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Big Room House


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MORE ABOUT Big Room House

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DEFINITION

DEFINITION


La Big Room House est un genre driv de la Progressive House, avec laquelle la confusion est souvent faite. Son nom provient du fait que la plupart de ses premiers morceaux, cheval entre lElectro House et la Progressive House, taient jous lors de festivals.

En effet : lutilisation daccords trs larges (couvrant beaucoup de notes, dharmoniques) et rverbrs dans la mlodie du lead* et lors des breakdowns, donne une impression de vaste espace clos, do le terme de big room . Une autre caractristique du genre est de mettre laccent sur le kick* en laccompagnant dun snare* concomitant pendant les lead* et build up* et dune sub-bass* lors des drops*, ce qui donne aux drops un aspect volontairement minimaliste.

Il sagit du style de musique lectronique le plus cout en soire ou en festival, raflant toutes les premires places des ventes mondiales (notamment sur Beatport). Mais il est galement extrmement critiqu par la communaut des producteurs dElectro House notamment, le dnonant comme tant une impasse la crativit et la diffrenciation, ou encore une plaisanterie (daprs Wolfgang Gartner, pionnier de la Complextro).


The name "Big Room House" comes from the fact that most of the first pieces of this kind, which straddles the Electro House and the Progressive House, were played at festivals.

Indeed: leads of Big Room are characterized by the use of broad reverberated chords (covering a lot of harmonics), including during the breakdowns*, which brings an impression of large enclosed area, hence the term "big room". Another feature of the genre is to focus on the kick* by accompanying it with a sub-bass during the drops*, giving drops a deliberately minimalist aspect.

This is the style of electronic music's most listened to evening or festival, winning all the top spots in global sales (including Beatport). But it is also highly criticized by the community of producers, especially by the Electro House producers, denouncing it as being a dead end to the creativity and differentiation, or even as being a 'joke' (Wolfgang Gartner, pioneer of Complextro).


STRUCTURE GENERALE

GENERAL STRUCTURE


Son tempo est le mme que celui de lElectro House : entre 125 et 130 bpm (majoritairement 128 bpm).

Le principe de ce genre repose sur la notion de fort contraste entre lead* et drop* :

Le lead de Big room house est presque toujours constitu dun anthem, cest--dire dune mlodie principale, simple (facile retenir et chanter), joue aux synthtiseurs sous la forme daccords pleins et rverbrs, donnant une impression de richesse sonore.

Les drops constituent la partie la plus codifie du genre, tel point quil est parfois difficile de les diffrencier dun morceau lautre en ce qui concerne la forme classique de ce genre. Le drop se veut minimaliste (toujours dans cette optique de contraster avec le vaste lead riche en harmoniques), et joue sur la seule rythmique :

- rgulire du kick* + sub-bass* (sans snare*) dune part,

- et syncope* des synths (plucks* ou distordus, cf. sous-genres) dautre part,,

le tout entrecoup dun long snare rverbr (un crash) toute les 2 mesures (8e temps) = Pssshhhhh, quasiment constant.

Un mashup* ralis par Daleri (Epic mashleg) jouant la suite plusieurs drops du top 100 de Beatport permet de comprendre son fonctionnement et sa faible diversit. Cest donc cette dualit kick rgulier + synts syncops qui fait le succs de la Big Room House sur les pistes de danse.


Its tempo is the same as that of Electro House : between 125 and 130 bpm (mostly 128 bpm)

. The principle of this genre is based on the notion of strong contrast between lead * and drop *

The lead Big room house is almost always consists of a 'anthem', that is to say, of a single main melody (easy to remember and sing), played synthesizers as full and reverberant chords, giving an impression of rich sound.

The drops are the most 'codified' part of the genre, to the point that it is sometimes difficult to differentiate them from one song to another with regarding the classical form of Big Room House. The drop wants minimalist (always in order to contrast with the vast and harmonically rich lead), and relies on the only rhythm of:

- the regular kick* + sub-bass* (without snare*) on the one hand,

- syncopated synths* (plucked* or distorted, cf. sub-genres) on the other hand,

all interspersed with a long snare with reverb (crash) every 2 measures (8th time) = ''Pssshhhhh'' almost constant.

A mashup* created by Daleri ('Epic mashleg') playing in a row several drops of the Beatport top 100 chart helps to understand the way it works and its low diversity. It is by this duality: regular sub-bass + syncopated synths, that makes the Big Room House so famous on the dance floors.


PROVENANCE

ORIGIN


Lhypothse la plus probable est que ce genre soit directement issu de la Swedish progressive house ne en 2010 des studios sudois de lex trio Swedish House Mafia (Sebastian Ingrosso, Axwell, Steve Angello), ou encore dAvicii, dAlesso etc qui apportrent leur influence de progressive snare-less (dpourvue de snare*) lElectro House.


The most likely hypothesis is that this type is directly derived from the 'Swedish progressive house' 'born in 2010 in the former studios Swedish trio Swedish House Mafia (Sebastian Ingrosso, Axwell, Steve Angello), or of Avicii, Alesso and etc ... who brought their influence gradually 'snare-less' (devoid of snare *) to the Electro House.


