New

Here is the single-paragraph Tracy Chapman (Telling Stories) beat map, clean and usable: like the unplugged Clapton chapman style Slow folk storytelling at 86–92 BPM in 4/4, human and slightly behind the beat, with a dry, intimate lead vocal front and centre carrying a linear narrative (no chorus or drops), supported by steady acoustic guitar (simple downstrokes or light fingerpicking that never changes), very subtle percussion (soft kick felt on beat 1, occasional brush or rim later), warm bass entering gradually with mostly root notes, and sparse colour added only as the song develops (low organ or Chamberlin pad barely audible, optional single violin, pedal steel, or low whistle lines late in the track using long sustained notes); dynamics rise through vocal clarity rather than volume, instruments drop away toward the end, and the song finishes naturally like a thought completed, not a performance climax

Tempo 76–82 BPM, 4/4, key of G or A major/minor blend: sparse acoustic guitar (boom-chick), upright bass entering after first chorus, brushed snare or muted kick on 2 & 4; Intro (0:00–0:20): solo acoustic guitar, light room reverb, no vocal; Verse 1 (0:20–1:05): male lead, guitar only, bass tacet; Pre-Chorus (1:05–1:25): female harmony enters softly, bass root notes begin; Chorus (1:25–2:05): full harmony, bass steady, subtle brush/snare; Verse 2 (2:05–2:45): female lead, male low harmony, same groove; Pre-Chorus (2:45–3:05): drop snare, vocal focus; Chorus (3:05–3:45): full dynamic return; Bridge (3:45–4:15): instruments pull back to guitar + bass, voices close-mic’d; Final Chorus (4:15–5:00): widest harmony, optional pedal steel or fiddle pad; Outro (5:00–5:20): guitar resolves alone, natural decay

Tempo 76–82 BPM, 4/4, key of G or A major/minor blend: sparse acoustic guitar (boom-chick), upright bass entering after first chorus, brushed snare or muted kick on 2 & 4; Intro (0:00–0:20): solo acoustic guitar, light room reverb, no vocal; Verse 1 (0:20–1:05): male lead, guitar only, bass tacet; Pre-Chorus (1:05–1:25): female harmony enters softly, bass root notes begin; Chorus (1:25–2:05): full harmony, bass steady, subtle brush/snare; Verse 2 (2:05–2:45): female lead, male low harmony, same groove; Pre-Chorus (2:45–3:05): drop snare, vocal focus; Chorus (3:05–3:45): full dynamic return; Bridge (3:45–4:15): instruments pull back to guitar + bass, voices close-mic’d; Final Chorus (4:15–5:00): widest harmony, optional pedal steel or fiddle pad; Outro (5:00–5:20): guitar resolves alone, natural decay

1984 British jazz-funk / electro-funk groove, slap-bass-led, tight live drums with electronic edge, Rhodes electric piano, analog synth stabs, clean funk guitar, confident male vocal, early Level 42 energy, no modern house, no EDM, Afro-Latin tech house with rolling percussion, groovy sub bass, organic tribal elements, and rhythmic vocal accents, Carlos Francisco vibe: warm, percussive, uplifting, and groove-focused

* Traditional Drums & Shakers: Digital samples of congas, bongos, djembes, talking drums, shekeres, and claves provide an authentic, "organic" feel, * Electronic Percussion: Drum machines like the Roland TR-909 are used for standard house elements such as kicks, snares, and hi-hats, adding punch and consistency to the mix, Melodic Elements & Synths Melodies and atmosphere are often created using a mix of sampled organic instruments and synthesizers:  * Marimbas & Kalimbas: These instruments, with their warm, percussive and plucked tones, * u-he Diva * Xfer Serum * Arturia Analog Lab * Native Instruments Massive X * Spectrasonics Omnisphere 2  * Vocals: Chants, vocal chops, and soulful phrases (sometimes featuring call-and-response patterns) Afro House

