Funkiest Synth Bass Lines

Herbie Hancock working his keyboard magic

The synth bass had already been around for a few years before it made its debut on the urban music scene in the early 1970s. It was introduced by groundbreaking artists like Stevie Wonder and Herbie Hancock, who had begun creating and experimenting with synthesizers to bring something fresh and unique to their sound. Synthesizers were soon adopted by other black musicians, and by the end of the decade, many funk, R&B and disco artists had incorporated synth bass lines into their music. By the mid-1980s, the synth bass had become a staple in contemporary music, and it could be heard in a wide range of genres.

Listening to some of the great synth bass lines created over the years inspired me to make up a list of my 30 funkiest synth bass lines. Here’s the list in no particular order. 


Flash Light – Parliament 

Keyboard maestro Bernie Worrell took the synth bass to the next level on this galvanic funk classic. His big-bumpin’ Minimoog bass line serves as the funk engine for this roof-raising party jam that had folks tearing up dance floors back in the day—and still does today.

More Bounce to the Ounce – Zapp 

Zapp’s influential funk classic features a Godzilla-sized synth bass line that forces listeners to surrender to the groove and rush the dance floor.




Bad  – Michael Jackson 

The sleek, sinister synth bass line drives this dynamic MJ hit, one of the pop/soul legend’s funkiest grooves.

Boogie on Reggae Woman – Stevie Wonder

 Stevie brings bushels of funk and sonic joy through his amazing Moog-bass work on this classic track. This song never fails to generate smiles and get heads bobbin’ whenever it’s played.




Smokey – Funkadelic

Bernie Worrell serves up some Moog-bass brilliance on this unearthly gospel/funk masterpiece. The Wizard of Woo’s low-end work on this cut is thick, deep and devastatingly funky.




Sign O' The Times – Prince

Prince somberly reflects on the sociopolitical ills of the world on this funkified electro-blues hit. He anchors the groove with a hard-hitting synth bass line.




Chameleon – Herbie Hancock

Jazz legend Herbie Hancock blew the minds of music lovers near and far when he dropped this gloriously funky instrumental back in 1973. He played the iconic synth bass line on an ARP Odyssey. The track is a widely recognized jazz standard.

Speed Demon – Michael Jackson

MJ brings massive doses of funk and attitude to this smokin,’ fuel-injected groove, which is bolstered by a badass synth bass line. 




Into the Void – Nine Inch Nails

Nine Inch Nails mastermind Trent Reznor lays down a savage synth bass line on this ferocious industrial-funk groove.




(Not Just) Knee Deep – Funkadelic

Legendary groove master Junie Morrison delivers a sublimely funky Minimoog bass line on this epic funk/dance classic.




I Come Off – Young MC

Rhyme master Young MC spits his tight verses over a treacherous synth bass line on this dope old-school cut.



 

Maybe Your Baby –  Stevie Wonder

Stevie delivers some potent synth-bass magic on this blisteringly funky tale of heartbreak and infidelity.




Hyperactive! –Thomas Dolby 

 This electrifying new wave/funk hybrid is built around an urgent, stuttering bass line. It’s a truly unique groove that only the mad scientist of synthpop Thomas Dolby could have dreamed up.




Soft and Wet – Prince

This early Prince joint is filled with stellar synth work, including an irresistibly funky bass line. 

Atomic Dog – George Clinton

 George Clinton’s iconic and highly influential funk anthem features a super-dope synth bass line that puts some extra stank on the groove.




You Are a Winner – Earth, Wind & Fire

Keyboard wizard Larry Dunn’s hyperkinetic synth bass line catapults this supersonic groove to its funkiest capacity.




Smooth Criminal  –  Michael Jackson 

 This singular funk/rock/pop gem boasts an indelible synth bass line that immediately hooked listeners upon first play. It’s one of the most memorable and immediately recognizable bass lines in MJ’s discography.




Aqua Boogie (A Psychoalphadiscobetabioaquadoloop) – Parliament

Bernie Worrell lends his keyboard genius—including an ultra-funky Minimoog bass line—to this monster dance-floor groovathon.




Battle Flag – Lo Fidelity Allstars, featuring Pigeonhed

Andy Dickinson's inspired bass work (played on a real bass through synth pedals) significantly elevates the funk level on this exhilarating remix of Pigeonhed’s song.




