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This section includes compiled posts from some of Lars Behrenroth's favorite (Deep) House and Tech blogs.
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Lovecast Episode 103 – Detlef

detlef cover

Greece-based producer and dj — Detlef — has been extra productive and spreading his talented wings this summer. Besides his weekly residency at Steve Lawler’s VIVa Warriors every Sunday night at Sankeys in Ibiza, Detlef has been whipping many dance floors into shape all across Europe; including: Egg London; Ostend Festival in Belgium; and Button Factory in Dublin–later this month.

Detlef’s 2011 debut EP ‘Hold On‘ on VIVa Music opened the floodgates for the gifted producer. Since that fateful release, Detlef original tracks and remixes have found their way into the label catalogues of Trapez, Circle Music, Gruuv, Moon Harbour, and Electronique to name a handful. Detlef recently caught our attention with his original track ‘Footnote‘ on Moon Harbour’s Inhouse compilation series–released in late 2014. Brilliant!

We love watching talent grow and prosper and Detlef’s skills easily fall into that category. Keep an eye on this guy! In the meantime check out Lovecast Episode 103 and read more about Detlef in the interview below.

Lovecast Episode 103 – Detlef

* PLAY HERE if you do not see the SoundCloud player.

> >   D O W N L O A D   M I X   H E R E   < <

Connect with Detlef:
SoundCloud | Facebook | Twitter | Beatport

Detlef 03-15

Interview with Detlef:

Thank you for taking the time to chat with us. We love your work!
Thank you for inviting me. It’s my pleasure.

What came first — the dj or the producer? Which scenario is a better progression in your opinion and why?
I started producing in the mid-90′s; a couple of years later I started djing as well. The era where big dj’s are only dj’s and not producers no longer exists, so I believe producing helps a lot to become more popular and then dj shows. Its really important though to have a nice combination of both.

detlef2

Busy summer for you, playing gigs from London to Ibiza, where is your home base at the moment? How does the local scene where you live influence your music?
I live in a wonderful town called Thessaloniki in Greece. We have a good scene here and it used to influence me a lot a few years ago. I am really busy in the studio now so don’t go out much anymore.

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There is quite an exciting list of talent alongside your residency at Sankeys in Ibiza over the next few months. Is there anyone you are particularly excited to play next to? How has VIVa affected you career?
I can’t wait to play with Hot Since 82 because he is a great dj and a great person with really good energy. Also really excited to play with legendary Pete Tong, Groove Armanda, Leon and our favourite Guti. VIVa Warriors is a really strong party so it has been a helpful platform to present my work. Furthermore, I get inspired, more dj experience and also have a weekly base where I can meet my friends and party.

detlef4

With so much fun being had on the white isle, how do you make time to get into the studio and work on your productions? Do you have any projects we can look forward to seeing in the future?
Well with so much fun on the island I made the best decision–to not to stay on the island this year. I am in and out every Sunday, so I can spend the week in my studio working. I am really excited for all my upcoming releases. The first one will be Junior Pappa & Anfonio remix on Circle, then Riva Starr & Dj Sneak remix on Snatch!, Nerdjack remix on Kling Knong, Denney’s Low Frequency remix on Ministry of Sound, Daniel Trim remix on Glasgow Underground and remixes on Circus and Resonance later on; and then I am officially done with remix work for this year.

 detlef1

What is one of your go-to jams to play out right now?
Pele & Shawnecy – Better For My Brain (Original Mix)

Dream gig…
Thats a hard question since I have had many great gigs of different sizes or types of venues; like from the tiny YAYA to the huge Metropolitano in Rosario. I would say that it wouldn’t matter the size or location of the venue but more the moment where all the people get to the same state of mind and lasts for hours.

11200578_1048283328532765_7207697638759219396_n

Tell us about your mix.
My mix is a collection of tracks that I like or play out at the moment so it progresses a bit fast.

Drink of choice…
Coffee!

shutterstock_111999368

CHEERS!

- jams
Jimbo James
Managing Editor

 

The post Lovecast Episode 103 – Detlef appeared first on Music is 4 Lovers.

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Concubine, the free album you need, has an app-made video to match

concubine

Can you think, dance, and dream at the same time? We get to debut a new video for Concubine, and it’s the perfect time to look at what this duo has accomplished in 2015.

Concubine, the project from Noah Pred and Rick Bull, is never cold, but it’s always expressing several sentiments simultaneously. It’s at once hypnotic and cerebral, visceral and abstract. Smartly-calibrated percussion politely swings atop future-prog funk flights of fancy. It’ll get a little cheeky, but within a song framework that’s been obsessively constructed. And the album itself is put together similarly. Driving dance tracks are effortless interspersed with ambient tracks that keep the dynamic energy moving – rather than feeling like incidental excursions. It is relentlessly high quality, always at a level of polish – music made by proper gentlemen who nonetheless know how to have a good time. By the time the synth sirens start going off in Entropia, you’re ready for a night out in Blade Runner’s Michelin-starred restaurant and … see where the night leads.