Andalusian folk songs are deeply rooted in Southern Spain's culture, primarily expressed through Flamenco, a passionate art form featuring various styles (palos) like Soleares, Siguiriyas, and Fandangos, often with deep, emotional lyrics and distinct rhythmic structures, Key elements include the characteristic Andalusian cadence (a descending chord progression) and melodic scales, with traditional songs like "El Vito" showcasing the unique Phrygian mode and historical connections to bullfighting and popular culture, Key Characteristics: Emotional Depth: Lyrics often convey intense feelings of despair, joy, jealousy, and love, reflecting the human condition, Rhythm & Meter: Complex rhythms and time signatures are central, with distinct feels for each palo(style), Melodic Scales: The Phrygian mode (Andalusian cadence) is a hallmark, creating a distinctive sound, Popular Styles (Palos) of Andalusian Folk Music: Sevillanas: A more cheerful, couple-dance form, popular in festivals, Solear

while retaining the Krafty Kuts breakbeat / pure science feel: Breakbeat / Krafty Kuts–style science rap at 126–128 BPM in F minor, heavy swung funk breaks with clean boom-bap punch, vinyl crackle and laboratory synth beeps intro (0:00–0:20), filtered pulse and riser into full break drop for Verse 1 (Hydrogen–Boron) with mono bass stabs, off-beat funk guitar/clav hits and wide space for clear educational vocals; Chorus strips back to kick, snare, tambourine with call-and-response vocal echoes and short synth stabs; Verse 2 (Carbon–Neon) adds vocoder science synth, more syncopated bass and ghost snares with scratch fills; Chorus repeats brighter; Verse 3 (Sodium–Phosphorus) hits peak energy with layered breaks, acid-tinged synth answers and turntable accents; Verse 4 (Sulphur–Calcium) drops bass briefly then slams back heavier with FX hits on each element name; Outro breaks down to kick and synth pulse, repeating “first twenty elements” hook, filter sweep down and vinyl brake ending

while retaining the Krafty Kuts breakbeat / pure science feel: Breakbeat / Krafty Kuts–style science rap at 126–128 BPM in F minor, heavy swung funk breaks with clean boom-bap punch, vinyl crackle and laboratory synth beeps intro (0:00–0:20), filtered pulse and riser into full break drop for Verse 1 (Hydrogen–Boron) with mono bass stabs, off-beat funk guitar/clav hits and wide space for clear educational vocals; Chorus strips back to kick, snare, tambourine with call-and-response vocal echoes and short synth stabs; Verse 2 (Carbon–Neon) adds vocoder science synth, more syncopated bass and ghost snares with scratch fills; Chorus repeats brighter; Verse 3 (Sodium–Phosphorus) hits peak energy with layered breaks, acid-tinged synth answers and turntable accents; Verse 4 (Sulphur–Calcium) drops bass briefly then slams back heavier with FX hits on each element name; Outro breaks down to kick and synth pulse, repeating “first twenty elements” hook, filter sweep down and vinyl brake ending

folk, acoustic, piano, orchestral male and female vocal classical house

STYLE (Tech Afro House × Breaks / Krafty Kuts) 4/4 | 124 BPM | Key: A minor — Intro with filtered Afro percussion, shuffled breakbeat top loop, deep sub pulse, vinyl FX, radio noise, spoken intro vocal rhythmically chopped, triggered on beat 1 every 2 bars; Verse locks into rolling tech-Afro groove — punchy kick, syncopated bass, rim + clap, organic tribal percussion, lead vocal delivered spoken-sung, short phrases snapped to the grid, 1 bar on / 1 bar off; Pre-Chorus drops kick briefly, percussion continues, filter opens, vocal reduced to single-word hits on off-beats; Chorus hits full power — solid kick, breakbeat layer underneath, wide Afro drums, bass pressure, chant vocal looped as a 4-beat rhythmic hook, percussive not melodic; Verse 2 adds extra percussion and break fills, same vocal rhythm maintained; Bridge strips to sub, percussion and FX, vocal gated and pulsed on quarter notes; Final Chorus brings full groove back with extra break fills and open hats, crowd-style response