Got to Give It Up – Marvin Gaye

Music legend Marvin Gaye personally laid down the bumpin’ synth bass line on this influential funk/disco classic. He played it on the RMI harmonic synthesizer.




Drive Me Wild – Vanity 6

This sexy Prince-produced track features a funky robotic-sounding synth bass line.




The Rain (Supa Dupa Fly) – Missy Elliott

Missy Elliott’s blissfully bizarre 1997 hit contains one of the phattest synth bass lines to ever grace a track. I mean this bass line is straight-up obese and insanely funky.




Skeletons – Stevie Wonder

Stevie blasts duplicitous politicians and widespread political corruption on his powerful track "Skeletons." The multitalented music legend serves up one of his funkiest synth bass lines on this massive groove.

Superfly Sister – Michael Jackson 

MJ gets waist-deep in the funk on this super-tight groove, which boasts a bangin’ synth bass line.




Reach for It – George Duke

George Duke’s funkalicious Minimoog bass line sets off this awesome groove in style.




Hey Mr. Jones – Jane Child

Multitalented Canadian artist Jane Child delivers some fantastic low-end synth work on this dark, harrowing peek into drug addiction.




Gloryhallastoopid (Pin the Tail on the Funky) – Parliament

This loose, good-time Parliament groove features a nasty synth bass line.




Natural Born Killaz – Dr. Dre and Ice Cube

Former Death Row keyboardist Priest "Soopafly" Brooks serves up a menacing synth bass line on this diabolical G-Funk joint.




Action Speaks Louder Than Words – Chocolate Milk

Robert Dabon's angry Moog bass line anchors this smoldering political message track.

Cutie Pie – One Way

R&B/funk band One Way’s dance-floor burner “Cutie Pie" boasts a gargantuan synth bass line. It was their biggest hit, peaking at #4 on Billboard's R&B singles chart. The track was included on the radio station Space 103.2 tracklist featured in the 2013 action-adventure video game Grand Theft Auto V.

“Scorpio” by Dennis Coffey and The Detroit Guitar Band

Motown guitar legend Dennis Coffey and The Detroit Guitar Band blessed the music world with this incredible instrumental back in 1971. Coffey serves up a potent guitar performance on this sizzling funk-rock cut. The dynamic track also features a terrific drum/conga breakdown, followed by a badass bass solo from famed Funk Brother Bob Babbitt. Also, a bit of song trivia: the opening guitar line is actually made up of nine guitar riffs overdubbed by Coffey, spanning three octaves, giving it a more explosive and powerful sound.

 “Scorpio,” written and arranged by Coffey, was a single from his second album, Evolution (1971). The track shot up the charts—peaking at #6 on the U.S. R&B charts and #9 on the U.S. pop charts—and went on to sell a million copies. It’s now considered a funk classic and has been sampled on a number tracks, including “Bust of Move” (Young MC), “Night of the living Baseheads” (Public Enemy), “The Score” (The Fugees, featuring Diamond D), “All My Love” (House of Pain), “We’re All in the Same Gang” (West Coast Rap All Stars), “Jingling Baby” (LL Cool J) and “Mama Gave Birth to the Soul Children” (Queen Latifah, featuring De La Soul).

In addition to Coffey and Babbitt, the other players on “Scorpio” are Joe Podorsek (baritone guitar); Ray Monette (tenor guitar); Eddie “Bongo” Brown (congas); Uriel Jones and Richard "Pistol" Allen (drums); Early Van Dyke (piano) and Jack Ashford on tambourine.

Coffey was born in Detroit, Michigan, on November 11, 1940. He began playing guitar at age 13 and had his first recording session at 15, where he laid down some hot licks on Vic Gallon’s rockabilly single "I'm Gone" on the Gondola record label in 1956.

In the early ‘60s, Coffey played with the rock ‘n’ roll instrumental band the Royaltones.  The band landed the hits “Poor Boy” and “Flamingo Express.” The Royaltones also played on tracks for other artists, including Rock and Roll Hall of Famer Del Shannon.

During the late ‘60s through the ‘70s, Coffey made a name for himself as a prolific session player for the labels Motown, Invictus and Sussex.  As a member of the Funk Brothers—Motown’s legendary house band—Coffey played on tons of great tracks, many of which went on to become classics. 

