
House
House sits at 120–128 BPM with four-on-the-floor kick, off-beat hats and a bassline that answers the kick rather than doubling it.
Four-on-the-floor, built around the drop.
In short
EDM is structural before it is sonic. The genre’s grammar is the build and the drop: sixteen or thirty-two bars of rising tension, a moment of near-silence, then the payoff. Get that architecture wrong and no amount of sound design rescues it. Tempo effectively selects the subgenre — 124 is house, 128 is progressive, 140 is dubstep in half-time, 174 is drum and bass — so naming a BPM communicates more than naming a mood. The sidechained pump, where everything ducks against the kick, is close to mandatory and worth asking for by name. For anything under video or a stream, the drop is usually the problem rather than the feature; ask for a groove without one.
Tempo effectively selects the subgenre, so naming a BPM communicates more than naming a mood: 124 is house, 128 progressive, 140 dubstep in half-time, 174 drum and bass. The sidechain pump — everything ducking against the kick — is close to mandatory and worth asking for by name. If the track is going under video or a stream, the drop is usually a liability rather than a feature; ask for a groove with no drop.
The specific ways a prompt in this genre produces something generic.
Which leaves the subgenre to chance
Which is why a result can sound static
Asking for a drop in music meant to sit under narration
Requesting “festival” energy for something that needs to loop quietly




Inside the genre
Subgenres are mostly rhythm-section decisions, not eras.

House sits at 120–128 BPM with four-on-the-floor kick, off-beat hats and a bassline that answers the kick rather than doubling it.

Techno runs 125–140 and strips the melody out — the interest comes from filter movement and percussion, not from a hook.

Drum and bass sits near 174 BPM with a half-time feel, which is why it reads as fast and relaxed at the same time.
Who uses it

Flat driving energy at a tempo that matches a cadence, with no breakdown mid-interval.

Original tracks at a known BPM and key, so they drop into a harmonic mix without clearance.

Long-form energy that holds a room without a vocal competing with a host.

A reference build to study bar by bar before constructing your own drop.
Progressive house, 128 BPM, A minor. Four-on-the-floor kick, sidechained supersaw pads, rolling bassline, 16-bar build with a filter sweep into a melodic drop. Instrumental.
Related
More genres
Twelve genres, each with its own tempo map, instrument bench and a prompt that already works.
From the library
The EDM cluster is searched as an edm beat maker, a house music generator, a techno generator, a drop maker and an ai dj music maker. Each is really a tempo and drum request: house at 120 to 128 with an off-beat open hat, techno at 125 to 140 with no melody, drum and bass near 174 felt as half time. Name the subgenre and the BPM together and any of those searches produce the same correct result.
The performer
House sits at 120 to 128, techno 125 to 140, and drum and bass near 174 felt as half time. The subgenre is a tempo decision before it is anything else.
State the subgenre and the tempo together, then name the kick, the hats and the bass behaviour. 'Four-on-the-floor kick, off-beat open hat, octave bass' is a complete rhythmic brief.
House keeps a groove and usually a melodic or vocal element; techno strips the melody out and finds its interest in filter movement and percussion.
Usually because the arrangement builds and releases too often. Flat, sustained energy with no breakdown is what makes a track work for a workout or a long set.
Ducking the bass and pads each time the kick hits, which is what gives house and EDM their pumping feel. Ask for it by name — it is a production decision a model will otherwise skip.
Long enough to mix: a plain intro of sixteen to thirty-two bars before anything happens, and the same at the end. That is a structural request no adjective will produce.