Thursday, January 31, 2013 @ 10:30pm
TOUCH! SEATTLE … a special performance by electronic music artists DMH (David Miles Huber), Marcell Marias and Subaqueous (Seattle), featuring a night of music performed live in surround sound using cutting-edge touch-sensitive controllers and live visuals. It’s also a celebration of DMH’s 3rd Grammy nomination (surround category) for his latest project Chamberland.


TOUCH! – Seattle
1114 Howell Street
Seattle, WA
Thursday, January 31st
10:30 – 02:00

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DMHMarcell MariasSubaqueuous

Performing through a pristine KV2 Audio surround sound system with visual atmospherics by Funky Photons, this unique event features Grammy-nominated music and glowing visuals … all infused with a big dose of luscious, cutting-edge performance technology.

Visuals by Funky Photons
Stage performance controllers sponsor: Smithson-Martin
Loudspeakers: KV2 (Seattle), PMC (LA)

I’m playing a VDT (Verband Deutche Tonmeister) event at Galaxy 10/6 using an 8.0 setup (quad on the ground and quad in the air). I don’t think that this has ever been done before … Here goes!

facebook photos can be seen here

How to Create Real 3D Immersive Experience?

Recording and mixing techniques for three-dimensional multi-channel reproduction

Galaxy Studios (, Kievistraat 42, B-2400 MOL; Belgien
October 6-7, 2012
Surround Sound 5.1 or even 7.1 does not deliver true 3D sound as it is not able to produce a three-dimensional sound field and therefore not able to immerse the consumer in a “True, Converging Audio Experience“ when watching a movie (2D or 3D), listening to music, watching sports events, playing games etc. True 3D Sound should be a unique experience that puts the consumer as the main actor in a virtual (close to reality) world. As such, it is a completely new definition of “Total 3D Customer Immersion”. The creation of this level of experience requires new knowledge in the production process.

Dave Ashton (Dialogue editor)
Wilfried Van Baelen (Conceiver of Auro-3D Format)
Florian Camerer (ORF)
Srdjan Kurpjel (Sounddesign film)
Patrick Lemmens (Tonmeister, Scoring engineer)
Gareth Llewellyn (Dubbing Mixer)
David Miles Huber (Composer/Producer in Lounge-Dance-Music, 2x Grammy nominated)
Günther Theile (VDT)

Part 1: The introduction of height
- Immersed emotional experience in the entertainment world
- Concept & vision of next-generation audio formats and requirements
- Trends and innovations in sport, music and film recording
- Creation of atmosphere, ambient sounds, immersive experience
- Real-life 3D recordings and playbacks (hands on workshop)

Part 2: Auro-3D
- The Auro-3D® concept and listening formats
- Workflow issues and solutions for each market, descriptions
- Recording and mixing techniques: mixing in 3D
- Upmix and downmix, single inventory distribution
- Questions and answers
Seminar Chair: Bert Van Daele (R&D manager, Auro-Technologies)
Supported by:
Patrick Lemmens (Tonmeister, Galaxy Studios)
Wilfried Van Baelen (CEO Galaxy Studios & Auro-Technologies)

10/06/12 Saturday

09:00 11:00 arrival Guests
11:00 11:20 Welcome and practical introduction 00:20
11:20 11:30 Motivations behind this seminar, Wilfried Van Baelen 00:10
11:30 12:00 Trends and Innovations in the audiovisual world Wilfried Van Baelen 00:30
12:00 12:45 introducing different formats 00:45
12:45 14:15 Lunch break 01:30
14:15 15:45 Ambiance Recordings in 3D 01:30
15:45 16:30 Film mixing / Sound design in 3D Gareth Llewellyn / Srdjan Kurpjel 00:45
16:30 17:00 Coffee Break 00:30
17:00 17:45 Recording and Mixing Music in 3D Patrick Lemmens 00:45
17:45 18:30 Composing in 3D David Miles Huber 00:45
18:30 20:00 Walking Galaxy Networking Dinner
19:00 00:00 Auro Dance David Miles Huber

10/07/12 Sunday
10:00 11:15 Auro 3D concept & creative Tools Wilfried Van Baelen 01:15
11:15 11:30 Coffee Break 00:15
11:30 12:30 Auro 3D Workflows Bert Van Daele 01:00
12:30 13:30 Lunch break 01:00
13:30 16:30 Workshops 03:00
Auro 3D Film Mixing
Auro 3D Sound Design
Auro 3D Music
Auro 3D Plug Ins
16:30 17:00 Closing Notes Bert Van Daele / Wilfried Van Baelen 00:30

Registration fees:
VDT member: Euro 150,00
Non-member: Euro 250,00
VDT member / student: Euro 30,00
Non-member / student: Euro 60,00
Registration fees include Seminar documents, lunch and coffee break catering.
Nearby hotel accomodation can be recommended.
You can subscribe to this VDT-Seminar online on as of August 2012.

lately, I’ve been coming face-to-face with who I am … and in many way, with who I was. Many of you who know me, know that I started out in downtempo and even relaxational music. That’s who I “WAS” … now, I am who I “AM” … and that is much more akin to electronic IDM Dance music.

so, without further ado … The above song is an on-the-fly remix that I made from my live set. It’s a remix of “Violet” from Chamberland. I’d love to hear your response to it, either on my blog, facebook or better yet on the soundcloud clip.

PS: turn it up!



