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This section includes compiled posts from some of Lars Behrenroth's favorite (Deep) House and Tech blogs.
Copyright to each post is owned respectively by the author and issueing website.

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Shazam’s app matches your music to other songs

You’ve probably used Shazam. If you’re a dance music fan, you’ve probably even both used Shazam to get a track ID at a club and cursed someone else for using Shazam to get a track ID at a club.

What surprisingly few people know, though, is that Shazam has desktop clients as well as the phone apps. And unlike the phone apps, these apps will lurk in the background listening to everything on your computer’s mic, and pops up a notification when it “hears” something it recognizes. This is presumably useful at those times you’ve sat at a coffee shop and thought to yourself, “wow, I wish I knew who that annoying artist was so I could avoid him/her/them in future and never have to hear them again.”

The apps are available for Mac and Windows on the Mac App Store and Windows App Store. The Mac app sits in your menu bar; the Windows app is a widget.


Here’s a funny thing about the Shazam app, though. It’s listening in the background all the time.

So, try this experiment: install the app, then leave it around while you’re producing music. (Your Internet connection will need to be active, of course.)

An amazing thing happens: Shazam starts to hear things it thinks are actual songs, when they aren’t. As near as I can figure, it’s confused by the dominance of drum machines like the 808 and 909.

The mismatches themselves, though, can be fascinating. I’ve watched with my own music. Now, first, of course it gets the bpm right, and of course there’s some common element, though even that (beyond an 808 kick) is tough to find. I also find that the false matches don’t happen when I’d expect – using preset sounds and unaltered 808s, for instance – but at rather unexpected times, when the rhythm is identifiable but the timbre isn’t. It is clear it knows it’s hearing four of … something … on the floor, and gets muddled from there.

As with other algorithmic “intelligence,” though, it doesn’t make mistakes in the way we make mistakes. So sometimes I’m playing some experimental techno and I get … massive, horrible EDM, stuff that doesn’t sound anything like what I’m playing. (In some cases, it seems poor production quality in the matched track – like overly aggressive compression – is actually what confused the algorithm.) In others, I get just random matches that happened to feature a bass drum – hello, arbitrary tech house.

A resonant filter plug-in made it find this… whatever this is. No idea, but this cool. Key clearly matters, and beyond that, particular intervals inside a key seemed to match (which explains a lot of what’s going on here).

That alone would make for entertainment value, but some of the matches are actually interesting – and relevant. So about a fifth of the time, Shazam algorithmically finds music that’s stylistically related to my own, in ways that humans might never have guessed. And that’s where there’s obvious potential for the future, though the algorithms will need to get smarter (and look for relations rather than just matches, which is a whole different ball game).

For example, I’ve never heard this track “Over Smog” by Irregular Synth. (Great act name, by the way.) The track I was working on in that session doesn’t really sound like it, in that you wouldn’t think one was plagiarizing the other. But Shazam did pick up on a rhythmic motive that was the same length in both. And as a result, I really like this track. Heh, now I’ll have to put them on a mix together when I finish mine.

Oh, and this was great – it found this totally unrelated pop song because I think I was using a Scala file on a synth with the same tuning. Cool.

So, now I think I’ll start playing all my productions for Shazam – and maybe even some of the stems – to see what it thinks. Shazam’s matches are doubly interesting, too, because the statistics will tell you not just how popular a particular song might be but how many people were hearing it and saying “I want to know what that is.”

All of this means that the world of algorithms might not be as cold and predictable as we think. Depending on how we humans apply the algorithms, we might get results that combine human and machine logic in totally unexpected ways – that expand possibility rather than constrict them.

Or, at the very least, you have a new toy in the studio. And the party crowd assembled by algorithm is going to be really … interesting.

The post Shazam’s app matches your music to other songs appeared first on cdm createdigitalmusic.

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Now you can practice getting into Berghain in your browser

Well, it’s official: viral online jokes about Berghain, Berlin’s club venue, occur with the same frequency as its Klubnacht. But this deserves some mention, in that it says perhaps less about Berghain as it does about Berlin’s culture of obsessive-compulsive technologists. Because this throwaway joke about getting into the club is actually a pretty impressive interactive video game.

First, there’s a built-in cinematic, with the role of the bouncer played by one of the communication designer who helped build this. (Before you get snarky about this not being the “real” Sven, yes, this guy’s name is Sven, too.)

Then, there’s the trainer functionality. Facial recognition interprets your body language and expression – just to make sure you’re not having a good time. (What, you think you’re going to a party?) Two, speech recognition and language processing evaluates your answers. (Actually, I’ve no idea how it listens to the questions, but it at least got my ‘yes’ and ‘no’ correct.)