Tech House (Fabric / Grant Dell / Terry Francis style) Deep, rolling, hypnotic groove 125–128 BPM DRUMS: - Punchy, short UK tech house kick (tight low end, no boom) - Crisp, dry clap layered with rimshot - 16th-note shuffled closed hi-hats (heavy swing) - Occasional open hat hits with delay - Minimal shaker loop - Off-grid percussion: conga taps, bongos, rim knocks - Light metallic tech percussion with subtle delay BASS: - Rolling sub bass, warm, smooth, rubbery - Repetitive 1-bar pattern evolving slowly - Filter movement (lowpass opening on 8-bar cycles) - Slight analog saturation SYNTHS & STABS: - Minimal chord stabs (filtered, rhythmic) - Short plucks with envelope shaping - Detuned pads very low in the mix - Subtle dub stabs with delay - Analog-style blips and bleeps VOCALS: - Short chopped phrases - Whispery textures - Processed with delay, reverb, filtering - Vocoded backing ambience FX & ATMOS: - Subtle vinyl hiss - Room tone - Reverse reverb swells - Filter sweeps extremel

GENRE: Minimal Tech / Berlin Click House, BPM:123, KEY:D minor, LENGTH:5–6 min, STRUCTURE:0:00–0:15 dry clicks + micro hats + low sub pulse;0:15–0:35 add short tight kick + soft noise sweep;0:35–1:00 metallic clicks + rim taps + tiny synth blips;1:00–1:30 deep one-note sub bass pulse enters;1:30–2:00 main groove: kick + sub + rim click + hat ticks + sparse minor chord stab;2:00–2:30 break: kick removed, clicks + sub ghost + filtered air;2:30–3:00 drop: kick returns + reversed percs + tight clap;3:00–3:30 mid lift: delayed blips + stereo panning ticks;3:30–4:00 locked groove: darker sub + tech shaker + minimal chord;4:00–4:30 second break: kick out, layered clicks + breath FX;4:30–5:00 final drop: full click stack + punchy kick + subtle clap;5:00–5:30 evolving blips + widening sub;5:30–6:00 slow filter fade, clicks thin out, sub tail ends, INSTRUMENTS: tight short kick, deep sub pulse, rim clicks, micro hats, metallic percs, reversed percs, tiny synth blips, minor stab chord, filtered

drums, house, acid house, guitar Keep the same as before

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog, ‑No EDM drops • No emotional breakdowns • No supersaws • No gospel / choir • No hype builds or shouting

125 BPM, 4/4, The groove communicates assured forward motion — not urgency, not struggle, Drums are tight and economical: a short, controlled kick with no sub bloom, creating confidence through restraint, Claps are dry and precise, reinforcing structure rather than excitement, Hi-hats shuffle with swing to imply movement and time passing, never rushing, The bass is repetitive and grounding, acting as an anchor rather than a melody, It loops with intention, suggesting stability, discipline, and clarity, No bass runs, no emotional lifts — just consistency, Chord stabs are minimal and filtered, appearing briefly to signal awareness, then disappearing, They never resolve dramatically; they hint, then step back, This avoids melancholy while maintaining depth, Percussion is subtle and human: light conga taps, wood textures, shakers — used sparingly to suggest life inside the system, not chaos, FX are functional only: gentle filter sweeps and noise lifts every 16 bars to mark time and prog, ‑No EDM drops • No emotional breakdowns • No supersaws • No gospel / choir • No hype builds or shouting

