Lars Behrenroth Upcoming DJ Gigs

Sept 6th - Toronto, Canada - Moonraiser Virgo Party
Sept 18th - San Diego, Ca - Strkture Fridays
Sept 20th - San Diego, Ca - Souleil
Sept 25th - Newcastle, South Africa - POI Sessions Launch
Oct 3rd - Boksburg, South Africa - Spring Fiesta

LIVE BROADCAST September 2nd 2015

Lars Behrenroth in the mix
Live from Deeper Shades HQ

Wednesday, September 2nd
11am [Los Angeles] 2pm [NYC], 7pm [London], 8pm [Berlin & Johannesburg]

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  • Deep House News
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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Interview: Mr. Ties

mr. ties

This Sunday will see one of Summer’s last outbursts, and Horizon and Kaap A’dam are making sure that it can be enjoyed in the best way possible, by featuring three superbly selected acts for Horizon & Kaap A’dam @ The Beach, including revered Trouw resident Job Jobse, all-round selector Mr. Ties and disco/italo fanatics duo Discodromo.

See also: Job Jobse Mix + Interview | Discodromo Mix

For the occasion we shot some questions in the way of Mr. Ties. Born Francesco de Nittis, Mr. Ties has been the secret on many dance music connoisseurs’ lips. He’s one of those few individuals who has a reputation for letting people find something extra out of his sets. It’s because of his capability to blend seemlessly disparate musical styles and genre for hours on, where he turns the rules for most DJs, who follow a distinct common thread or theme during a gig, completely upside down.

That is also why he does not see himself as a DJ, because playing a set revolves just as much around Mr. Ties as the people in front of him, never making any concessions to please or appease a tough crowd. For the interview we ask him where this outspokenness and no-holds-barred approach comes from, some of his latest record purchases, his favourite places to find these records and more.


Before we jump into the music, I first wanted to ask you a question of a more psychological nature: do you think there is something in your personality that explains, in some part, the fact that you are one of the most distinctive and peculiar artists out there? And if so, what personality traits are they?
You really think I am? i feel blushed somehow. I still think I’m just a poor artist or sometimes a fartist… but this does not mean that I don’t tend to aim for perfection. I’m definitely a maniac about sound and how sound waves respond in the real physical from any source, it could be a fridge in the kitchen or a huge soundsystem in a warehouse. It’s a constant analysis and mind synthesis. I mean…John Cage is everywhere.

When you go to a record store, what is your approach to digging? Is there a structure you maintain while looking for the right records?
When I go digging I just go with the flow, the records are going to pop along while I scroll my finger in the record box. I often find something I like but i also have a wide range of different grooves that I listen to. There is some sort of structure for sure, based on the composition of the pieces; tempo, key, tonality and how records sound and if the record is going to sound the same on the soundsystem, I’m going to play it and a lot of variable sounds. Last but not least I have to love the track or I have to love the mix I create with the tracks i pick, this is also really important.

“You have to feel it in your spine, the groove taking control over your body, this means dancing. If not, it’s best you stay home and make some iPhone pics of your dog”

What are some of your favourite places to buy all these obscure records that you hold dear?
It is too hard as I know too many records shops – from A1 New York to Pigeon Nagoya, Red Light Records in Amsterdam to Record Loft, Power Park, Space Hall and Audio-In in Berlin. Jörg in Vienna, Jerry S in Pittsburg, the Lighthouse & Technique in Tokyo. Too many record shops and too many good. I don´t have an absolute favourite, they are all my favourite and they deserve the same support as they are pushing the last left real quality in music.

In your “Sole Selectors” interview for Dekmantel you explain your individualistic approach to DJing. If this is the case, then how would you respond to a crowd that isn’t reacting or dancing to the music you’re playing?
I mean if nobody is reacting I would not be there asking the question so someone is interested and the people they love that they can dance and they can feel the music and I actually play for them, the “dancers” and “the real listener”. If you move your body totally off beat pretending you are dancing it does not mean that you are really listening or really dancing. I’m watching the crowd all the time while I mix which lets me develop a sharp analysis.