One of the things that marvels me about Berghain is that, while all around the world people are inviting their residents and copying cosmetic features of the experience (from black dress to Funktion One sound to even the beer and mate), no one has picked up on Berghain’s social media strategy, which is mostly to avoid social media and remove photos, mentions, and logos. That of course protects the privacy of partygoers (not to mention the ability to dance without having cell phones in your face), and it protects the brand. But the challenge of the 21st century is really now figuring out how to do promotion without doing promotion. There’s now so much quantity that adding quantity doesn’t help, so removing content is everything. And of course, this app is the latest example of how that can get people talking about you.

Someday, people will be teaching social media people how to learn from this ex… augh, that sounds terrible. I hope I don’t have to listen to that. But you know I’m probably still right.

Anyway, all of that is to say, Berghain forced the removal of the logo, and that’s worth mentioning because I adore the pixel-y version they made to replace it:


I like it more than the real logo. Someone get a warehouse and start an all 8-bit or less techno party, please.

And I will meanwhile contemplate the existential angst of this image:


Indeed. Are you?

Go play with Google Chrome.

The creators: Fabian Burghardt and Vinzenz Aubry and don’t think I didn’t see you coding in a dark room. Mmm… JavaScript fetish.

The post Now you can practice getting into Berghain in your browser appeared first on cdm createdigitalmusic.

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Premiere: Fango – Rectum (Original Mix)


Obsessed with mixing bass drums, recording percussion, and sampled instruments, Italian producer Fango strives to be a virtuous perfectionist on any production within his reach.

Fango’s newest EP has already received strong report, in which it was already spun by Gilles Peterson via his weekly Worldwide show on BBC, supported by French legend Laurent Garnier as well as Dixon, Mano Le Tough and Jackmaster. His approach to creating the EP has been regarded as an “a long insular trip”, where he reflects “down into the depths of his own soul”.

See also: Mix #174 By Fango

Viscera EP is now available via Degustibus Music.

Artist PageSoundcloud

The post Premiere: Fango – Rectum (Original Mix) appeared first on Deep House Amsterdam.

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Can You Get Into (Virtual) Berghain?

Can you get into BerghainCan you get into Berghain

Berlin’s Berghain is notorious for its strict door policy (we’ve covered that a lot, along with just about every other nightlife media).

Equally prolific are tips and trends that may actually be able to get you into the techno mecca. From advice from Sven himself, to cheeky cartoons depicted some other strategies. Now, though, a new virtual program takes the process to its most personal with Berghain Trainer.

The idea is pretty simple, a POV camera walks up to the club, through its snaking queue where you meet “Sven” (not the real one), who asks you 3 questions. Apparently there are right and wrong answers (I keep getting 1 right, hence a consistent denial…guess I’m not cool enough). Also, your computer’s camera and microphone analyze your facial expressions and voice, quantifying your levels of anger, sadness, amazed, and euphoria. Obviously, the metrics here shouldn’t be taken too seriously, but its a fun little game none the less.

Check out a screenshot below:


The post Can You Get Into (Virtual) Berghain? appeared first on Deep House Amsterdam.

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Charts May 29, 2016

Mike Fossati

  1. Kyle Kim, Sheree Hicks "All I do" (Double Cheese Records CD Promo)
  2. Zepherin Saint presents Kholi "Inner freak" (Tribe Records CD Promo)
  3. Carolyn Victorian & DJ Oji "I can't help it" (POJI Records CD Promo)
  4. Ebony Soul featuring Darnell "We've got to believe" (Bassline Records CD Promo)
  5. Carlos Vargas "House your Jazz EP" (Part 1)(Soulstice Music CD Promo)
  6. Diana Lynn, Stones & Bones "Wonderland" (The Remixes)(House of Stone CD Promo)
  7. Kathy Brown "Baddest bitch" (Universe Media CD Promo)
  8. Alex Finkin featuring Vanina Pietri "I'm leaving" (Tribe Records CD Promo)
  9. DJ Able starring Hannah Khemoh "Ain't got time" (Ricky Morrison Remixes)(Tony Records CD Promo)
  10. Spellband featuring Marissa

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Pick of the Week: Ebony Soul featuring Darnell "We've got to believe" (Bassline Records CD Promo)

Ebony Soul feat Darnell We've got to believeDance music legend Victor Simonelli revives his Ebony Soul moniker (remember the 1993 classic "I can hardly wait" releases through Eightball Records?) with the Kevin Fernando co-produced and co-mixed "We got to believe". To cut right to the chase, the utterly exhilarating "We've got to believe" is an unadulterated truly breathtaking slice of old school inspired gospel house music, with a ruthlessly pulsating backdrop leading the way for illustrious keys and killer organ by James Preston and the inspiring truly uplifting gospel tinged lead vocals by Darnell


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