125–128 BPM UK tech house, deep, rolling, hypnotic, Short punchy kick with tight low end, no boom, Dry clap layered with rimshot, shuffled 16th closed hats with heavy swing, sparse open hats with short delay, Minimal shaker loop, Off-grid percussion (conga taps, bongos, rim knocks) lightly quantised, Subtle metallic tech hits with delay tucked low, Rolling warm rubbery sub-bass in a repetitive 1-bar pattern with slow filter movement opening every 8 bars, light analogue saturation, Minimal filtered chord stabs and short envelope plucks answering the bass, very low detuned pad for pressure, subtle dub stabs with delay, sparse analogue blips, Vocals chopped and whispered, used rhythmically with filtering and delay; no narrative sections, FX restrained: low vinyl hiss, room tone, reverse swells, gentle filter sweeps only, Groove builds by density and tension, no EDM drops, DJ-tool structure

125–128 BPM UK tech house, deep, rolling, hypnotic, Short punchy kick with tight low end, no boom, Dry clap layered with rimshot, shuffled 16th closed hats with heavy swing, sparse open hats with short delay, Minimal shaker loop, Off-grid percussion (conga taps, bongos, rim knocks) lightly quantised, Subtle metallic tech hits with delay tucked low, Rolling warm rubbery sub-bass in a repetitive 1-bar pattern with slow filter movement opening every 8 bars, light analogue saturation, Minimal filtered chord stabs and short envelope plucks answering the bass, very low detuned pad for pressure, subtle dub stabs with delay, sparse analogue blips, Vocals chopped and whispered, used rhythmically with filtering and delay; no narrative sections, FX restrained: low vinyl hiss, room tone, reverse swells, gentle filter sweeps only, Groove builds by density and tension, no EDM drops, DJ-tool structure

Tech House (Fabric / Grant Dell / Terry Francis style) Deep, rolling, hypnotic groove 125–128 BPM DRUMS: - Punchy, short UK tech house kick (tight low end, no boom) - Crisp, dry clap layered with rimshot - 16th-note shuffled closed hi-hats (heavy swing) - Occasional open hat hits with delay - Minimal shaker loop - Off-grid percussion: conga taps, bongos, rim knocks - Light metallic tech percussion with subtle delay BASS: - Rolling sub bass, warm, smooth, rubbery - Repetitive 1-bar pattern evolving slowly - Filter movement (lowpass opening on 8-bar cycles) - Slight analog saturation SYNTHS & STABS: - Minimal chord stabs (filtered, rhythmic) - Short plucks with envelope shaping - Detuned pads very low in the mix - Subtle dub stabs with delay - Analog-style blips and bleeps VOCALS: - Short chopped phrases - Whispery textures - Processed with delay, reverb, filtering - Vocoded backing ambience FX & ATMOS: - Subtle vinyl hiss - Room tone - Reverse reverb swells - Filter sweeps extremel

Tech House (Fabric / Grant Dell / Terry Francis style) Deep, rolling, hypnotic groove 125–128 BPM DRUMS: - Punchy, short UK tech house kick (tight low end, no boom) - Crisp, dry clap layered with rimshot - 16th-note shuffled closed hi-hats (heavy swing) - Occasional open hat hits with delay - Minimal shaker loop - Off-grid percussion: conga taps, bongos, rim knocks - Light metallic tech percussion with subtle delay BASS: - Rolling sub bass, warm, smooth, rubbery - Repetitive 1-bar pattern evolving slowly - Filter movement (lowpass opening on 8-bar cycles) - Slight analog saturation SYNTHS & STABS: - Minimal chord stabs (filtered, rhythmic) - Short plucks with envelope shaping - Detuned pads very low in the mix - Subtle dub stabs with delay - Analog-style blips and bleeps VOCALS: - Short chopped phrases - Whispery textures - Processed with delay, reverb, filtering - Vocoded backing ambience FX & ATMOS: - Subtle vinyl hiss - Room tone - Reverse reverb swells - Filter sweeps extremel