I love dancers, I wanna play more for them and you can see them in a full crowd of thousands of people. The rest are somehow there to post their iPhone picture to fill their empty life less than it already is…you have to feel it in your spine, the groove taking control over your body, this means dancing. If not its best you stay home and make some iPhone pics of your dog and leave space to real dancers on the floor. Don´t stand like a potato bag…let your body free…let yourself go from it and feel free.

How will you be preparing your record collection to bring along to your gig at Horizon x Oostkaap @ The Beach this Sunday?
Preparing some stuff day by day from one swim to another in my hometown Giovinazzo at the moment.

In your experience, what are some of the biggest misconceptions that people have of DJs?
The list is so long, that is why I said previously that I’m not a DJ. I’m an artist of the mix. Everybody is a DJ nowadays, everybody wants this spotlight and to be able to make some selfie doing nothing on a stage in front of thousands and thousands of people. Even the stage for the DJ is the most useless thing in the world, and is also the misconception of [dance events being like] theatre. If people can see me or not it should not make a difference because I do nothing apart from move my arms while I’m mixing…and also you should have more ear to what you listen to rather than what you see. But there are so many other misconceptions in this profession.

What are the three best records you bought in the last few months?
Sophia Loren – Mambo Bacan – 50’s Italian golden age, you just image some full Italian club throwing drinks up in the air and Sophia Loren singing around. If this is not party, I mean?

Stelvio Cipriani and Grace Jones – if this were a soundtrack then please bring me back to a 70’s movie.

They repressed Piero Umiliani’s To-day´s Sound. This is such an impressive album, every attempt to describe such beautifulness in words is just useless.

Artist Page

Job Jobse | Mr. Ties | Discodromo |

August 30 | Horizon + Kaap A’dam At The Beach | Tickets | Woodstock Bloemendaal |

The post Interview: Mr. Ties appeared first on Deep House Amsterdam.

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Uploading DJ Mixes to Mixcloud: Best Practices

We’ve continued to cringe nearly weekly at new stories of Soundcloud’s demise as an ad-free place to safely host DJ content. For the sake of their content, we’ve heard from many who DJs are moving their mixes to Mixcloud. We asked the Mixcloud team to share exactly how best to prep a DJ mix for their platform, as well a few other bonus tips in today’s article.

Soundcloud to Mixcloud Transfer Tool

Mixcloud's simple import screen

First up is this handy tool (we mentioned it at launch earlier this year) that lets you instantly move all of DJ mixes from your Soundcloud account with just a few clicks. If you’re looking for the fastest and easiest way to throw a life-preserver to your Soundcloud content, this is it.

Click here to try the Soundcloud-to-Mixcloud import now.

All of your tracks that are over 10 minutes in length are instantly snatched up, with much of the metadata transferred as well. You’ll still need to add a tracklisting if you’ve got one.

Mixcloud Upload File Specifics


One of the interesting things about a lot of sites like Mixcloud is that they apply their own compression algorithm to the files that they get. This often means a different format and a different bitrate than what’s been uploaded. We asked the Mixcloud team what file type is best to upload to their site to limit quality issues and delays – their response:

We usually tell people to go MP3 at least 192kbps CBR because VBR can be flaky. MP3 because AAC/MP4/OGG all need conversion before they can be streamed so there’s a delay before it becomes available

In the immediate/short term, there’s no major advantage going >192kbps.

Additionally interesting is that Mixcloud does hold on to all original copies of the DJ mixes that are uploaded – so even though you can’t access or play it, your full 320kbps mix is on their servers. Which leads us to…

Tell Mixcloud To Raise Their Bitrate

At DJTT we do our best to advocate for DJs and improve their experiences in booths, clubs, websites, on hardware and in software. In this case, we’ve learned something interesting about Mixcloud’s bitrate limitation (192 streaming audio at present): the streaming bitrate isn’t limited due to copyright licensing, but rather based on user demand.

It’s not limited due to licenses. Our streaming bitrate is based on a combination of factors to deliver the best user experience to the listener, taking into account platform (e.g. Apple bandwidth limits), data restrictions, file size and sound quality. We have also done a number of tests with listeners to learn where they can discern the difference.

