free. Free in your own beats; a 50/50 publishing split with NDA Company applies to every commercial release. License Terms
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