124–126 BPM, minor key with warm lift, Four-to-the-floor Afro-house kick (rounded, not punchy), rolling conga + djembe percussion loop with subtle swing, off-beat shakers, occasional rim/cross-stick accents, Sub-bass replaces slap bass: elastic, melodic, side-chained lightly to kick, Rhodes evolves into filtered chord stabs with movement; clean funk guitar becomes muted rhythmic chops tucked low, Analog synth stabs simplified into call-and-response with vocal phrases, Drums breathe: drops remove kick not groove, Chorus stays bass-led and hook-forward, Vocals confident, close, slightly dry; short delays on last words only, Bridge strips to percussion + pad swell, rebuild with bass re-entry, Optional UK garage crossover: swap straight hats for swung 2-step shuffle in breakdown, keep kick 4x4 on return, Energy: uplifting, warm, late-night club not peak-hour rave, ‑• Big-room EDM builds • Hyper-compressed drums • FM slap bass nostalgia • Over-sung pop belting • Festival drops or supersaws • American cheerleader energy

124–126 BPM, minor key with warm lift, Four-to-the-floor Afro-house kick (rounded, not punchy), rolling conga + djembe percussion loop with subtle swing, off-beat shakers, occasional rim/cross-stick accents, Sub-bass replaces slap bass: elastic, melodic, side-chained lightly to kick, Rhodes evolves into filtered chord stabs with movement; clean funk guitar becomes muted rhythmic chops tucked low, Analog synth stabs simplified into call-and-response with vocal phrases, Drums breathe: drops remove kick not groove, Chorus stays bass-led and hook-forward, Vocals confident, close, slightly dry; short delays on last words only, Bridge strips to percussion + pad swell, rebuild with bass re-entry, Optional UK garage crossover: swap straight hats for swung 2-step shuffle in breakdown, keep kick 4x4 on return, Energy: uplifting, warm, late-night club not peak-hour rave, ‑• Big-room EDM builds • Hyper-compressed drums • FM slap bass nostalgia • Over-sung pop belting • Festival drops or supersaws • American cheerleader energy

123–124 BPM Afro-house foundation with UK underground garage swing, built for heads not festivals; harmonic base uses Andalusian Phrygian cadence (i–♭VII–♭VI–V) voiced as deep, dusty minor chords; intro opens with soft palmas (hand claps), muted flamenco guitar harmonics, low cello drone, vinyl air, and brushed shakers; groove entry brings a warm, rounded Afro kick, swung UKG hats, subtle ghost claps, and Fender bass following the root without showboating; verses stay restrained with call-and-response violin phrases, banjo ghost plucks, and minimal chord stabs; pre-chorus drops kick weight slightly while flamenco arpeggios and cello accents build tension; chorus hits with full but controlled Afro percussion (bongos + congas), wide string stabs, rolling bass, and garage shuffle — lift without peak-time cheese; bridge strips back to palmas, guitar, and breath before final return, designed to feel timeless in a record shop and warm on a system, ‑EDM drops, ‑no supersaws, ‑no pop piano, ‑no big-room compression, ‑no cinematic trailer strings, ‑no gospel choirs, ‑no trap drums, ‑no tourist flamenco clichés, ‑no American cheerleader energy, ‑no shiny vocal FX

123–124 BPM Afro-house foundation with UK underground garage swing, built for heads not festivals; harmonic base uses Andalusian Phrygian cadence (i–♭VII–♭VI–V) voiced as deep, dusty minor chords; intro opens with soft palmas (hand claps), muted flamenco guitar harmonics, low cello drone, vinyl air, and brushed shakers; groove entry brings a warm, rounded Afro kick, swung UKG hats, subtle ghost claps, and Fender bass following the root without showboating; verses stay restrained with call-and-response violin phrases, banjo ghost plucks, and minimal chord stabs; pre-chorus drops kick weight slightly while flamenco arpeggios and cello accents build tension; chorus hits with full but controlled Afro percussion (bongos + congas), wide string stabs, rolling bass, and garage shuffle — lift without peak-time cheese; bridge strips back to palmas, guitar, and breath before final return, designed to feel timeless in a record shop and warm on a system, ‑EDM drops, ‑no supersaws, ‑no pop piano, ‑no big-room compression, ‑no cinematic trailer strings, ‑no gospel choirs, ‑no trap drums, ‑no tourist flamenco clichés, ‑no American cheerleader energy, ‑no shiny vocal FX