We will consider higher bitrate in the future if we get clear feedback and user requests from our community for such a feature. Simple!

While distinguishing between 192 and 320 kbps might not be easy for a lot of people, for DJs (whose ears are constantly listening for “is this right?”) it’s often very noticeable. Retweet the below post and let them know you want to up the ante on their streaming:

Ready to record your DJ set? Here’s our guide on how to do it right. 

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Roland Re-Introduces System-100 As Plug-Out Synth


Amidst the stream of rebranded classic Roland instruments, the hardware producer announced yesterday that the iconic semi-modular synthesizer System-100 will be reissued as a digital plug-out synth. The latest installment will feature patching possibilities to allow users to dig deep into the instrument’s capabilities. 

The System-100 reissue is designed to accompany Roland’s highly successful AIRA line, like the TR-8, the cheaper digital alternative to the famed 808 and 909 drum machines, and the TB-3 bass line synthesizer which is the 21st century answer to the TB-303 acid machine.

Released in 1975, the System-100 hosted multiple components like a synthesizer, expander, mixer, sequencer and speakers. The DAW-destined plug-out will feature the Model 101 synth module and Model 102 expander.

The System-100 plug-out can be purchased on Roland’s webstore, with a price tag of €175. Although owners of the System-1 or System-1m synths will receive a discount.

Source: Roland/Factmag

The post Roland Re-Introduces System-100 As Plug-Out Synth appeared first on Deep House Amsterdam.

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The Scumfrog – Hideout ( Ballroom Records)

2015-08-26 12_01_24-The Scumfrog - Hideout incl. Kaiser Souzai Remix [Ballroom] by Kaiser Souzai Ber


In 2014, the phenomenon known as The Scumfrog announced to his legions of fans that he would be ending production on his coveted weekly radio program Glam Scum International to focus on making more original music. As heartbreaking as that was, it seems that Jesse Houk has stayed true to his word. Just months after his hiatus breaking ‘Send Wave ’,  Ballroom Records brings us another hopping tech jam from the Frog.

Hideout ’ is a textured tech-house grinder, driving deeply with its fluctuating tones and rumbling modulations, articulating a solid and forceful tone. The increasingly popular cinematic mix finds the track stripping away the kick drum and creating an epic buildup that any Hollywood producer would love. Label boss Kaiser Souzai works his magic with the track as well, adding a perfectly crafted layer of female cries and escalating synthesizers that bring the energy level through the roof.


Artist:  Kaiser SouzaiThe Scumfrog
Title:  2015-08-25
Label:  Ballroom Records
Catalog No.:  BLRM007

Prendi  Mano

The post The Scumfrog – Hideout ( Ballroom Records) appeared first on Music is 4 Lovers.

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Lovecast Episode 107 – Dale Howard

dale cover

Dale Howard is on a roll! The St. Helens, England-based house music producer is making hit EP’s for top notch labels, gigging around the world and holding down a steady residency in Ibiza.

Dale’s ‘Vacant‘ EP, released earlier this month [6 Aug 2015] on Objektivity, features four original high-energy house tracks and has been in heavy rotation on our speakers. Other releases from Dale this year include ‘Out the Rut‘ on Steve Lawler’s VIVa Music and ‘Intervention‘ on Noir Music. Next up for Dale Howard is an EP for Suara Music–be on the lookout!

Since his breakout year in 2012, Dale Howard’s name has been spreading like wild fire–almost as much as his infectious, zestful taste in music. Dale’s DJ schedule is mad! He recently toured México and South America, has an upcoming Australian tour around the corner and is playing two shows during ADE; add that to his Magna Carta residency at Sankeys in Ibiza and you have one mad hustling individual!

We feel fortunate to affix Dale Howard to our Lovecast series for the 107th episode. Enjoy this driving, head-bobbin’ mix and read more about Dale in the interview below.

