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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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Back to Back Mixing on Traktor S8 is a Pleasure; Also, Techno!


This is, first and foremost, a plea for the pleasures of back-to-back DJing and mixing (for podcasts and the like) the same way. The controller, being the S8 but also any related hardware, plays a supporting role, not the other way round.

But like so much else in the world of electronic music technology, solo too often trumps ensemble. So let’s talk about gear – and why I was surprised to like something as huge as the S8 more than I thought I would.

I finally convinced my techno-making musical partner Nerk to lug the S8 out of the offices of Native Instruments where the company has been hyping the thing up, and into our studio. The idea: take a break from production and mix together some of the sort of music we love and want to hear more of. You can listen to that at the end.

Nerk’s reluctance was over the S8′s hulk. It’s not terribly heavy, but it is big. He’s not alone, either. More than a few DJs I’ve talked to view big, coffin-sized controllers with derision. Not only directing their ire at NI, that includes oversized devices from Numark, Pioneer, Native Instruments, and others. And I tended to lean the same way, just because most DJs I know either keep it compact so they can squeeze into cramped booths (see our backpack-ready round-up) or go with what’s already there.

Part of why I’m glad to get to review Native’s new D2 controller next week – it’s essentially the deck control section of the S8 lopped off the rest of the device – is that it seems more practical. And so its bigger brother, the S8, like the S4 before it, seems on first blush more like an SUV to the D2′s sedan. This is an oversized Cadillac Escalade of a DJ controller, in other words, bought to look expensive and ostentatious while parked in the driveway while never taken off-road. (That’s not so much metaphor as direct comparison.)

However, there’s actually some reason to give this breed of devices a second chance – and to hope they find their way into the occasional studio or club installation.


Mixing and hybrid sets. First, the S8 in particular (even more so than some of its bigger cousins) is an exceptionally flexible mixer. I have to confess to some surprise here. NI could have easily cut corners or left the mixer out altogether. Instead, you get a mixer with more-than-acceptable audio performance and an absurd amount of I/O.

This is a trend worth applauding even if you don’t have any interest in getting an S8 yourself. If DJing practice is going to evolve beyond a lot of mixing with CDJs, we need people incorporating turntables and even adding in hardware drum machines and synths for a little added variety and hybrid sets.

Now, of course, you could combine individual controllers with a mixer. And because dedicated deck controllers (hello, D2) allow that, I expect many will go that route. But building things into a single unit isn’t entirely daft. There’s reason to like the S8 on the road, once you do get some sort of flight case. If DJs can simply get a good table in their tech rider, the S8 can become reasonably practical. No, it won’t fit into a booth. But yes, it is actually desirable to have a single unit that you connect once for all your gear if quick set-up and break-down are in order.

Yes, that means I still stand by the feeling that at least Maschine Studio and Komplete Kontrol ought to have some audio I/O, but I digress.

Either way, of course, if you do decide to combine deck controls with a mixer rather than the all-in-one S8, you can still get more or less the same advantages.

But that brings us to the next, if also obvious, point – making physical controls and giving them space is a really good idea.


Table for Two. This is the big reason – literally – these controllers are worth a second look. The simple matter is, using an S8 (or an S4, or two D2s, or equivalents from other vendors) means you’ve got room for two people.

It’s funny, actually, the meaning of “Back to Back” has been diluted it seems. Seeing “B2B” written on a DJ lineup sometimes just means that people will be switching off, more or less at random. But what can make these spice up DJ sets is very much that act of swapping DJs with each new record. And that’s where these controllers get interesting. It’s a more collaborative set where two people can stand next to each other and really have a conversation with alternating records.

Why am I making such a big deal of this? I think physical interface has a huge impact on how artists relate to the music they’re making and each other – even before you start talking about the audience. The personal computer has often become an interpersonal obstacle.

With digital decks instead of just turntables, you can also riff on the concept. One person can start slicing and sampling or adding effects, particularly with the accessibility of all those features on the latest hardware. I’m very curious to try the NI gear mapped to Stems (especially when you can generate your own).

We don’t do much of that in this particular mix, but maybe that only proves my earlier point. Just having the space to play next to one another, we pushed and pulled each other in different directions – which is why experimenting with B2B is fun in the first place.

And I put this out there partly as I’m lining up mixes to start this week on CDM, and partly to suggest the notion that in music gear, what’s too big for one might be just right for two.

Enjoy the listening, our Nerk/Kirn take on the grooves that excite us.

Part of why I prefer Mixcloud – apart from the obvious fact that it’s legally licensed for the purpose of mixes – is that it allows you to easily and accurately tag tracks with times. I wish more people would do that; it could be a great way to discover new music. So see full track references in there. (Discussing Mixcloud and competing services should be the subject of another story.)

We go back to some old ones from Nerk (veteran of Toktok and including his collaboration with Dirk Leyers on Kompakt), as well as some new and recent favorites including from friends like Bill Youngman, Dasha Rush, and Aurora Halal.

