OUT OF REACH
What is Progressive House?
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Progressive house is a sub-genre of house music that emerged in the early 1990s. It is characterised by its emphasis on melody, atmospheric textures, and a sense of progression throughout the track. Progressive house typically features a steady 4/4 beat, with intricate and evolving synth patterns, often incorporating elements of trance music.One of the defining features of progressive house is its focus on building tension and energy gradually over time. Tracks often start with simple, minimalistic arrangements and gradually add layers of complexity as they progress, leading to climactic moments and intense peaks. Progressive house tracks commonly feature long, extended mixes, allowing DJs to blend and layer them seamlessly in club settings. It has a reputation for its hypnotic and immersive qualities, making it popular both on the dance floor and in more introspective listening environments.
Aesthetics of Progressive-house
To compose music in the progressive house style, I conducted an analysis of Beatport's top 20 progressive house tracks of 2023. After compiling data from the song samples into spreadsheets for thorough analysis, I sought to identify commonalities among the songs to glean insights into the aesthetics of progressive house.
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The data revealed that 12 out of 20 tracks were in a major key, with F major being the most popular key, appearing in 5 out of 20 tracks (25%). The average tempo of the genre was 124 BPM, with a range spanning from 122 to 127 BPM. Vocals were present in half of the songs analysed, accounting for 10 out of 20 tracks (50%). Notably, these vocals often lacked an anthemic chorus typical of commercial tracks, featuring cryptic messages, speeches, and low robotic pitches. This resulted in a darker thematic tone compared to other genres like tech-house.
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Dark themes were prevalent in the music, characterised by synthesisers with low pitches, breathy and cold tones, and pulsating polyrhythms driving the songs forward. Special effects such as echoes, delays, and reverbs were commonly used to create an eerie atmosphere in the music. The drum patterns typically followed a straight 4-to-the-floor pattern, with less emphasis on percussion, although percussion elements were occasionally incorporated for variation.
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‘Out of Reach’ description
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In crafting "Out of Reach," I anchored the composition in the prevalent F major mode found in the sample. Taking a linear approach to the chord progression, I sustained an F major chord until the breakdown section, where I introduced Eb, Bb, and F major chords for added depth. The rhythmic foundation of the track relies on a straightforward four-to-the-floor drum beat, with off-beat hi-hats and intricate 16th-note patterns. Snare and claps accentuate beats 2 and 4, maintaining a consistent tempo of 122 BPM.
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The core of the track revolves around a pulsating synth pattern, with one synth panned 100% left and another an octave higher panned 100% right. EQ automation adds dynamic movement to the synths throughout the arrangement. Two additional rhythmic synthesisers, panned 50% left and right, contribute polyrhythms and highlight specific notes, akin to techniques observed in "Wonderland" (2023). To enhance the groove and allow the kick to cut through the mix, I employed side-chain compression on the rhythmic synths, creating a pulsating effect.
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Given the genre's focus on instrumental elements, vocals are sparingly utilised, primarily during the breakdown section (bars 49-89) and minimally thereafter (bars 89-105). Vocal melodies are crafted within a major pentatonic scale, using a reduced key range from tonic to subdominant, aligning with the minimalist vocal style prevalent in the genre.
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To capture the vocals for the track, I employed a Sure SM58 large diaphragm dynamic microphone, positioning the vocalist approximately 6 inches away within an acoustically treated vocal booth. During the production phase, I initiated the process by implementing a de-esser to manage sibilance and pitch correction to ensure vocal accuracy. Following this, I applied a channel EQ, boosting frequencies by 4dB within the range of 1k to 6k to impart brightness to the vocals.
Subsequently, I utilised two compressors to refine the vocal dynamics. The initial compressor targeted peak reduction with a 2:1 ratio, featuring medium attack and release settings. The subsequent compressor, set at a 5:1 ratio, employed a higher attack and release time, augmented by an exciter to accentuate vocal harmonics.
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Routing the vocals through a dedicated bus, I directed it to a vocal effects channel. Here, I applied delay using a tape delay effect, with the left delay set to a quarter-note delay time of 468 ms and the right delay at an eighth-note delay time of 246 ms, with a feedback level of 30%. Additionally, I introduced distortion to add depth and richness to the vocals, contributing to their thickness.
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Furthermore, I implemented parallel compression on the vocal bus, adjusting the compression settings to enhance vocal clarity while maintaining dynamic range. This technique allowed for a more pronounced and polished vocal presence within the mix.
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Mastering
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In the mastering process, I initiated with a gentle compression, utilising a 2:1 ratio, a threshold of 25 dB, and an attack of 10 ms with a release of 20 ms. This approach allowed for peak control while preserving the dynamics of the mix.
Next, I employed two Linear EQs to fine-tune the tonal balance. The first EQ was configured for mid processing, focusing on instruments occupying the central mono space of the mix. Conversely, the second EQ was set for side processing, targeting frequencies spread wide across the stereo spectrum. This dual EQ setup provided precise control over the stereo image, enhancing overall clarity.
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To further enhance the high-frequency content, I employed a Graphic EQ, where I subtly boosted frequencies at 10.1 kHz and 20.2 kHz by 2 dB each. This adjustment, along with a slight increase in output drive, accentuated the brilliance of elements like high-hats, contributing to improved balance within the mix.
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Finally, I utilized a Multipressor to apply nuanced compression, with slight boosts in the low and high-end frequencies. This subtle enhancement added a touch of punch to elements such as the kick drum and snare, contributing to a more cohesive and dynamic final mix.
Furthermore, I incorporated a SubBass Enhancer to accentuate the lower frequencies below the kick drum, heightening the overall dynamics of the track. Concurrently, I employed a Spread effect to widen the stereo image by boosting frequencies between 1200Hz and 13200Hz. This manipulation enhanced spatial presence and depth within the mix.
For added texture and character, I introduced PhatFx with distortion set at 10% and bass boosted by 12% at 60Hz, while maintaining the mix and output levels at 100%. This imparted a subtle yet impactful warmth to the bass frequencies.
To ensure the final master achieved competitive loudness levels, I utilised an Adaptive Limiter in conjunction with a Loudness Meter. With reference to industry standards where LUFS levels typically hover around -9, I increased the gain by 7 dB to meet this benchmark, while implementing a limiter as a safeguard against clipping.
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Additionally, I applied a gain plugin and periodically toggled the mono switch throughout the production process. Given that EDM music is often played by DJs in mono format, it is essential for mixes to translate effectively in both mono and stereo environments, ensuring optimal playback across various systems.