Lovecast Episode 107 – Dale Howard

* 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 Dale Howard:
SoundCloud | Facebook | Twiiter | Beatport


Interview with Dale Howard

How’s your summer going? What have been some highlight moments?
Summer has been great so far! My México tour was great and I’ve had my first residency in Ibiza for Magna Carta at Sankeys, which has been cool. Was lucky enough to play in Dubai for the third time this year a couple of weeks ago, too. I love it over there!

Your South American tour looks amazing! Have you experienced any culture shock? What cool tourist things have you done outside the parties?
Yea last weekend in Argentina was amazing! Had such a great time over there. Both the parties I played were class but my final gig for Riot in Córdoba was ridiculous! Probably my favourite gig ever! 

A little bit of culture shock. Poverty is more present in places over there than in England; people juggling at traffic lights for money and selling things etc. It’s sad to see things like that, it puts your own problems into perspective.

I haven’t done too much touristy stuff really. I’ve done little bits but a lot of the time I’m more concerned with ordering as much room service as possible. I’m obsessed with food!


What gigs do you have coming up you’re especially excited about? Do you have any special plans for your downtime? Do you have any non-music related hobbies?
Yea I’m doing a two week Australia tour in November, which I can’t wait for! I’m also playing Watergate for the first time, too, for a joint Underground Artists & Jackmode Agency party; and I’m playing at ADE a couple of times again this year–that is always ace!

I’m into Crossfit so through the week I’m there a couple of hours a day. It gives me a reason to not get completely smashed every single weekend, because I definitely would otherwise. Zero will power when it comes to partying and after-partying, but Crossfit on Mondays after a mad weekend literally makes me feel like my heart is going to explode.

Love ‘Vacant’ EP! Describe your mindset going into a production like that: before, during and after. What’s going through your head?
Well there are a few people out there that, for some reason, think I use an engineer. Not sure why, and I bet they don’t even know why either. They can never give a name of my ‘supposed engineer’ is or literally ONE supporting fact as to why I would have one. Total divs. I started making music because I love it. It’s my passion and there’s no better feeling for me than seeing people dance to something I’ve sat in my studio for hours and made. If you get an engineer to make it for you where’s the fucking fun in that?! And where’s the pride? If you wanted to be a pro-footballer, you wouldn’t get your mate to go to training for you and then expect to get better yourself, while you’re sat there doing fuck all!

Anyway, cheers! Glad you like it! The ‘Vacant’ EP was so much fun to make! I wanted the whole EP to be straight up house music really. Prior to those tracks I’d done my ‘Intervention’ EP for Noir and that was totally different to what I normally make, so I wanted to come back with something that properly represented my sound. I had a similar mindset in terms of my approach to the tracks ‘Vacant’ and ‘Move Forward.’ With ‘Excess’ I wanted to make a track that was a little bit more electronic, just for more scope on the EP. Then when it came to ‘Walking Cliché,’ I wanted to have a huge build up–I’ve heard so many techno tracks that have huge build ups and then just drop into a kick and bass line and they get crowds going mental; so I took that approach with the build up: switched 3 types of delay around for the last 30 seconds so it changed the audio pattern of the vox and kept a HP filtered 909 snare looped for about a minute; I also looped the woman’s ‘Heeeeyyyy’ so it sounds like she’s holding the note through the build up too; and then put some sub bass stabs every 16 too add to the build up. There were times during it I thought ‘this is going on for too long,’ but thought of what it would feel like in a club and stuck with it. That’s something that’s always in my head when I’m making a track ‘how will this work in a club.’


What projects do you have coming down the pipeline the remainder of 2015?
Music wise, my next release is on Suara and then I’m finishing off follow up EP’s for both Objektivity and VIVa. After that working on a few more tracks to complete some other EP’s that I can give details about once they’re finalized.

Tour wise, as I already mentioned I’m doing a two week Australia tour… and New Zealand actually (I think), Watergate, Objektivity at ADE, Noir at ADE, Milan, a 7 hour ‘All Night Long’ gig in Amsterdam, Switzerland, Ibiza, a few more festivals; and then once I’m back from Australia I’ll be carrying on my UK and Europe tour.

dale g

Which do you enjoy more: Tour Time or Studio Time?
Ahh man, you can’t choose between those two! Like David Brent says ‘they’re both not mutually exclusive.’