Some of the well-known tracks that Coffey played on include “War” (Edwin Starr), “Band of Gold” (Freda Payne), “Someday, We’ll Be Together (Diana Ross and the Supremes) and the following Temptations songs: “Ball of Confusion (That’s What the World is Today),” “Cloud Nine,” “Psychedelic Shack,” “I Wish It Would Rain” and “Just My Imagination (Running Away With Me).” 

Coffey’s creative use of distortion, Echoplex, fuzz tone and wah-wah pedals helped enhance the psychedelic-soul flavor on some of the Norman Whitfield-produced tracks for the Temptations.

Coffey also played on Funkadelic’s 1970 self-titled debut album, contributing his strong fretboard skills to the haunting, freakafied joint “Mommy, What’s a Funkadelic?”

The guitarist, composer and producer released his first album, Hair and Thangs, in 1969. He dropped his third album, Goin’ for Myself, in 1972. The album contains the exhilarating rock/funk instrumental “Taurus.” The track performed well on the U.S. singles charts, climbing to #11 on the R&B charts and #18 on the pop charts.  And the album peaked at #37 on the U.S. R&B album charts.

Following Goin’ for Myself, Coffey continued doing session work as well as dropping several more solo albums on the Sussex and Westbound labels. And he, along with Mike Theodore, produced and arranged the 1972 international smash “Nice to Be With You” by soft-rock band Gallery. 

The guitarist also holds the distinction of being the first white artist to perform on Soul Train. Coffey and The Detroit Guitar Band performed “Scorpio” on the super-hip music-dance television program on January 8, 1972.

Additionally, Coffey scored the 1974 Blaxploitation martial arts flick Black Belt Jones, which starred Jim Kelly. The film is now considered a cult classic.

Coffey continues to gig and record music. He recently released the album Hot Coffey in the D: Burnin’ at Morey Baker’s Showplace Lounge, which is a live album that was recorded in 1968.

Check out Coffey’s official website for upcoming concert dates and other info.

"Scorpio" is available at Amazon

Related blog entry:

"Taurus" by Dennis Coffey

B.T. Express Kept Dance Floors Packed With Smash “Do It (‘Til You're Satisfied)"

Funk-disco band B.T. Express exploded onto the music scene in 1974 with their smash debut single “Do It ('Til You're Satisfied)." The dynamic funk-dance groove struck a chord with radio listeners and dance-floor junkies across the U.S.—from the hood to the ‘burbs—becoming a massive crossover hit. The track’s irresistible bass line, percolating wah-wah guitar licks, bumpin’ beat and super-tight horns had folks setting dance floors on fire back in the day. The track also boasts some funky conga work, dramatic strings, scorching organ and soulful vocals.

“Do It ('Til You're Satisfied)," penned by songwriter/guitarist Billy Nichols, was the title track off the band’s debut album, released in 1974. The song shot to the top of Billboard's R&B singles chart and peaked at #2 on the Billboard Hot 100. And it charted at #8 on Billboard's Dance Club Songs chart. The album’s sizzling third single, “Express,” topped both Billboard's R&B singles chart and Billboard's Dance Club Songs dance charts, and it climbed to  #4 on the Billboard Hot 100. The album also performed extremely well on the charts. It reached the summit of the Billboard R&B album chart and reached #5 on the Billboard 200 album chart. It went gold with 500,000 copies sold.

The band scored another huge success with their second album, Non-Stop (1975). The album topped the U.S. R&B album chart and peaked at #19 on the pop album chart. Following Non-Stop, B.T. Express released several more albums to diminishing returns, with the hits coming in few and far between. Songwriter/producer/singer Jeff Lane produced the band's first four albums.

B.T. Express was formed in Brooklyn, New York, in 1972. The band was originally named The King Davis House Rockers and later changed to Madison Street Express, then the Brooklyn Trucking Express, and finally B.T. Express. The band’s original lineup was Richard “Rick” Thompson (guitar, vocals); Bill Risbrook (tenor saxophone, flute, vocals); Terrell Wood (drums); Barbara Joyce Lomas (vocals); Carlos Ward (alto sax, flute, piccolo, woodwind); Dennis Rowe (percussion); and Jamal Rasool, previously Louis Risbrook (bass, vocals).

The band experienced several personnel changes over the years. Some of the other members included the late keyboardist/songwriter/producer Kashif Saleem (previously Michael Jones); drummer Leslie Ming and guitarist Wesley “Pike” Hall, Jr. B.T. Express disbanded in 1987.

