@djse, you're talking about musical intervals right and not semitones? So both would be m7 chords, one without the 3rd, the other one without the 5th? Did a little google search on the difference between stabs in Chicago House and Detroit Techno, but couldn't really find a satisfying answer. Think it's really interesting tho. Why do you think these differences came to be in these particular scenes?
@@ZenWorld just found an early track by Kevin Saunderson (founding father of Detroit Techno), The Good Life, which uses this happy 4 semitones interval, the major 3rd :) I guess, as with a lot of genres, pioneer producers and writers never think about a fixed rule set for their music but just experiment and find cool concepts that work. You'll probably also find major chord stabs in early Chicago House tracks
@@janterlouwjunior_private it's in semitone (the way you would program it in serum), sorry, it wasn't really clear, I'm not really into music theory :) Also, it's more of a "cliché" here, not a rule, some classic Detroit chord from early days use to have those kind of sound, giving it a more "sinister" vibe, probably influenced by the city and its industrial vibe. But you can find artist from Chicago with that sort of "Detroit" sound (like Felix DaHousecat first album for exemple). Chicago had less this sinister vibe in general, but more happy chords (on the house side), probably cause the music was club oriented first, so more disco influenced, but once again, those cliché are made by the early track (Saunderson or Atkins/Model 500 for Detroit, Marshall Jefferson or Frankie Knuckles for Chicago). Everything was house basically but that's this little "vibe" difference that create this difference between the 2 genres (then the difference became more obvious). And also what pioneer DJ use to play (Ron Hardy energic style is surely responsable for the way Chicago first house producer made their first track, with that stabby "in your face" kind of sound). But both genre are more than this, Chicago is also home of the deep house sound, with chords more influenced by jazz (where Detroit is a mix between soul and 70s german sound). At the end everything is connected and those "city sound" are pretty much represented by each city pioneer (that's why "cliché" NY sound for exemple is more vocal oriented, cause its big pioneer there - Larry Leven - was more into vocal track). It's funny to see how each sound is created and where it's from, its often some little detail here and there, and it's like a big messy tree where everything is connected. Funny also that what use to be house and techno then wasn't that different from today perspective, where now there is more difference in 2 subgenre with the same first name :)
@@djse Thanks for your detailed reply! The way you write about it makes want to read more into those early days of electronic music and evolution of the genres. Are there books or other resources you'd recommend?
I always lose my creativity at effects. I end up putting every single effect on and feel like I'm not really understanding when and where to use an effect without just blindly applying everything. It's hard to tell when a subtle effect is worth it or not. Adding compression, eqing, filtering and saturating literally everything is what end up doing
I recommend you have a session and dedicate to play around with different effects/plugins I feel like that way you are mentalized to just fool around and have fun and you dont get exhausted and fatigued by trying to fit them in your actual song
@@ermomusic I agree, sessions of just messing around and creating a bunch of presets come in handy big time for learning. I was just working the other day and took a step back instead of just tinkering with everything, I tried visualization one step at a time what I wanted to add. I was having too much of an end goal to what I wanted and completely losing my vision of the song by getting caught up debating minor details like if it should be a saw or a square or something in the middle.
Awesome video as always zen! Excited for the pack tomorrow. I like throwing tantra in an audio effect rack instead of using dry/wet so that you can scroll through presets without it resetting the amount of the effect. just makes it a bit easier
Your new track So high is absolutely fire. omg. needs to be promoted. such a fire track could be used as a reference track too. Infact i will. But I love how good you are at in any dance music genre. You are a god sent. Thank you for all you do for us. :)
Finally something for the groovers 😎 I can’t wait for this one
3rd + 7th = Detroit
5th + 7th = Chicago
🤓
4th??
@djse, you're talking about musical intervals right and not semitones? So both would be m7 chords, one without the 3rd, the other one without the 5th? Did a little google search on the difference between stabs in Chicago House and Detroit Techno, but couldn't really find a satisfying answer. Think it's really interesting tho. Why do you think these differences came to be in these particular scenes?