They’re both amazing for different reasons. It’s great in the studio when you know you’re onto something good, and start fist pumping in your chair like an absolute nerd. But then it comes to the gig and you get to test it out on a load of people who have never heard it before, that’s when it can become a really special moment (unless they think it’s shit ha!).

Being able to travel all over the world to DJ to people is amazing though. You meet some great people and see some unreal things. Best job in the world!

Dream gig…
Probably a tie between DC10 Terrace for Circoloco and Gashouder for Awakenings…

Name one track in your arsenal that butchering dance floors right now…
Max Chapman – Show You Suttin
. Absolutely massive!

Tell us about your mix…
Some tracks that I like listening to and some that I like playing out.

Drink of choice…
During a gig it’s vodka and beers. At an after-party it’s literally anything that will get me more pissed!



- jams
Jimbo James
Managing Editor


The post Lovecast Episode 107 – Dale Howard appeared first on Music is 4 Lovers.

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Get physical modeling sonic powers, free, in Max starter kit


There is a powerful world of sound exploration in your hands. But sometimes the hardest part is just starting.

So the quiet launch of a site called Maxology is very good news. It’s evidently a place to go for tutorials and projects and more.

And right now, you can grab a bunch of free and open source objects for physical modeling, built for Max 7 and Max for Live. That opens a window into a world of realistic and impossible sounds, built on algorithms that mimic the way instruments work physically and acoustically.

The Percolate Objects Starter Kit is a reissue of one of the classic libraries for this form of synthesis, updated and refreshed and newly documented, even with tutorials for beginners. Percolate is something special – it’s built from the Synthesis Toolkit by legendary synth scientist Perry R. Cook with Gary Scavone, adapted by the also-legendary Dan Trueman (pioneer of the laptop orchestra, by many accounts) and R. Luke Dubois (pioneer of lots of other things). And it covers a range of techniques – physical modeling, modal, and PhISM, for those of you who are aficionados of these things, are all there.

Together, you can built realistic-sounding instruments, wild new instruments and experimental sounds, and effects.

What does it sound like? Well, kind of like whatever you want – but here’s one example, by axxonn:

Produced using only the following; Two instances of Gen Random Synth, 909 Samples in Gen Wave Synth, Scrub Face Delay and Reverb.

These devices are all made by Tom Hall using objects from the PeRColate collection, recently updated and made available by Maxology (including the MFL devices) for Max7.

There’s a bunch of stuff there for free. (Max 7 isn’t free, but recently-adjusted pricing and subscriptions – plus the inclusion of Max for Live – mean that price of entry isn’t so prohibitive, given the amount of value that’s there. And see my note about Pd below; I’m researching.)

For Max 7:
1. PerCOlate objects
2. Starter patches
3. Full help documentation
4. Tutorials
5. A pitchtracker, so you can try playing along with real instruments, too

For Max for Live:
1. A wavetable synth with built-in randomness
2. A wavetable generator
3. A granulator, for transposition and special effects
4. A scrubbing delay-line effect

And because it’s all built in Max, you can combine objects modular-style to build your own special instruments. In fact, while I love modular hardware, a lot of what you do with a physical modular is really inter-connecting boxes that are already built for you. Working with Max in this way allows you to go much deeper, if you so choose, and really get deep into the logic and construction of what you’re doing.

I don’t think one approach is better than another; they’re just different. But I think maybe the reason people haven’t played so much with this sort of digital depth is that it does require a little more learning – and this sort of complete documentation can at last make it friendly for those of you ready to embark on that adventure.

For more:

Physical modeling primer for Max Users by Gregory Taylor
Physical Modeling Explained by Martin Russ

Also, since the objects themselves are open source, I’d love to see them ported to Pd. Max is a very friendly desktop environment and has this unique Ableton Live integration, but then also having Pd opens up things like developing physical instruments on mobile devices.


Don’t miss Starter Kit #1, either – a computer vision library that updates some classic visual tools in Jitter:


The post Get physical modeling sonic powers, free, in Max starter kit appeared first on Create Digital Music.

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