Give Up the Funk: The B.T. Express Anthology 1974-1982, a comprehensive two-disc 31-track anthology package of some of the band’s best work, was released in April.

B.T. Express is considered one of the pioneering acts of the funk-disco movement that occurred in the mid-1970s. And their music is now being appreciated by a new generation of music lovers thanks to sampling. The band's music has appeared on numerous hip-hop and R&B tracks via samples. For instance, “Do It (‘Til You're Satisfied)” has been sampled in 37 songs, including “Déjà Vu” (Beyoncé, featuring Jay-Z); “Addictive” (Truth Hurts, featuring Rakim); “Baller” (Dr. Dre) and “Gangsta Luv” (Snoop Dogg, featuring The-Dream).

"Do It ('Til You're Satisfied)" at Amazon

Related blog entries:

 "Give Up The Funk (Let's Dance)" by B.T. Express

"Express" by B.T. Express

“Fresh” (Scratch Mix ) by Tyrone Brunson

Bassist, singer, songwriter, and producer Tyrone Brunson dropped this bumpin’ cut back in 1984. The super-funky instrumental showcased the musician’s prodigious bass-poppin’ skills. It also boasts a hot beat, dope scratching, and sterling synth work. Additionally, the track features some great James Brown samples, which were borrowed from his classics, “Say it Loud—I’m Black and I’m Proud” and “Hot Pants.”

“Fresh” is a delicious slice of the influential electro-funk sound that was dominating hip-hop music at the time. The track was written by Brunson, Barry Eastmond, and Milton Bond and produced by Russell Timmons Jr. It was the title song off Brunson’s second album, Fresh, released in 1984. The remixers for “Fresh” were Reggie Thompson and Scott Folks, with Elai Tubo laying down the scratches. The track also has a cool vintage ‘80s music video that's filled with pop lockers, a scratchin' DJ, breakdancing, etc. And the DJ in the video is none other than the O.G. himself, Ice-T. “Fresh" had a solid performance on Billboard's R&B singles chart, peaking at #22.

Calvin Tyrone Brunson was born on March 22, 1956, in Washington, D.C. He played and sang with several local bands throughout the ‘70s, including the tight funk outfits the Family and Osiris. Brunson landed a record deal with the Columbia-distributed Believe In A Dream label in 1982. His first single, “The Smurf,” which was named after the popular dance craze, became a heavily played club banger in New York and elsewhere. It peaked at #14 on Billboard's R&B singles chart and #52 on the UK singles chart. The track was included on Brunson’s debut album, Sticky Situation (1983). The album’s title track was also released as a single and was a modest hit, peaking at #25 on Billboard's R&B singles chart in 1983.

Brunson eventually moved to MCA Records and released the album Love Triangle (1987) on the label. The collection was produced by James Mtume, who's best known for his production work with the popular R&B/funk band Mtume. In addition to vocals, Brunson played bass, synthesizer, and drums on the album. The title track is a lush R&B ballad that features Gayle Adams, who turns in a soulful, impassioned vocal performance. Unfortunately, the song failed to gain any traction on the charts, nor did any of the other songs on the album.

Following Love Triangle, Brunson worked mainly as a background vocalist, most notably for hit-making R&B trio Levert. He left the music scene in the ‘90s and became a teacher of computer networking. He died on May 25, 2013, in Washington, D.C., at the age of 57.

“The Smurf” is what Brunson is most remembered for, but there are many other strong tracks in his catalog that are definitely worth checking out.

Related blog entry:

"The Smurf" by Tyrone Brunson

Old-School Gold: “Trespasser” by Bad Medicine

Bad Medicine was a talented funk/soul outfit that dropped some serious funk back in the day, including the badass instrumental “Trespasser” in 1974. This smooth funk groove is sonic perfection. It features a cold-creepin’ bass line; sleek, imaginative synth parts; and dope guitar work, including funky wah-wah licks and some sweet Wes Montgomery runs. The track also has a great sax solo. Befitting its title, “Trespasser” has a furtive undercover vibe. 

Bad Medicine was formed in Syracuse, New York, on Halloween night in 1968. The band’s formation sprang from a mutual love the members shared for blues, soul, R&B, and “roots” music. The original members were Greg Johnson (bass), Tom Corradino (guitar/keyboards), Richard Clarke (drums), and Harry Rado (guitar). Saxophonist David Morton joined the fold shortly after the band’s formation.