This is exactly the sort of music you’d expect to form when two richly-experienced producers combine efforts. Australian-born Rick Bull is better known as Deepchild, the versatile and prolific house and techno DJ and producer with outings on Get Physical and Leisure System and more. Noah Pred we’ve seen round these parts before; the Thoughtless Music label chief has bridged Canada and Berlin with prescient good taste while remaining productive with his own music. (See Juno-nominated Third Culture, for one.)

Both artists also have spoken about how this production (and subsequent live show) helped each of them through tough life turns – it’s deeply attentive music making as therapy.

And so Concubine has been widely visible in critical attention, but has also generally flown under the radar of crowds looking for more quickly-digestible snacks. This is a dance album that demands some processing – some time to settle into the details. It doesn’t stray too far from its references in technique; it elevates those techniques to peak performance, which requires you to sharpen your ears. They’re producers’ producers, and this is the record that fits that, a fleshed out full-length in the desert of EPs.

Clearly, then, if you have escaped downloading it already, go do it. It’s free from the mini-site for the self-titled debut, and you can pay what you want on Bandcamp – just the means of consuming music other DJs, producers, and enthusiasts now prefer.

https://concubinesound.bandcamp.com/releases
http://www.concubine.cc/

What we get now is a music video – premiering here exclusively on CDM.

Concubine – Luxend [Video Edit] from Concubine Sound on Vimeo.

The official video for Luxend from the debut Concubine album – download it free: http://www.concubine.cc

https://www.facebook.com/concubinesound
https://soundcloud.com/concubine-berlin
https://concubinesound.bandcamp.com
https://twitter.com/concubinesound
http://www.concubine.cc

Mastered by Roofless Creations: http://www.rooflesscreations.com
Video created with Generate Pro: http://www.generateapp.com

Also on YouTube if you prefer to share there.

Happily, it takes the record’s funkiest outing, Luxend. The film is a rainbow-hued spin in the woods, monster vision rave style. It feels more improvised than the production of the music, perhaps, but it also has a unique real-time source.

The video was created live with Generate, the new iOS and Android app that lets you reimagine video creating and sharing by applying spontaneous creative filters. Instead of the edit and edit and render workflow, Generate is part paint tool, part video, made for in-the-moment videos – and certainly worth a look on its own soon. Noah and Rick are evidently part of the artist program, using the app and providing feedback.

http://blog.generateapp.com/

Rick and Noah did an all-hardware set live at Panorama Bar in June; I’ll be keen to see where they drive this project next. Stay tuned.

SoundCloud / Bandcamp:

Concubine by Concubine

The post Concubine, the free album you need, has an app-made video to match appeared first on Create Digital Music.

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European Space Agency Release Multiple Intergalactic Audio Samples

Hubble_Sapce_Featured

Licensed under (various) Creative Commons IGO licences, the European Space Agency has uploaded a slew of intergalactic samples on their Soundcloud page.

From the consistent hum of a passing comet to the crunch of the Philae probe landing on one, from muddled mission vocals to “alien” radar blips, many of these samples are production ready, offering opportunities to producers working within the realms of everything from acid house to industrial style warehouse bangers.

For good measure, NASA has also released a similar collection via their own Soundcloud page leading us to believe that the integration of intergalactic audio may be the next frontier of digital audio production.

Check out a few of the samples below and make sure you find your way over the the ESA Soundcloud to check out the rest.

Source: Create Digital Music

The post European Space Agency Release Multiple Intergalactic Audio Samples appeared first on Deep House Amsterdam.

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Drum Machines in Your Browser, And More Places to Find Web Audio

screenshot_62

Open a new tab, and suddenly you have a powerful, sequenced drum synth making grooves. Give it a shot:
https://irritantcreative.ca/projects/x0x
Or read more. (This latest creation came out in June.)

This is either the future of collaborative music making or the Single Greatest Way To Make Music While Pretending To Do Other Work I’ve ever seen.

But, as a new effort works on sharing music scores in the browser, it’s worth checking up on the Web Audio API – the stuff that makes interactive sound possible – and connections to hardware via MIDI.

And there’s a lot going on, the sort of fertile conversation that could lead to new things.