Afro House foundation at 122–125 BPM with warm deep kick and rolling low-end, blended with UK Garage swing on shuffled hats and ghost claps; intro opens with soft bongos, light shakers, muted Fender bass plucks, flamenco guitar harmonics, and atmospheric violin swells; groove entry introduces deep Afro kick, tighter 3/2 bongo pattern, cello drone underpinning, and subtle UKG hat shuffle; verses stay restrained with violin answering vocal phrases, muted banjo offbeats, rounded syncopated bass, and minimal chord stabs; pre-chorus builds using rising flamenco guitar arpeggios, widening shakers, softened kick, and cello accents for tension; chorus drop hits full Afro House drums with layered bongos and congas, wide violin/cello stabs, rolling Fender bass groove, and UKG swing hats + ghost claps; mid-section reduces percussion for banjo/flamenco interplay, warm minimal bass, widened pads behind strings, then rebounds into final chorus with emotional lift and club weight, ‑Avoid cheesy EDM drops, ‑festival supersaw leads, ‑pop-piano hooks, ‑rom-com sentimentality, ‑gospel choirs, ‑trap elements, ‑exaggerated vocal melisma, ‑American cheerleader energy, ‑cinematic soundtrack builds, ‑Balkan scales, ‑or over-compressed “big room” drums

Afro house, 122–124 BPM, dark tribal groove with Detroit minimal attitude, Heavy rounded kick, off-grid percussion, muted toms, shakers drifting behind the beat, Bass is thick, elastic, slightly detuned, short and punchy, Sparse stabs, filtered organ or Rhodes, long dub delays, Vocals: male lead, monotone, half-spoken, exaggerated pauses, awkward emphasis, chopped timing, formant-shifted doubles, pitched-down whispers, occasional call-and-response fragments, Voices feel odd, intimate, slightly uncomfortable in a good way, Arrangement stays stripped and repetitive, built for tension and sweat, ‑No US EDM energy • No comedy voices

123–124 BPM Afro House with strong tribal, open-air club energy, Deep rounded kick with natural weight, elastic off-beat sub bass, loose human swing, Prominent tribal percussion layers (conga, djembe, toms, wood hits) driving the groove with off-grid movement and call-and-response patterns, Continuous shaker and loose hats for rolling momentum, Minimal melodic content — rhythm leads, Balearic guitar reduced to short percussive plucks and muted riffs, used as texture not melody, Vocals sparse and chant-like, male and female used rhythmically rather than lyrically, Arrangement stays hypnotic and repetitive with slow evolution, micro-fills every 4–8 bars, no drops, no builds, no pop lift, Raw, sweaty, outdoor dancefloor feel with forward tribal motion, ‑• No named artists or venues • No EDM drops • No big melodic hooks • No cinematic builds • No glossy pop sheen

123–124 BPM Afro House with strong tribal, open-air club energy, Deep rounded kick with natural weight, elastic off-beat sub bass, loose human swing, Prominent tribal percussion layers (conga, djembe, toms, wood hits) driving the groove with off-grid movement and call-and-response patterns, Continuous shaker and loose hats for rolling momentum, Minimal melodic content — rhythm leads, Balearic guitar reduced to short percussive plucks and muted riffs, used as texture not melody, Vocals sparse and chant-like, male and female used rhythmically rather than lyrically, Arrangement stays hypnotic and repetitive with slow evolution, micro-fills every 4–8 bars, no drops, no builds, no pop lift, Raw, sweaty, outdoor dancefloor feel with forward tribal motion, ‑• No named artists or venues • No EDM drops • No big melodic hooks • No cinematic builds • No glossy pop sheen