The band’s repertoire consisted of a mix of originals and covers of contemporary funk and R&B hits, as well as popular blues classics. The young musicians made a name for themselves opening for well-known acts such as Muddy Waters, Lightnin' Hopkins, John Lee Hooker, and Mitch Ryder. The band’s jumpin’ live shows always had people gettin' down and tearing up the dancefloor. The tight groove outfit soon became very popular around the Syracuse University area, establishing a dedicated following. The last addition to Bad Medicine was keyboardist Johnny Crocitti.

Bad Medicine was a bit of an anomaly due to its racial makeup. There weren’t many all-white bands playing straight funk, soul, and R&B at the time. It even caused the band some problems booking gigs at certain venues. 

In 1970, the band released their first single, “She’s Taken All My Money,” on the small Orbit label. It’s a slide-guitar blues tune in which Corradino sings lead vocals. Around this time, the band befriended local record store owner Arthur Lane, who was planning to start his own record label, Enyx Records, with business partner William “Sugarbear” Armstrong. This began the band’s productive association with the label.

Enyx Records was launched in early 1973. With Enyx, Bad Medicine laid down the rhythm tracks for several songs featuring up-and-coming soul vocalist Michelle Sobers, including the Dr. John-penned “When The Battle is Over,” the label’s first release.

Bad Medicine released “Trespasser” on Enyx Records in 1974. In an old interview posted at Soulstacks.com, Arthur Lane explained the track's genesis:  “I recall distinctly in the winter of 1974 telling Richard [Clarke] how cool it would be to record a  song called ‘Trespasser.’ I asked him to imagine the feeling he would have if someone were up to no good and trespassing on his property. So I said, ‘Richard, just transfer the intensity and rage you would have chasing this guy into a song called ‘Trespasser.'”

The band recorded “Trespasser” at George Day’s Dayson Recording Studio in Syracuse. The players on the track were Tom Corradino (guitar); Johnny Crocitti (piano); David Morton (saxophone); Harry  Rado (guitar, rhythm); Greg Johnson (bass); Richard Clarke (drums and percussion); and George Day played the Moog synthesizer. It was produced by Lane and Armstrong.

Only a minor hit locally upon its original release, “Trespasser” is now considered a cult classic due to its inclusion on Stone Throw Records' much-buzzed-about compilation The Funky 16 Corners (2001). The track has been embraced by funk aficionados and music lovers, old- and new-school. It has been sampled by Limp Bizkit (“The Key”), Cut Chemist (“Bunky’s Pick”), Yesterday’s New Quintet (“Thinking of You”), and Parallel Thought, feat. PackFM and Jean Grae (“Freaky").

Bad Medicine abruptly disbanded in 1975 after Corradino was seriously injured in a car crash on a snowy road.  More than a decade later, Corradino reunited with his old bandmates, Rado and Clarke, in the Washington, D.C.-based R&B/zydeco outfit Little Red & the Renegades—Corradino (accordion and piano), Rado (guitar), and Clarke (drums).

 Little Red & the Renegades are still going strong and have some gigs lined up this summer. Clarke is no longer with Little Red. He hooked up with Krewe of Renegades some years back.

PHO Puts Modern Touch On Classic Funk Influences With Sophomore Album

Minneapolis-based progressive funk band PHO are back with some killer new tracks. The talented septet recently released their sophomore album, two.  The album, which consists of 13 instrumentals, is a strong follow-up to the band’s acclaimed debut album CASH It (2015). With two, the band brings a modern sensibility to classic funk influences, such as the J.B.'s, Parliament, the Meters and Tower of Power. PHO infuse the funk with their own unique flavor, adding a dash of psychedelia and hip-hop to the mix.

The album kicks off with the sumptuous and soulful “Sour Town.” It’s followed by “#2,” a high-octane funk groove that boasts imaginative synth work and blazing horn lines. The funk is relentless on this smokin’ cut. The funkalicious “Still Waiting” is a full-on sonic feast. The infectious groove has a stellar horn arrangement, tight drumming and some dope changes.

Next up is “Dr. Drake,” a powerhouse funk jam filled with fat bass, dizzying horn lines and wicked guitar licks. There’s definitely some Prince flavor permeating this hard-hitting funk track.

“Dew Like Me” is a smooth, laid-back groove. The track features some superb playing from the horn section, and the band drops some flute into the mix to enhance the groove’s chill vibe. PHO keeps things on a mellow note on “Responsibility,” a top-notch track heightened by the band’s flawless playing and a smoldering guitar solo.

