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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See the Phasing, in a Visualization of Steve Reich’s Piano Phase from Alexander Chen on Vimeo.

You can already hear it. And now, in a hypnotic, rotating visualization, you can see Steve Reich’s melodies shift out of phase.

It’s latest work from Alexander Chen, the Google-employed artist who we’ve seen working with wine glasses and Google Glass, visualizing Bach, and sonifying subway schedules.

This time, a radial visualization elucidates the subtle but beautiful play of piano lines in the seminal minimalist work.

Live in your browser:


This site is based on the first section from Steve Reich’s 1967 piece Piano Phase. Two pianists repeat the same twelve note sequence, but one gradually speeds up. Here, the musical patterns are visualized by drawing two lines, one following each pianist.

The sound is performed live in the browser with the Web Audio API, and drawn in HTML5 Canvas.

It’s impressive how precisely the browser can capture the nuance of the work, down to its rhythms. And you get somehow a clearer sense of what you’re hearing seeing it at the same time – at least for me. (Curious if others have the same feeling.)

And (Tumblr fans, this is for you, let’s go viral with Reich), the blog post contains animated GIFs, including one that reduces the piece to a single second, producing a gorgeous pattern:

The post See the Phasing, in a Visualization of Steve Reich’s Piano Phase appeared first on Create Digital Music.

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Record Digging: Eric Cloutier

Eric Cloutier has been known as a true selector for almost two decades now, and has learnt how to craft his DJ sets to absolute perfection. So it comes as no suprise that the Detroit-born, & Berlin-based artist holds residencies at some of the most esteemed clubs across Europe and the United States. His focus is orientated on hypnotic dub, techno, and house music, and it appears that there is just no such thing as filler when it comes to Cloutier's choices...Continue Reading >>

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Exploring Sound in the Vertical, as Three Brothers Make New Sonic Architectures

Korinsky – Atelier für vertikale Flächen /// documentary from Korinsky on Vimeo.

We imagine we see where we are. We even describe our eyes as being open as awareness. But perhaps that’s because we are so deeply connected to sound as to take that connection for granted. Perceptive research has revealed in profound relief that we hear where we are, too. And artists are beginning to take that knowledge and fuse it with art making.

To quote The Outer Limits, “We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity.”

In extending sound to illusions forged in vertical dimensions, the brothers Abel, Carlo and Max Korinsky are creating new sonic illusions.

Vertical sound, it seems, is harder to localize than horizontal sound. Playing on perceptual confusion, the Korinsky brothers’ recent work tickles the sonic brain with shifting architectures of timbre, producing movement and reconfiguring the imagined space as you listen. They applied the technique last year to the cavernous former power plant Kraftwerk, behind Tresor in Berlin, for 3845 m/s, the work featured in the film.

There, graphics have to help you conceive the way the work deployed sound art through space, since of course we’re limited to crude stereo playback on the Internet. But their work is a kind of kinetic composition in the environment, the awareness of motion and architecture fusing in the mind. This is art that plays directly with the conception of the reality around us, synthesis in the act of perception itself.

Inside the shadowy labyrinth: work-in-progress shot from this week's premiere installation.

Inside the shadowy labyrinth: work-in-progress shot from this week’s premiere installation.

I hope to talk more to the Korinskys following seeing their new work, which premieres tomorrow at LEHRTER SIEBZEHN (which also hosted CDM’s co-curated unrender series). I’m particularly interested in how they compose in this way, and how their own custom-produced software figures in. There seems to be a scene around new architectural forms of sound – not only spatialized audio, but sound that is more than just content deployed to speakers, sound that is itself a production in space and the illusion of movement. See also the 4DSOUND system now touring Europe, which similarly produces illusions of location and motion by combining software processing with multiple speakers in an environment.

Inside the post-industrial cave that is Kraftwerk, Berlin, site for the trio's work last year. Photos courtesy the artists.

Inside the post-industrial cave that is Kraftwerk, Berlin, site for the trio’s work last year. Photos courtesy the artists.

Displacing sound is one of the illusions that figures into their work. Here, a field recording from another environment will later find its way into the Kraftwerk interior.

Displacing sound is one of the illusions that figures into their work. Here, a field recording from another environment will later find its way into the Kraftwerk interior.

In any of these environments, of course, your position as an observer has a huge impact on what you experience. When I visited 4DSOUND last week in Amsterdam, I found myself compelled to wander around, almost like a sonic voyeur, possessed by some appetite to shift my own hearing through the space.