When I’m not writing CDM, but actually making music on behalf of CDM:

The post Back to Back Mixing on Traktor S8 is a Pleasure; Also, Techno! appeared first on Create Digital Music.

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Organise Your Entire iTunes Library By BPM


Tagtraum Industries Beatgauge is looking to fill the gap between iTunes and auto BPM software.

The Cologne based indie software shop’s Beatgauge, a new music utility for Mac OS X. Beatgauge automatically calculates BPM (beats per minute) for songs stored in iTunes. Implemented as drag’n’drop app, Beatgauge is dead-simple to use: Simply drop songs onto the app window and watch Beatgauge do its magic. Knowing the tempo of songs is important for dancers, DJs, spinning, aerobics, running, and many other beat-oriented activities and workouts.

Whether a single track, playlist, or your whole library, Beatgauge offers a built-in and extremely quick way to make use of that unused BPM column accurately, and within iTunes.

– Very simple, intuitive user interface
– BPM values are imported into iTunes
– Quickly finds and analyzes songs without BPM
– Multi-threaded analysis that makes perfect use of multi-core processors
– Supports all local, unprotected iTunes audio file formats
– AppleScript API for power users


Source: DJ Worx

The post Organise Your Entire iTunes Library By BPM appeared first on Deep House Amsterdam.

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Make Music In Your Browser With Google Chrome Midi


As apps move further and further into the cloud, Google sees it as the next frontier for music production.

With the latest Google Chrome update, MIDI support is now offered through the browser.  This update will allow anyone with a MIDI controller, to turn a website into a virtual instrument.  The update allows Google Chrome to scan for a MIDI device connected to a user’s computer and use that information to playback notes on a web-based synth.

If you want to try out the feature now, then Web Audio MIDI Synthesizer (loosely based on the Moog Prodigy) is a good place to start. Find the link below and start your cloud production journey.  If your even more technologically inclined, why don’t you try and build your own Synthesizer with the Web Audio API.

Try Web Audio MIDI Synthesizer  – HERE

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Jetset Futuristic Dance Sounds for Summer with Moderna

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It’s a long weekend in America, many bits of Europe, and other parts of the world, and that inflection point has arrived where the Northern Hemisphere looks forward to summer. So, let’s celebrate, turning attentions from dark, moody techno and experimental ambience to some splashes of color – techno plus all its further branches and blossoms.

And that means turning again to our friend Moderna, aka Missy Livingston, of Ghostly International.

Missy has escaped the repetitive urban rut for jetset sprints across Asia and into the sunny thin air of high deserts in California. That rejuvenation is obvious in the fresh energy in this mix. It’s a reminder that high quality doesn’t have to mean something obtuse (and don’t me wrong, “obtuse” is my favorite lunchtime snack). But this is just deliciously futuristic-sounding dance music, stuff you can serve up to anyone that is nonetheless made of the finest-quality ingredients – best-of-breed productions with everything finely tuned and humming along. Upbeat, poppy, but still consistently sultry. And it reflects Missy’s outward-looking perspective, here for New York’s strong Autobrennt but with a diverse and global assemblage of stuff mixed completely seamlessly.

It’s also worth noting that the mix can change tempo and style while remaining consistent – worth noting as too many mixes clock through like a conveyor belt, never straying from an auto-tempo set somewhere at the start.


Talking about talking (C.P.I. Remix ) – INIT
Augmented – Matrixxman
Ed The Optician (Original Mix) – Douglas Greed, Einzelkind
Cold Night (Original Mix) – DC Salas
Distance To The Waves – Pale Blue
Why Don’t Ya? (Ripperton Remix, Dixon Edit) – Baikal
Idle Eyes (Roman Fluegel Remix) – C.A.R.
Mouth (Shan & Gerd Janson 808 Culture Dub) – Ghost Culture
Magia – Dany F
Your Love – Richy Ahmed
Code Ext – John Tejada
She Smiles – Sid Le Rock
Absinthe (Jokers of the Scene Remix) – Offset
The Fourth Dimension (Mike Witcombe Remix) – Rouge & Ryba
Who Is Manfred? (Original Mix) – Daniel Bortz, Sascha Sibler
Forget Me Not (Chloe Remix) – Le Carousel

This isn’t all you’re getting from Moderna’s work these days. She has her own multimedia project The Deep, and is DJing with DJ Jeniluv as ModernLuv in Los Angeles and beyond, bringing Jeniluv’s harder techno side together with her own personality in some of the better parties you’ll find in California at the moment.


