Question: Nu skool breaks (or nu breaks as it is sometimes referred) is a subgenre of breakbeat originating during the period between 1998 and 2002, in contrast with big beat, another subgenre of breakbeat, the sound set consisted less of hip hop samples and sounds of Acid house, a subgenre of house music developed around the mid-1980s by DJs, from which location?

full_context: Document 1: Nordik beat: The Scandinavian electro-pop scene kickstarted with the invention of the Nordik Beat sound in Stockholm in the late 1980s. By merging the new technologies at the time, building small inexpensive studios armed with computers and samplers rather than traditional instruments and studio equipment, and the latest dance music trends (house, techno, hip-hop, electro, etc.) with the Scandinavian focus since ABBA on mixing strong pop melodies with catchy hooks, both a new sound and a new way of making music were born. A commonly recognized birth date for the movement has become the October 1987 cover story of ID Magazine in the UK, a cover graced by the first international Afro-Scandinavian pop star, La Camilla from Army of Lovers, as the face of the brand new Nordik Beat movement.
Document 2: Nu skool breaks: Nu skool breaks (or nu breaks as it is sometimes referred) is a subgenre of breakbeat originating during the period between 1998 and 2002. The style is usually characterized by more abstract, more technical sounds, sometimes incorporated from other genres of electronic dance music, including UK garage, electro, and drum and bass. Typically, tracks ranged between 125 and 140 beats per minute (bpm), often featuring a dominant bass line. In contrast with big beat, another subgenre of breakbeat, the sound set consisted less of hip hop samples and acid-type sounds, instead emphasizing dance-friendliness and "new" sound produced by modern production techniques using synthesizers, effect processors, and computers.
Document 3: Acid trance: Acid trance is a genre of trance music that emerged in the late 1980s and early 1990s focusing on using the acid sound. The trademark sound of "acid" is produced with a Roland TB-303 by playing a sequenced melody while altering the instrument's filter cutoff frequency, resonance, envelope modulation, and accent controls. This real-time tone adjustment was not part of the instrument's original intended operation. Acid trance is the best known form of trance music in Belgium. The form was first showcased at the popular Antwerp Rave 24 in Belgium, and has created four national number one singles in the country since.
Document 4: DJ Pierre: Nathaniel Pierre Jones, better known by his stage name DJ Pierre, is an American DJ and performer of house music based in Chicago. He helped to develop the house music subgenre of acid house, as member of Phuture, whose 1987 EP "Acid Tracks", is considered the first acid-house recording. Allmusic.com calls Jones a crucial DJ and the production wizard partly responsible for the development of Chicago acid-house. Jones' first single, "Generate Power," became standard fare for scores of producers during the next few years. Philippe Renaud, a journalist for "La Presse" in Montreal, states that the term "acid house" was coined in Chicago in 1987 to describe the sound of the Roland 303 bass machine, which made its first significant recording appearance on Phuture's Acid Trax (DJ Pierre) in that year.
Document 5: Roland TB-303: The Roland TB-303 Bass Line is a bass synthesizer with built-in sequencer manufactured by the Roland Corporation. The TB-303 is a monophonic synthesizer, which means that it can only play one note at a time; it is monotimbral; it uses a sawtooth and square wave oscillator; and it has an 18dB low pass resonant filter. The TB-303 is used by DJs and record producers to perform and program basslines. Released from 1981 to 1984, it had a defining role in the development of contemporary electronic dance music. The TB-303 played an important role in the development of house music, influencing Chicago house. The "squelchy" sound of the TB-303 was a key part of acid house's sound. The TB-303 is also commonly used in related dance genres such as acid techno and acid trance. In the 2010s, some DJs and record producers continue to use TB-303 units for their authentic tone and sound; as well, TB-303 basslines from vintage tracks have been sampled for use in 2010s-era songs. As with any synthesizer, the TB-303 can be processed with effects units to produce different sounds.
Document 6: Florida breaks: Florida breaks, referred to as Florida breakbeat and Funky Breaks, is a genre of broken beat music which, as the name suggests, is most popular in the areas around the US state of Florida. Its sound has a lot in common with UK nu skool breaks although it also contains influences of other music popular in the same area such as freestyle, electro and Miami bass due to the parallel electronic dance music subgenre of electro bass being billed at many of the same events as Florida breaks. Also may be referred to as Orlando breaks, Tampa Breaks, or The Orlando Sound. genre of breakbeat dance music that originated in central region of the State of Florida, United States.