That could make the latest outing from this award-winning trio the most interesting yet. They’ve conceived the new premiere as an audiovisual walk. The labyrinth walk has a long history in meditation, spirituality, reflection, and remembrance; here, that path is guided by sound as well as image, pulling the visitor through the space by way of their senses.

Listen, in previews provided to CDM:

Here’s how the curators, Stefanie Greimel & Johanna Wallenborn, describe that:

Everywhere it rustles, hammers, clanks or roars mechanically: for the last month Abel, Carlo and Max Korinsky have been working on a new body of work. LEHRTER SIEBZEHN is proud to present a uniquely designed audiovisual walk in installation spanning over 125 m2, developed by the 3 brothers. Combining visual and aural elements into a single unit, seeing and hearing are interdependent and jointly create unexpected illusions. As seen in their previous work, they are experimenting with transducer while enlivening an evolved version of their Klangrelief series as a visual component. The visitor experiences the existence of various sound-worlds, which seem to evoke and fade with every step made.

// about Korinsky

Recently awarded with the Young European Trieste Contemporanea Award and the Mercedes Benz Kunst Award, the Korinsky brothers are deeply engaged in exploring a phenomenon named “vertical hearing“. Tones which flow from above onto the person are more difficult for the human ear to locate than those that originate at the horizontal level. Based on this physical principle of confusion and irritation, the collective Korinsky creates exceptional artworks that draw the visitor into their unique spell. Their self-developed software “Vertical Sound Lab” enables them to operate several speakers individually to generate heterogeneous soundscapes.

Korinsky Brothers.

Korinsky Brothers.

Max Korinsky tells CDM, messaging us as he constructs the installation, “it is growing and growing; tomorrow you can walk through a tunnelsystem of black colour and wooden structures combined with a special sound environment.”

If you’re in the Berlin, Germany area, the opening is tomorrow the 25th of June, at 7PM, Lehrter Str 17, and continues to run 26th – 29th of June, daily 12-6 PM.

Facebook Event

If not, please do feel free to add questions or comments about related work, as there’s plenty more to say.

You can also explore the brothers’ sound work on their site:

Or via the venue:

The post Exploring Sound in the Vertical, as Three Brothers Make New Sonic Architectures appeared first on Create Digital Music.

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Quick Tip: Finding Tempo Using Beat Calculator

You can't ignore the tempo of a song—every piece of music in the world has one. It's a fundamental principal of music. It drives the feel of the song, and adds emotion. 

But you have to get it right! An EDM song won't work with tempos of 50 or 60! In this quick tip, I will show you how to use Cubase's Tap Tempo feature and Beat Calculator. 

These features are available in almost all DAWs, but in this quick tip, I will be using Cubase as an example.

Beat Calculator

Cubase's Beat Calculator helps you to calculate the tempo of freely recorded audio. It also helps adding time-based effects, and other instruments which have a specific fixed tempo.

Before you open it, you need to select a part of your audio that has an exact number of beats. It's recommended to select four beats if the song is in 4/4 time, and three beats if it is in 3/4. 

Once you have done that, open the Beat Calculator by clicking on the Project menu and then selecting Beat Calculator.

Now, in the Beats field, enter the number of beats that is contained in your selection. You can adjust the length of the selection without closing the Beat Calculator window. After adjusting the selection, click on Refresh to update the selection into the Beat Calculator window.

Click At Tempo Track Start if you want the tempo to be adjusted at the start of the tempo track. If you want to change the tempo only at the start of the selection, click At Selection Start.

Tap Tempo

Tap Tempo allows you to fix a tempo by tapping. Click on the Tap Tempo button in the Beat Calculator to open the Tap Tempo dialog box. Tap the tempo using the spacebar or mouse. You can also activate playback so that you can sync your tapping with the music.

Once you have finished tapping, the average timing of the taps will be calculated and displayed. Now click on OK and the tempo that was calculated using the tapping method will be displayed in the BPM field.


Tap tempo is an indispensable tool for DJs and remixers. It helps you to find the tempo of songs easily, and will make adding extra rhythm and slices simple. 

You can also use this function to find the tempo of songs that are performed live, because many drummers prefer not to use a metronome for live performances. If you need to remix the live performance, there’s no need to worry about the tempo, because Beat Calculator will come to your rescue.

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