123–124 BPM Afro House / Deep House crossover with subtle flamenco flavour, Deep rounded kick, warm rolling off-beat sub bass, smooth human swing, Clean Afro-influenced percussion with conga, rim and light hand drums, never busy, Flamenco-style nylon guitar phrases used rhythmically, short and percussive, not melodic solos, Occasional muted guitar stabs answering the groove, Minimal minor-key chord textures, warm and restrained, Male vocal as rhythmic lead, female vocal as hook response and harmony, Arrangement stays hypnotic and dance-focused with gradual energy changes, no drops, no pop builds, no EDM effects, Club-ready, elegant, late-night feel, ‑• No named artists • No lecture / classroom tone • No pop hooks • No EDM drops • No cinematic builds

126 BPM Afro-Tech House / Deep House with strong London underground swing, Heavy but clean 4/4 kick with occasional ghost hits for movement, loose shuffled hats with open hat at bar ends, continuous swung shaker driving momentum, Off-grid Afro congas and rim patterns create groove tension, airy but tight clap layered subtly, Warm rolling sub bass with syncopated movement, never aggressive, Minimal stabs and textures only, groove-first, DJ-functional, Male vocal leads rhythmically with confident delivery, female vocal used for hook reinforcement and echoes, Arrangement builds gradually with micro-fills every 4–8 bars, no EDM drops, no cinematic builds, late-night Fabric-style pressure, ‑• No named artists or venues • No manifesto / lecture tone • No big-room drops • No pop gloss • No cinematic FX

124–125 BPM Afro House / Tech House crossover, Deep rounded club kick with warm rolling off-beat sub bass, subtle human swing, Minimal tribal percussion layers (conga, rim, wood hits) for groove and movement, never busy, Short minor-key chord stabs, warm and restrained, no melodic leads, Funk-influenced micro drum fills and shuffle for late-night club pressure, Vocals used sparingly as rhythmic texture only, low-ego, non-pop, Arrangement stays hypnotic and functional with gradual energy shifts, no drops, no cinematic builds, no big hooks, Adult, underground, DJ-friendly groove, ‑• No named artists or venues • No “in the style of” • No EDM drops • No pop vocals • No cinematic soundtrack feel

* Traditional Drums & Shakers: Digital samples of congas, bongos, djembes, talking drums, shekeres, and claves provide an authentic, "organic" feel, * Electronic Percussion: Drum machines like the Roland TR-909 are used for standard house elements such as kicks, snares, and hi-hats, adding punch and consistency to the mix, Melodic Elements & Synths Melodies and atmosphere are often created using a mix of sampled organic instruments and synthesizers:  * Marimbas & Kalimbas: warm, percussive and plucked tones, are foundational for melodic loops and arpeggios, * Synthesizers: Analog-style VSTs are essential for creating deep sub-bass lines, warm pads, and ethereal leads, * u-he Diva * Xfer Serum * Arturia Analog Lab * Native Instruments Massive X * Spectrasonics Omnisphere 2, techno classic London house music

Tempo: 123 BPM (slightly slower = clearer vocals) Feel: Afro house first, reggaeton only as shadow Intro • Soft Afro kick • Sub swell (no bassline yet) • Air pad + noise Verse Groove • Kick + muted sub • Shaker only (no hats yet) • Very light log drum (every 2 bars) Chorus • Add off-beat hat • Sub becomes rolling (single note) • Log drum answers vocal (don’t compete) Verse 2 • Add rim / wood hit • Keep bass identical (consistency matters) Break • Kick out • Pad + whisper loop • Filter sweep only Final Chorus • Full groove returns • Extra percussion layer (quiet) • No fills, no drops Outro • Kick + shaker • Delay tail • DJ-safe fade, ‑• No fast rap phrasing • No stacked harmonies • No choir / gospel tones • No aggressive reggaeton snare • No melodic bass runs • No busy fills