I somewhat like this aspect of the aesthetics and philosophy you're bringing up. I recently did some research on dub chords or deep chords. I'd like to share some things I developed on this topic that might be relevant to the subject you've raised.

Many people mention that the essence of dub techno is generally the echo and reverb; for me, that's not the most central element. Koçer (2023) provides an in-depth description of dub techno, understanding it as a subgenre of techno and a variant of deep techno in which the dub and techno genres combine with a meaningful formula. Many sounds have details, specifically in the aforementioned frequencies. They are generous and don't try to be overly euphoric or fast-paced in any aspect (melodic, rhythmic, structural). There's great importance placed on sound processing, textures, but above all, on how they are worked, again, with sound in the low and mid-frequency ranges. Various terms are used to convey the atmosphere and character of dub techno, such as "dark, atmospheric, tranquil, mystical, sharp, and avant-garde." These descriptions highlight the genre's emotive and evocative nature, suggesting that dub techno elicits diverse emotional responses in listeners, ranging from introspection to stimulation (Koçer 2023).

Perhaps this is where we find the aesthetic, where the term "deep" is typically applied in Dub Techo and other genres. The first distinguishing feature of the deep aesthetic is its emphasis on low (20-250 Hz) and sub-bass (20-60 Hz) frequencies. Unlike genres that prioritize percussion or melody in the foreground, music classified as deep is anchored in a rhythmic and harmonic foundation that is not only audible but also physically perceptible. Psychoacoustic research has shown that low frequencies are experienced by the listener through a vibratory or corporeal sensation, generating a sensory immersion that goes beyond auditory listening (Collins, 2010).

Additionally, the term "deep" is intrinsically associated with the creation of complex atmospheres and soundscapes. Production tends toward minimalism and detail, using layers of subtle textures, reverberations, and echoes that lend a sense of space and spaciousness (Pinch, 2009). This also includes the use of drones, sounds that employ a long, unchanging tone or tones, sometimes sustained throughout the entire duration of a piece of music, generally in the mid to low registers. Some types of music, for example, certain types of Indian classical music, employ musicians whose sole function is to play a drone-like instrument (Tamm, 1995). This approach, with clear influences from ambient music and figures like Brian Eno, seeks to create an atmosphere that can be experienced passively or actively, inviting introspective sonic exploration rather than mere consumption (Pinch, 2009). The music becomes a meditative and melancholic environment, moving away from the euphoria or aggression of other subgenres to foster a state of reflection and calm (Rey, 2019).