ARTISTES PRECURSEURS

PRECURSOR ARTISTS


Swedish House Mafia, Avicii, Alesso (cf. ci-dessus : "provenance").


Swedish House Mafia, Avicii, Alesso (see above: "provenance").


SOUS-GENRES

SUBGENRES


On inclue couramment dans la Big Room House les 3 principaux sous-genres dEDM (Electro Dance Music) de festival se jouant des tempos avoisinant les 128 bpm, qui sont :


- La Big Room House classique : caractrise par un drop* presque exclusivement constitu :

o soit dune mlodie aigu et plucke*, ressemblant souvent un son de "bout de bois percut", appuye d'une sub-bass* simpliste sur un kick* unique.

o soit de basses distordues et syncopes* comme mentionn plus haut (cf. structure). De plus ces mmes drops sont particulirement monocordes (faits d'une seule note).

Cette forme classique prsente de faon systmatique un lead* trs large et rverbr pour contraster avec ces drops minimalistes.


- La Dutch : forme de festival music caractrise par un timbre instrumental nasillard trs spcifique. Il sagit finalement de sa principale distinction : une mlodie aigue, grsillante et nasillarde sur des drops aux lourdes sub-bass. On y retrouve toujours des leads trs larges et rverbrs.


- La Melbourne Bounce : forme particulire et rcente de festival music, dont la basse, qui n'est pas une sub-bass, ne tombe pas sur les temps avec les kicks mais sur les contretemps*. Il arrive souvent quon ny trouve pas de lead puisque la grande partie de la mlodie sera porte par le drop. Donc entre les drops, il sagira la plupart du temps seulement de build-up* trs longs et gonflant parfois tellement que lon peut y retrouver la mme notion de contraste lead / drop des deux prcdents sous-genres.
Le surnom Bounce provient du contretemps sur lequel sont joues les basses, qui donne alors un effet de rebond ses morceaux, et faisant de ce sous-genre l'un des plus efficaces en matire de stimulation la danse. Sa mlodie (au sein du drop) quant elle, reprend le timbre nasillard de la Dutch mais de faon moins systmatique et moins distordue.


Les drops de ces trois sous-genres vont tre sectionns dun crash (Psssssh) de faon plus ou moins constante. Celui-ci tant considr comme une signature de la Big Room House, certains producteurs vont avoir tendance sen passer pour chercher se dmarquer. Mais son absence nexclut pas lappartenance ce genre.


3 main sub-genres of EDM (Electro Dance Music) festival whose tempos are around 128 bpm, are commonly included in the Big Room House:


- (typical) Big Room House: characterized by a drop* almost exclusively made up of:

o either acute and plucked* melod, often resembling a sound of "stick hit," supported by a sub-bass kick a simplistic unique.

o is low and distorted syncopated* as mentioned above (cf. structure). Moreover these drops are particularly monotonous (made ??of a single note).

This classic form of this very large and reverberant to contrast with these minimalist drops systematically a lead. *


- Dutch : the form of festival music characterized by a very specific instrumental timbre twangy. It is ultimately his main distinction: an acute, sizzling and nasal drops on the heavy sub-bass melody. We always find very large and reverberant leads.


- Melbourne Bounce: Private and recent music festival, including the bass, which is not a sub-bass, do not fall on times with kicks but setbacks * form. Often we do not find there to lead as much of the melody is carried by the drop. So between the drops, it will usually only build-up * very long and sometimes swelling so that we can find the very notion of contrast lead / drop the two previous sub-genres.
The nickname 'Bounce' comes from the setbacks which are played bass, which then gives a kickback to his songs, and making this subgenre one of the most effective in stimulating dance. Its melody (in the drop) meanwhile, takes the nasal tone of the Dutch but less systematic and less distorted.


The drops of the three sub-genres will be cut from a crash (Psssssh) more or less constant. This is considered a signature of the Big Room House, some producers will tend to do without to try to stand out. But its absence does not exclude belonging to this genre....


ARTISTES MAJEURS

MAJOR ARTISTS


- de Big Room House classique : Hardwell, Dimitri Vegas & Like Mike, W&W, DVBBS, le sous-label Trice, Martin Garrix, Showtek, Alvaro, Cash Cash, Thomas Newson, R3hab, NERVO, Bassjackers, Basto.

- de Dutch : Showtek, Deorro, Laidback Luke, D.O.D.

- de Melbourne Bounce : Will Sparks, TJR, Joel Fletcher, Reece Low, SCNDL.


- in classic Big Room House: Hardwell, Dimitri Vegas & Like Mike, W&W, DVBBS, le sous-label Trice, Martin Garrix, Showtek, Alvaro, Cash Cash, Thomas Newson, R3hab, NERVO, Bassjackers, Basto.

- in Dutch: Showtek, Deorro, Laidback Luke, D.O.D.

- in Melbourne Bounce: Will Sparks, TJR, Joel Fletcher, Reece Low, SCNDL.