Web Audio and Web MIDI are quite fresh, so developers around the world are getting together to learn from one another and discuss what’s possible. That includes the USA, UK, and Germany:

London: http://www.meetup.com/Web-Audio-London/
New York: http://www.meetup.com/New-York-Web-Audio-Meetup/
Berlin: http://www.meetup.com/berlin-web-audio-meetup/
Philly: http://www.meetup.com/Philly-Web-Audio-Meetup/

Paris was also host to an annual, international conference, which took place this year at famed research center IRCAM.

Online synths and other proofs of concept are likely just the beginning. Web music development began as a sometimes muddled conversation about whether browsers will replace traditional app deployment (so far, probably not). But as the tech has matured, developers are instead looking to ways to use the Web to create new kinds of apps that perhaps didn’t make sense as standalone tools in “native” software (or, for that matter, hardware).

That’s why it’ll be interesting to watch efforts like Yamaha’s to add browser-based patch editing and sharing for their Reface line. There are also more ambitious ideas, like using the browser to share audio for interviews, radio conversations, backup, and works-anywhere recording and streaming.

The post Drum Machines in Your Browser, And More Places to Find Web Audio appeared first on Create Digital Music.

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Drum Machines in Your Browser, And More Places to Find Web Audio and MIDI

screenshot_62

Open a new tab, and suddenly you have a powerful, sequenced drum synth making grooves. Give it a shot:
https://irritantcreative.ca/projects/x0x
Or read more. (This latest creation came out in June.)

This is either the future of collaborative music making or the Single Greatest Way To Make Music While Pretending To Do Other Work I’ve ever seen.

But, as a new effort works on sharing music scores in the browser, it’s worth checking up on the Web Audio API – the stuff that makes interactive sound possible – and connections to hardware via MIDI.

And there’s a lot going on, the sort of fertile conversation that could lead to new things.

Web Audio and Web MIDI are quite fresh, so developers around the world are getting together to learn from one another and discuss what’s possible. That includes the USA, UK, and Germany:

London: http://www.meetup.com/Web-Audio-London/
New York: http://www.meetup.com/New-York-Web-Audio-Meetup/
Berlin: http://www.meetup.com/berlin-web-audio-meetup/
Philly: http://www.meetup.com/Philly-Web-Audio-Meetup/

Paris was also host to an annual, international conference, which took place this year at famed research center IRCAM.

Online synths and other proofs of concept are likely just the beginning. Web music development began as a sometimes muddled conversation about whether browsers will replace traditional app deployment (so far, probably not). But as the tech has matured, developers are instead looking to ways to use the Web to create new kinds of apps that perhaps didn’t make sense as standalone tools in “native” software (or, for that matter, hardware).

That’s why it’ll be interesting to watch efforts like Yamaha’s to add browser-based patch editing and sharing for their Reface line. There are also more ambitious ideas, like using the browser to share audio for interviews, radio conversations, backup, and works-anywhere recording and streaming.

And there’s more.

Keith McMillen has a great two-article series introducing you to Web MIDI.

It explains what this is all about and what it can do – whether or not you are a developer, worth reading. And if you are a developer, code snippets!

There’s even some explanation of how to use MIDI code outside of Chrome. (Firefox and even Microsoft’s new Edge promise support soon.)

Making Music in the Browser – Web MIDI API

Making Music in the Browser – Web Audio API, Part 1

And their blog in general is full of surprisingly geeky wonderful stuff, not the normal marketing stuff. (In fact, let’s be fair, you’d fire your marketing manager if they did this. But… kudos.)

http://www.keithmcmillen.com/blog/

When we first started using the Web, it seemed like a clumsy way to duplicate things done better elsewhere. Now, it promises to be something different: a place that takes the software and hardware we love, and makes it more useful and connected. There’s something wonderful about switching the Internet off in the studio and focusing on making music for a while. But in this model, when you do turn the Internet on again, it becomes a place to focus more on music rather than be distracted.

The post Drum Machines in Your Browser, And More Places to Find Web Audio and MIDI appeared first on Create Digital Music.

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British Police Warn Of Dangerous XTC Pill After Recent Death

turquoise heart xtc ecstacy

British police forces have issued a warning of deadly XTC pill after one 45-year-old English man lost his life recently. Authorities fear the pill has  been shipped into the country by the thousands. Clubbers have been instructed to be vigilant when purchasing party drugs.

See also: Six More Hospitalised In UK After Taking Dangerous UPS Pill

Britain has been terrorised by bad pills for a longer period of time, but one police insider described the effects of the turquoise pills shaped like a shield as extraordinarily dangerous. The constable stated that: “Tests are being done on the recovered tablets at the moment. We all know ecstasy is dangerous, whether they are pink, red, green, blue, yellow, or stamped with a logo or not. But these are particularly nasty.”

The XTC pill is said to be known as ‘Turquoise Heart’.

Source: The Gazette

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Traktor Stems vs. Ableton Live: Will Live Performers Switch?