The majestic “Tomorrow In Texas” is an album highlight. The track has sort of a cinematic flow and showcases the band members’ strong compositional skills. Everything is on point here: the musicianship, the arrangement, etc.  It’s just a brilliant cut and very inventive.

“Pop Top” is a potent groove that features some incredible guitar and keyboard work, as well as a splendid horn arrangement. “South 2nd” is one badass track; it boasts some super-funky bass work and a hot trumpet solo.

 “Face” is a stone-cold funk jam with some cool psychedelic flourishes and jazzy changeups. Also, the drumming is tremendous on this cut. The album closes out with the high-energy, horn-driven “Famous Waves.” 

This album is a very impressive sophomore effort. It’s consistently good and doesn't have a single weak track. The album was produced by John Davis and PHO. It was recorded in Cannon Falls, Minnesota at the legendary Pachyderm Studio where Nirvana recorded their final album, In Utero. The special guest musicians featured on two are Kirk Johnson from Prince’s New Power Generation on percussion and Sten Johnson on trombone.

The members of PHO are Luke Ibach (bass), Arthur "LA" Buckner (drums), Spencer Christensen (guitar), Patrick Horigan (keys), Lukas Skrove (trumpet and flugelhorn), Joe Paris (guitar) and Aaron Levin (tenor sax and flute). Former PHO member Demetrius Mabry, who was still a member during the recording of two, played drums on the album while Buckner played percussion.

Formed in 2013, PHO have taken the music world by storm with their dynamic funk sound, impeccable musicianship and thrilling live performances. The young funk outfit has captured the attention of legions of funk lovers, including Minneapolis' most celebrated musician—Prince. In the winter of 2016, the late music legend caught one of PHO’s live performances on Youtube and was very impressed. This led to an invite to open for funk master Larry Graham and Graham Central Station at the fabled Paisley Park complex in Chanhassen, Minnesota. PHO’s sterling performance at Paisley Park prompted Prince to post the following tweet to the band: “Come back anytime. Just Holla.” The Purple One’s blessing has helped open up many great new opportunities for the band.

PHO are currently one of the hottest rising young bands on the modern funk scene; the band has a dedicated following that continues to grow each day, and they have played with acclaimed funk outfits such as The Motet, Dopapod, Dam-Funk, Dumpstaphunk, among many others.

Some of PHO’s influences include James Brown, Slave, Jimi Hendrix, The Time, Lettuce, P-Funk, Fela Kuti, Sly Stone, and of course, His Royal Badness. The band brings a fresh new energy to the funk game; they’re charting out their own path but never losing sight of the classic funk traditions that provide the foundation of their music— and cultivating their new “Minneapolis Sound” in the process.

Check out PHO's website for tour dates, music releases and other info.


"Dr. Drake"

Superstar A Cappella Group Pentatonix Take On Michael Jackson’s Classics

World-famous a cappella group Pentatonix harness their vocal gifts to pay homage to Michael Jackson in their video “Evolution of Michael Jackson" (uploaded in 2015). The group performs a medley of some of the pop/soul legend’s biggest hits, covering his early days with the Jackson 5 through the Dangerous era. The talented quintet brings their flawless harmonies and creative vocal arrangements to these ageless classics.

Formed in Arlington, Texas in 2011, Pentatonix are one of the most successful a cappella groups in the world. They have sold more than six million albums in the U.S. alone and have earned three Grammys, as well as several other prestigious awards. And hundreds of thousands of fans across the globe flock to their sold-out concerts. Also, the group has shared the stage with music luminaries such as Stevie Wonder and Dolly Parton.

Additionally, Pentatonix’s videos garner millions of views on YouTube: "Evolution of Michael Jackson” currently has more than 32 million views, and their "Evolution of Music,” video has over 100 million views.

Group members are Scott Hoying (baritone), Mitch Grassi (tenor), Kirstie Maldonado (mezzo-soprano), Avi Kaplan (bass) and Kevin Olusola (beatboxer/ vocal percussions). Kaplan recently announced that he will be leaving Pentatonix after the group wraps up their world tour in September. He explained on a video posted at the group’s Facebook page that their fast-paced schedule had become too draining for him, mentally and physically, as well as prevented him from seeing family members and friends when he needed to.