There are four physiologically distinct vocal registers. From lowest to highest, they are: pulse (also called fry, though fry is a specific kind of pulse), modal (also called chest voice), falsetto (also called head voice), and whistle. Your regular speaking voice uses your modal register (predominantly, anyway). It is a myth that women do not have a falsetto- they do; the passaggio is less abrupt than the male model-falsetto passaggio, and female modal/falsetto are more tonally similar than male modal/falsetto. Passaggii are technically more complicated than that, but no one except tenors and classical buffs are into that.

A woman who sings in the tenor range is not a tenor, she is a contralto. Similarly, a post-pubescent man who sings in the soprano range is not a soprano, he is a countertenor. There may be cases where these classifications are not valid, but those would be exceptionally rare edge cases.

The lowest choral vocal part is the oktavist, a term from Russian choral tradition. An oktavist is able to produce the note Bb1 and be heard in a choir (without separate amplification). Meanwhile, a basso profundo should "only" be expected to produce the note C2 or perhaps D2 under these conditions. However, basso profundo is an opera term, and carries volume and tone requirements for these notes that are much more demanding the choral requirements. Therefore, an operatic basso might indeed by more profound than a choral oktavist, even if the oktavist is expected to sing lower. Some of my favorite oktavists are Vladimir Pasyukov and Glenn Miller.

The terms "oktavist" and "basso profundo" are role/part descriptions, not vocal types. The lowest vocal type is still just "bass," and these two roles call for very low basses. Some people consider basso to be a type proper; none of this is strictly defined. You have to be talking about a specific genre for anything to be kind of consistent. Please stop calling low basses "baritones." I know you think it's a compliment, but dude, I am unequivocally not a baritone.

The terms "vocal fry" (referring to the register) and "fry screaming" are not interchangeable. They are related, but not equal. The fry scream is located in the transition between vocal fry and falsetto, and is less slack than vocal fry. It is possible to whistle with your vocal folds by closing them even further while fry screaming- a suitably tiny gap between them without ever reaching full closure will result in a high-pitched whistle.

What are colloquially referred to as "growls" (the low pitched screams used in death metal) are usually fundamentally produced by movement of the false folds (which are located superior to the true folds). A "dry" false cord scream (or more properly, "false fold") does not involve movement of the true folds- the difficulty in achieving this technique is actually in keeping the true folds open. Thus, it is physically possible to perform false fold and fry screaming at the same time. In practice, screams are rarely used in isolation, and additional movement of the epiglottis, aryepiglottic folds, and the caps of the arytenoid cartilage, as well as formant shifting via nasopharyngeal constriction, apparent pitch adjustment via vocal tract length adjustment, and many, many variations on tongue and lip position, among other factors, may be present in various degrees.