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I’ve had a few requests to pass along my mastering tips & tricks. Let’s start off with the fact that these are MY approaches to mastering for my music … Nothing more.

So, should you do your own mastering? That’s a big question … And depends upon your skill level. As far as I’m concerned, you can do your own mastering, if you’re willing to put in the time to check the mixes, step back from your work and listen critically … It’s all about skill, artistry and a willingness to get burned when you screw up (and you will at first). So, with that lets get started with what “I” do to master my stuff.

First off, I mix in the box … using Nuendo.

Secondly (and this is the important part), I include ALL of my mastering functions within the mix of each song. That’s right, I don’t use an outside editor or even a separate session to do my mastering … It’s all done within the song. So, what does that mean? It means that …

- the most recent song mix is contained in the session (obviously … with previous mixes being saved to a “mix back” directory).
- the session master EQ settings are saved within each song mix. You could use an EQ plugin or mastering plugin … I actually use the standard Nuendo main buss out EQ, as it sounds great and works the same for stereo or surround mixes.
- the session track timings are also contained within each song mix. This will take a lot of learning and trial & error to get the hang of. An easy way to get started doing this is to start the song at 00:00:00:00 … Then listen to the ending and imagine when the next song would start (it’s all about intuition) and place the session export end marker at that point.
- An LA mastering engineer from Ireland taught me another EQ trick that seems to work. Being a long-time UAD user … I’ll place the Precision Multiband Limiter in circuit with only the upper-mid and hi bands selected. This has the effect of lightly adding to the highs, without sounding sharp or piercing.
- if it’s a stereo mix, i’ll always put the UA Precision Limiter into the circuit, just to trim the peaks (with a max -3dB limit)
- it’s usually a good idea to put a frquency analyser into the main output bus chain, just to check the overall spectral nature of the mix.
- the next is to check the mix for level overloads and general mix level consistency within the overall album mix (again, it’s an artistic call).
- finally, I’ll export each song and then put it together into the final album and listen through for consistency.

The sweet part of all of this is that once you’re done, you can make changes at any point and the timings, overall EQs and any other settings won’t be effected. Simply – remix, export and place it into the final project … No muss, no need to remaster … the final mix is ready!

Sounds easy … But if you’re a perfectionist like me, this can go on and on until you’re happy. But … you can always go back and make changes easily at any time. Put simply, it takes a bit more time to setup initially (although not that much) … But, once you’re done, changes are a breeze.

Have fun!


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There are literally hundreds of thousands (if not millions) of surround-capable computer gaming and home theater system installs in the world … and yet, the 5.1 surround experience remains obscured in its own set of technicalities, codec issues and even speaker order differences. Hell, even for me, setting up a system to play back discrete 5.1 from a DTS-CD can be an exercise in friggin’ futility.

BUT … When you take the time to understand your system and to go out and buy quality surround music, a whole new world of audio experience will be opened up to you. I remember as a kid, holding the wide flaps of a double album behind my ears and listening to the disc in a whole new way. Just doing that created reflections to the rear of my ears that brought the music to life.

If you have a discrete 5.1 surround system … an easy way to get into surround is to go onto ebay and search for “DTS 5.1 surround music”. In my humble opinion, a “DTS-CD” will provide the easiest way to experience hi-def 5.1 music, with a minimum of hassle. If you experience problems, you might take a look at a post that I did when I was setting up my own second playback studio. It’s not always easy … but once you have your system setup … if you’re open to a new experience … I PROMISE that it will rock your sonic world.

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So … I just got a HUGE lesson in the complexities of surround system setup. recently, after completing the 5.1 surround mixes and DTS-CD of “chamberland”, I wanted to hear it in our second surround room. I put the disc in the player and ARRGGG! it was all wrong! what should’ve been in the rear was coming out of the front speakers and all sorts of things were going wrong on equipment that was about 8 years old, but perfectly capable of playing a DTS data-stream!
So … in order to check things out I took the disc to a local Magnolia HiFi (the original magnolia store) and played the disc. it played perfectly … in fact it sounded GREAT!
So … I then went about the task of replacing the entire system in the second room. The DVD player, the receiver … everything … and it still played back wrong! AAARRRGGG! What’s going on!
Next, we learned more about the audio setup settings in the DVD player (who would’ve thought that these would be important). The DTS-CD was fine … the DTS streamplayer proved this, but what was going wrong?
So … not being one to give up, I bought a new state-of-the-art reciever-amp and plugged it into the system … it didn’t work! the same thing happend, it was all squashed into (but not entirely) into the front LCR speakers. I was feeling sick now. THEN … we remembered to go back to the audio setup on the BluRay player. Sure enough, a whole “NEW” selection tab called “PCM multi-ch” showed up. It wasn’t there before, but now that we put in a new receiver … I selected it … AND IT WORKED PERFECTLY. the 5.1 mix sounded AWESOME!
Moral of the story … there really is none, except for the fact that surround remains a complex topic, requiring that you know WAY too much for your own good. I totally know that surround is being held back (if not killed) by idiot designers that want to put in new, whizbang buttons and settings to make it as complicated as possible. Hell, if it took me 3 days of intensive work and phonecalls with DTS, how is Joe Average supposed to listen to his favorite music in surround. This is just crazy!
But … now that I’ve learned my lesson … damn, does it sound good and I now have 2 pro 5.1 systems in my facility … a rare blessing indeed!


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