Document 7: Tech house: Tech house is a subgenre of house music that mixes elements of techno with house. The term "tech house" developed as a shorthand record store name for a category of electronic dance music that combined musical aspects of techno, such as "rugged basslines" and "steely beats," with the harmonies and grooves of progressive house. The music originally had a clean and minimal production style that was associated with techno from Detroit and the UK.
Document 8: Trance music: Trance is a genre of electronic music that developed during the early 1990s, in Germany. It is characterized by a tempo lying between 125 and 150 beats per minute (BPM), repeating melodic phrases, and a musical form that distinctly builds tension and elements throughout a track often culminating in 1 to 2 "peaks" or "drops." Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno, house, pop, chill-out, classical music, tech house, ambient, and film music.
Document 9: Rave music: Rave music may either refer to the late 1980s/early 1990s genres of house, breakbeat, acid house, techno and hardcore techno, which were the first genres of music to be played at rave parties, or to any other genre of electronic dance music (EDM) that may be played at a rave. The genre "rave", also known as hardcore by early ravers, first appeared amongst the UK "acid" movement during the late 1980s at warehouse parties and other underground venues, as well as on UK pirate radio stations. The genre would develop into oldschool hardcore, which lead onto newer forms of rave music such as drum and bass and 2-step, as well as other hardcore techno genres, such as gabber, hardstyle and happy hardcore. Rave music is usually presented in a DJ mix set, although live performances are not uncommon.
Document 10: List of new jack swing artists: This list contains singers and groups who performed in the new jack swing (or swingbeat) style, a hybrid style popular from the mid-1980s into the early 1990s. It fuses the rhythms, samples and production techniques of hip hop and dance-pop music with the urban contemporary sound of R&B. The new jack swing style developed as many previous R&B styles did, by combining elements of older styles with newer trends. It uses mellifluously soulful solo or harmonizing vocals sung over rhythms and "street" beats derived from urban musical influences. The sound of new jack swing comes from the hip hop "swing" beats created by drum machine, and hardware samplers, which was popular during the golden age of hip hop, with contemporary R&B style singing.
Document 11: Deep house: Deep house is a subgenre of house music. It originated in the 1980s, initially fusing elements of Chicago house with 1980s jazz-funk and touches of soul music. Deep house tracks generally have a tempo of between 120 and 125 beats per minute (BPM).
Document 12: Chicago house: Chicago house refers to house music produced during the mid to late 1980s within Chicago. The term is generally used to refer to the first ever house music productions, which were by Chicago-based artists in the 1980s.
Document 13: Acid house: Acid house is a subgenre of house music developed around the mid-1980s by DJs from Chicago. The style was defined primarily by the deep basslines and "squelching" sounds of the Roland TB-303 electronic synthesizer-sequencer. Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, acid house had moved into the British mainstream, where it had some influence on pop and dance styles.
Document 14: Garage house: Garage house (originally known as "garage music"; also "New York house") is a dance music style that developed alongside house music. Garage, which had a more soulful R&B-derived sound, was developed in the Paradise Garage nightclub in New York City and club Zanzibar in New Jersey, United States, during the early-to-mid 1980s. There was much overlap between it and early house music, making it difficult to tell the two apart. It predates the development of Chicago house, and according to AllMusic, is relatively closer to disco than other dance styles. As Chicago house gained international popularity, New York's garage disco scene was distinguished from the "house" umbrella. DJs playing this genre include Tony Humphries, Larry Levan and Junior Vasquez.
Document 15: Snare rush: Snare rush is a term often used in electro culture to refer to impossibly fast rolls. A snare rush can vary in tempo considerably, from 16th notes even to 2048th notes. At that sort of speed, the effect is a buzzing sound, but with a detectable pitch, so some artists vary the repeat rate, and can even play a tune. One example of this would be the last 18 seconds of "Ghetto Body Buddy" by Venetian Snares, where the theme from "Sesame Street" is played using only extremely fast snare rushes. The defining characteristic of a snare rush, as opposed to a roll, is the sheer virtuosity it would take for a physical drummer to play a successful one. As such, almost all snare rushes are computer programmed and can be used with bass drums, tom-toms, and cymbals to intensify the effect. They are often used as fills, alongside complex programmed breakbeats. Snare rushes are also often run through analog or dsp effects together with variations in volume, such as a filters or pitch shifting. They are common in trance music, hard techno, gabber music, oldschool jungle, IDM, drill 'n bass, breakcore and glitch music.
ground_truth: Chicago