Look out Ableton, Traktor might take your job soon. As teased in yesterday’s video, Native Instruments new stems format is set to drop very soon, and many have asked if DJs will embrace the format. We suspect that a surprisingly different group of people will embracing this style of mixing: live performers. Will Ableton Live see an unexpected competitor to its platform? We think it’s a strong possibility.

Will Traktor Stems Change How Live Producers Perform?

Watch our recent interview with Stimming, a 100% live performer, who plays with Ableton and a few extra hardware pieces. Stimming exclusively plays his own material that has been separated into parts. Many live performers that perform shows this way come to the same conclusions and break their live sets into 3-4 parts. Here are the common threads:

  • Usually an original song is isolated, bounced, and played back in groupings (commonly bass, drums, synths, vocals)
  • Groupings are then remixed, solo’d, and effected on the fly.
  • The original composition is respected, but allowing a significant degree of creative freedom.

Sound familiar? The Stems format that Native Instruments has developed completely addresses these needs and others quite well.

All live producers almost always add additional improvised elements on top. Usually these are drum patterns, synths or effects. Although some run software synths as plug-ins, and would require a DAW. Many prefer external hardware for this rather musical job. For them, it might not only be feasible – but possibly even preferential to use Traktor over Ableton for live performances. Let’s break it down

Pros: Why Use Traktor Stems For Live Performances

Convenience of File Management

Two very different browsers

Two very different browsers

File size and browsing capacity are huge issues with preparing sets in Ableton Live, which works best with WAV files and lacks any real music library management aside from your own file structure. In short, Live sets are:

  • tedious to create
  • very large in file size
  • difficult to change out on the fly

This makes Traktor a significantly more useful tool when improvisation is needed. Admittedly, if you only have 15 songs in a Live set, this is really not an issue, but Traktor’s ability to seamlessly and quickly float from original material to DJ sets could be very appealing.

To load a “song” broken into 4 parts into Live is also more problematic, while the Stems format conveniently packages everything into one nice file that is easy to load every time.

Preparation Time

cuepoints-inableton-traktor

Traktor offers way more controls for quickly setting cue points, loops, and this functionality will all be the same for Stems…

Loops and Cue points – essential for live performance – are significantly easier to use and more friendly in Traktor. They also take up a LOT less time to set up. Ableton requires chopping up the song into parts as the core concept of cue points does not exist, and the loop functionality is primitive at best. For producers working with a lot of material (especially >50 songs), they might spend a lot less time managing their music in a more friendly platform like Traktor.

The Mastering Paradigm

In theory, Stems has solved a fundamental live performance challenge. When the original track was created, it was sent out to a high quality mastering engineer, and the process can never be recreated. How then do we manage to have the track hit and punch in the same way when broken up for live use? By blending between the mastered version and individual parts Stems promises to potentially solve this issue.

On the other hand Ableton has the upper hand in this regard supporting native loading of mastering plug-ins that could do the heavy lifting and get the live show nearly there.

Mapping Paradise

mapping-ableton-traktor

Powerful vs. Simple?

Traktor’s strong suit is most certainly the flexibility in which you can take control over the software. It’s a live performers dream interface, allowing for complex interaction experiences and detailed interfaces. While Max 4 Live users can tap into some pretty crazy potential with MIDI, the core mapping functionality is better in Traktor than Ableton.

Cons: Why Traktor Might Not Beat Ableton

A True DAW = Better For Designing Instruments

Screen Shot 2015-07-28 at Jul 28.13.00 PM

You can’t beat being able to design instrument racks, drum machines, and complex digital routing when adding live elements to an original performance. Traktor will never become a DAW, and until the dream integration of Machine occurs it will never offer integrated production tools.

Custom FX Racks

NI could easily make effects this powerful in Traktor.. but Ableton wins here!

NI could easily make effects this powerful in Traktor.. but Ableton wins here!

For many producers and live performers, their FX racks and routing IS their sound. Utilizing stock Traktor effects is just not going to cut it. It would not be hard to roll out custom effects chains for Native Instruments – it’s obviously deep in their pedigree, but a near-term priority? Probably not.

Traktor vs Ableton For Live Performers: The Bottom Line

I don’t remain convinced that DJs will actually start to play multi-track files. While the idea sounds intriguing, the format just ads too much mental overhead to an already complex and difficult job. However, live performers, who play the same material and need track isolation, Stems + performance DJ software may just give them a new choice in platforms.

If you are considering putting together a live show that involves blending between original material and some basic isolation of parts then Stems might be a very viable option. Even better, for those that use analogue hardware Traktor syncs up very well with the right kinds of gear.

Read next: more details on Stems-Music.com and Traktor 2.9

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