Let’s produce 07: Deep House Vibe 2

Hello producers, how’s it going? In Episode 07 from Let’s produce we’ll be covering another Deep House Beat. This episode is also available in video format. We’ll start from a chord progression similar to the one used in episode 05 and we’ll finish with a nice simple arpeggio. All MIDI patterns are provided so follow along with your samples and instruments.

The post is structured in 4 parts: Chords (1), Bass (2), Stab (3) and Arpeggio (4). If you have any questions or suggestions, leave a comment or get in touch with us: hi@promusicproducers.com. Okay then, let’s start!

 


VIDEO TUTORIAL:


 

 


1) CHORDS


 

STEP 1 – We start off with a basic off-beat pattern playing the B minor triad chord structure:

11

It sounds like this:

 

STEP 2 – Let’s extend our triads to B minor 9th chords by adding A2 and C#3:

12

It sounds like this:

 

STEP 3 – Take the second and third note from the B minor 9th chord and move them 12 semitones up. This is known as chord voicing. Check out our 10 Deep House Production Tips post for more on this subject:

13

It sounds like this:

 

STEP 4 – Extend the length of the clip to 8 bars as we’ll insert the main progression now. We’ll use the same chord structure throughout the entire clip. The first 4 bars will play B minor. The fifth and sixth bar will play D minor. Last 2 bars will play E minor. So, our progression is B – D – E:

14

It sounds like this:

 


2) BASS


 

STEP 1 – The first bass layer will play the following pattern of 4 notes. We leave the last beat empty for the second bass layer:

21

It sounds like this:

 

STEP 2 – The bass-line will also follow the main progression B – D – E:

22

It sounds like this:

 

STEP 3 – Now let’s trigger the second bass layer on the last beat of every bar. In the eight bar, the last E2 was moved to A2:

23

It sounds like this:

 

So this is what we have so far:

 


 3) STAB


 

The stab will also follow the same progression using the same chord structure. It’s triggered on the first and third beat of every bar:

31

It sounds like this:

 


 4) ARPEGGIO


 

The arpeggio will play the notes from the minor 9th chords in sequence. We’ll be using the 1/16 one, with notes being triggered every 1/16:

41

It sounds like this:

 

Just take each note from the minor 9th chords and play them in sequence. First 4 bars are playing B2, A3, C#4, D4 and F#4, the notes from the B minor 9th voice chord. If this is hard to see, just download the midi file from here.

42

It sounds like this:

 


The End


 

So there you go. In this episode we’ve applied the chord voicing and arpeggio tips covered in our 10 Deep House Production Tips post. In episode 05 we’ve used a very similar chord progression to create a different Deep House vibe. Let me know if you have any suggestions or requests for future episodes in the comments below. Finally, if you found this post useful, don’t forget to share it!

More from the Let’s produce series: http://promusicproducers.com/category/lets-produce/

Check our latest Deep House Course for Ableton Live: http://promusicproducers.com/product/deep-house-explored/

5 replies on “Let’s produce 07: Deep House Vibe 2

  • michaelpitluk

    What was the primary motivation for the chord voicing in this tutorial? Obviously it sounds cool, but was the intent to extend the chord into more octaves? Or is it a mixing motivation so you don’t have a bunch of frequencies squashed together like you do in the traditional voicing? Or something else… :)

    Reply
    • pmp

      Hi Michael, thanks for your question!

      While for Trance or Progressive House you tend to spread the notes over 2-3 octaves, for Deep House, specially old-school type, you try to keep them as close as possible.

      But since it’s a Minor 9th, you will have to play the notes in different octaves, otherwise it will sound squashed indeed.

      The main vibe comes from playing the second note (the 3rd in the scale) in the next octave, close to the fourth note (the 9th). Try that with some organ instruments and hear what impact it has on the sound.

      Also, by shifting the third (the 5th in the scale), you’re creating this space between the root note and all other notes, which are now fairly close together, even though they are not in the same octave. But you could also play the root note even lower, with a chord effect like -12, 10, 14,15, 19. And it’s quite common to play the root note one or two octave lower.

      So motivation is keeping them close while creating some room for those frequencies.

      Reply

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