@@ZenWorld just found an early track by Kevin Saunderson (founding father of Detroit Techno), The Good Life, which uses this happy 4 semitones interval, the major 3rd :) I guess, as with a lot of genres, pioneer producers and writers never think about a fixed rule set for their music but just experiment and find cool concepts that work. You'll probably also find major chord stabs in early Chicago House tracks
@@janterlouwjunior_private it's in semitone (the way you would program it in serum), sorry, it wasn't really clear, I'm not really into music theory :)
Also, it's more of a "cliché" here, not a rule, some classic Detroit chord from early days use to have those kind of sound, giving it a more "sinister" vibe, probably influenced by the city and its industrial vibe. But you can find artist from Chicago with that sort of "Detroit" sound (like Felix DaHousecat first album for exemple).
Chicago had less this sinister vibe in general, but more happy chords (on the house side), probably cause the music was club oriented first, so more disco influenced, but once again, those cliché are made by the early track (Saunderson or Atkins/Model 500 for Detroit, Marshall Jefferson or Frankie Knuckles for Chicago).
Everything was house basically but that's this little "vibe" difference that create this difference between the 2 genres (then the difference became more obvious). And also what pioneer DJ use to play (Ron Hardy energic style is surely responsable for the way Chicago first house producer made their first track, with that stabby "in your face" kind of sound).
But both genre are more than this, Chicago is also home of the deep house sound, with chords more influenced by jazz (where Detroit is a mix between soul and 70s german sound). At the end everything is connected and those "city sound" are pretty much represented by each city pioneer (that's why "cliché" NY sound for exemple is more vocal oriented, cause its big pioneer there - Larry Leven - was more into vocal track).
It's funny to see how each sound is created and where it's from, its often some little detail here and there, and it's like a big messy tree where everything is connected. Funny also that what use to be house and techno then wasn't that different from today perspective, where now there is more difference in 2 subgenre with the same first name :)
@@djse Thanks for your detailed reply! The way you write about it makes want to read more into those early days of electronic music and evolution of the genres. Are there books or other resources you'd recommend?
I always lose my creativity at effects. I end up putting every single effect on and feel like I'm not really understanding when and where to use an effect without just blindly applying everything. It's hard to tell when a subtle effect is worth it or not. Adding compression, eqing, filtering and saturating literally everything is what end up doing
I recommend you have a session and dedicate to play around with different effects/plugins
I feel like that way you are mentalized to just fool around and have fun and you dont get exhausted and fatigued by trying to fit them in your actual song
@@ermomusic I agree, sessions of just messing around and creating a bunch of presets come in handy big time for learning. I was just working the other day and took a step back instead of just tinkering with everything, I tried visualization one step at a time what I wanted to add. I was having too much of an end goal to what I wanted and completely losing my vision of the song by getting caught up debating minor details like if it should be a saw or a square or something in the middle.
@@Submersed24 I FEEL YOU BRO
so happy you are touching on this genre Zen
Awesome video as always zen! Excited for the pack tomorrow. I like throwing tantra in an audio effect rack instead of using dry/wet so that you can scroll through presets without it resetting the amount of the effect. just makes it a bit easier
Your new track So high is absolutely fire. omg. needs to be promoted. such a fire track could be used as a reference track too. Infact i will. But I love how good you are at in any dance music genre. You are a god sent. Thank you for all you do for us. :)
The goat
the bip bip was a grammy one !!! masterpiece :)
yeeessssssssssssssssssssssssssssssssssssssssssssssssssssssssss
Bro did you look at my searches or some
Quality as always zen 🙌🏻
mine sounds nothing like yours lmao
Finicky boogers my brother.
Thanks!
Your vids are awesome love the teaching style
am your new family member ❤ really awesome content ✌️
nice
whats minimal house
A very small place to live.
@@garthwick19 tell me about it
go listen to ranger trucco or chris stussy for the minimal genre
Nacho Scoppa 🔥🔥🔥🔥
like normal house, but less