Thanks to Missy for sending this in. She reminds us that you can come see her live in North America, in the USA and Mexico:

Los Angeles, CA

Imperial Club
Mexico City, DF

Diente de León Club
Cholula Puebla, MX

Aurora Roma Bar
La Roma, MX

After Hours TBA
Mexico City, DF

Kin Kin
Guadalajara, MX

Recess Festival
Spokane, WA

La Liberia
Tecate, MX

Also a good read, and a flashback to winter, here’s what Missy was up to as half of Modernluv in her European adventures, which brought her to my neck of the woods:

So that’s how Moderna is starting her summer. Let us know how you’re starting yours.


The post Jetset Futuristic Dance Sounds for Summer with Moderna appeared first on Create Digital Music.

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Mix #153 By Atish & Hoj


While these two long time friends respected each others prowess behind the decks over a span of many years, it wasn’t until Burning Man 2014 where they were asked to play B2B for the first time. 

Atish’s natural talent and passion for music haven’t gone unnoticed. Lee Burridge asked Atish to play on the legendary Robot Heart bus sound system at Burning Man in 2011, and Atish has been invited back every year since. He’s also been honoured to open for or tag with some of the most respected names in dance music including John Digweed, Danny Howells, Guy Gerber, M.A.N.D.Y., and Tyrant. Currently, Atish is a resident of the Desert Hearts family, a West Coast collaborative who put on the highly respected semi-annual Desert Hearts festival and he is a resident of Behrouz’s Miami club, Do Not Sit on the Furniture.

Hoj‘ sound earned him a night at Berlin’s legendary Panorama Bar amongst a slew of other clubs and stages around the world. He was one of the founding members of the Opulent Temple at Burning Man, and in recent years his sets atop the Robot Heart bus have become legendary in their own right. He continues his musical escapades alongside Lee Burridge as a resident for All Day I Dream and also enjoys a residency with Listed Productions.

Today, we present an exclusive mix from the combined forces of Atish & Hoj.  Expect deep, dark house sprinkled with psychedelia and cosmic grooves in this one.  Atish & Hoj will be bringing their West Coast flavoured sounds throughout Europe this summer with stops in London, Amsterdam, Zurich, Istanbul, and Poland throughout July.

Tim Engelhardt – The Tribe [Supergroove Records, 2014]

Lakosta – Show Me [Crossworld Vintage, 2013]
Stavroz – Great Day to Fly a Kite [Moodfamily, 2015]
Dirty Culture, Nusha – Shadow Theatre (Brenn & Cesar Remix) [Blend it Records, 2014]
Desta – Dreieck [DTD Records, 2015]
Danielle Nicole – Good To Me [Like Button, 2015]
Optional Feast – Porro (Pablo Cahn Remake) [Electronical Reeds, 2010]
Freakme – Inner Downers (Visionary Instrumental Mix) [Noir Music, 2015]
Hunter_Game – Tree Of Life (Chymera Remix) [Just This 2015]
Marc Poppcke – Voyage [Crossfrontier Audio, 2015]
Wikie, Oneplus – Efflorah [Sub_Urban, 2014]
Steve Nash – Gilimeno [Circle Music, 2015]
Douglas Greed – Shiver feat. Delhia De France (Mollono.Bass Remix) [Freude Am Tanzen, 2012]

Download  Artist Page – Atish Soundcloud – Atish Artist Page – Hoj  Soundcloud – Hoj 


The post Mix #153 By Atish & Hoj appeared first on Deep House Amsterdam.

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The Perfect Pump: 3 Sidechain Compression Plug-ins Compared

If you produce electronic music in 2015, chances are you will need to apply sidechain compression to some of your instrument tracks. It's the technique that makes the bass get out of the way of the kick drum in a mix and when used to the extreme, creates a rhythmic pulsing and pumping to the music that has moved dancefloors since at least '97. Three affordable short-cut plug-ins to sidechain compression make the process easy. Ride the waves of their results after the jump.
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Full Premiere: AEONIX – A Star Was Born Feat. Kelly Day (Original Mix)


AEONIX is a tale where chance meets opportunity.

It was during a vision-quest to Joshua Tree where Jonnie King and Josh Royse molded their brotherhood through spirituality and music.  Shortly after, Jonnie started working with fellow producer Johnny Reyes to form the early stages of AENOIX.  The two received world-wide support from Lee Burridge on their first record, as well as capturing the mind of Robot Heart‘s Jason Swamy, who encouraged the boys to record their debut LP at his maiden Further Future festival.  With this, the soundscapes of AEONIX were born.

After their successful Further Future debut (of which, Pulse Radio had mentioned AEONIX as “1 of the Top 10 Acts to See at Further Future“), we exclusively premiere their track “A Star Was Born Feat. Kelly Day”. Dive deep, liberate your senses and absorb this electrifying sound that’s both groundbreaking and timeless.  With cosmic sounds and deep dancefloor grooves, epic vibes abound on this one!

‘A Star Was Born’ is available 1 June on Subtract Music

Soundcloud Artist Page

The post Full Premiere: AEONIX – A Star Was Born Feat. Kelly Day (Original Mix) appeared first on Deep House Amsterdam.

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