release/catalogue numbers: 51bpm-014DL (stereo download) / 51bpm-014dtsCD (surround dts CD)
upc numbers: 715352001420 (stereo download) / 715352001529 (surround dts CD)
isrc: usx9p1229774 – usx9p1229781
release date: 06/15/2012
project length: 1:09:06
genre: electronic, IDM, downtempo, surround
tag keywords: 51bpm David Miles Huber chamberland parallax eden colabs electronic EDM uptempo downtempo grammy nominated surround 5.1 MRT modern recording techniques
David Miles Huber
- producer/artist (seattle/berlin)
- vocals/ethno flutes (seattle)
- MIDI grand piano (re-recorded at glenn sound studios, seattle)
- guitar (recorded at youngstown center for the arts, seattle)
- assistant engineer/assistant production (seattle/new hampshire)
David Miles Huber
- original session mastering (seattle)
- European assistant
- US assistant
special thanks goes to my ever-understanding partner, dan butler; the folks at steinberg; NARAS (the grammys); galaxy studios & galaxy interactive (belgium); Anurag Gulati (phoenix); yvonne zimmerling (berlin); nhow hotel and staff (berlin); youngstown cultural arts center (seattle); big arts labs (la); glenn sound (seattle); maurice patist and pmc speakers; north american pro audio
“The Making of chamberland”
the basic tracks for chamberland originally came from a project that i did for laserlight in LA called “between the sea and the sky” in 1996. it was a project that was based on the musical representation of 5 animals that are of cultural importance to the northwest native tribes (bear, raven, wolf, eagle and the whale). basically, i took my favorite songs from this project and began to update and “tweak” then using hardware and software instruments that gave these relaxational pieces a beat and electronic presence to sculpt the songs into downtempo pieces that definitely fit the “zen-meets-tech” description.
technically, chamberland was created using live instruments/vocals, live-original loops, sample loops, hardware synths, software synths and software drum tools. The DAWs of choice were steinberg’s nuendo and ableton’s live. the truly amazing part of this nuendo/live combination is the way that the two naturally flow between being in the studio and its live performance counterpart. in performance, you pick up new tricks that translate back into the studio production … and vice versa … it’s totally awesome how this symbiosis works!
of course, chamberland was built from the ground up as a 5.1 surround project. using state-of-the-art software and studio hardware, this project definitely shines! those of you who know my production and mixing style know that i’m not shy when it comes to surround. the center speakers, the surrounds all work their asses off in these mixes … the entire soundscape is totally “immersive” in nature. your totally surrounded!
now … working with a visual and music production team in the us and in europe, chamberland is on it’s way towards taking on a strong visual aspect that can be scaled from being performed in a standard club environment – all the way to large-scale projection-mapping events. sonically, chamberland is also unique in that it was the first album ever to be mixed in auro3d at galaxy studios in belgium. continuing that legacy, in it’s most basic form, it will be performed in quad (4.0) … as well as in auro3d. (8.0 = quad on the ground and quad in the air).
Adding <<< SPACE >>> to my mixes
The process of creating Chamberland has been an amazing one for me. It has taken me from my home studio – to a super-studio in Belgium – to a super-hotel in Berlin … to performances in both stereo and quad in the US and Europe.
Beyond the intricate, lush sounds and immersive production, one of the more in interesting aspects of the production of this project is its sense of space … a “largeness” in the mix that comes from several sources:
1. Stereo miking and stereo sound-sources: Those of you who know me, know that I “only” record stereo tracks. That’s right, even when I’m recording vocals or an instrument, I’ll use two mics or a stereo mic. This adds a huge sense of space to the mix right-off-the-bat, giving a depth to an otherwise one-dimensional source.
2. Stereo room mics: Whenever it’s called for, I’ll record an instrument with 2 stereo mic pairs. For example, on “Magenta”, I recorded Ari Joshua in a large gym with two mics on the electric guitar cabinet and two XY mics out in the hall at a 25 foot distance. Not only does this add a huge sense of space to the overall stereo mix, when it comes time to do the surround mix, the room speakers can be placed in the rear, giving a natural “being there” sound.
The following acoustic guitar pic was taken in the same gym with my late buddy Barbara Buckland (R.I.P.).
3. One of the effects that I’ve been having fun with is the Universal Audio Ocean Way Studios acoustic space plug-in for the UAD2 … it adds such a natural and big sense of space to an electronic mix, that’s it’s just too fun to pass up.
Mixing Ocean Way with the actual distant mics, combine to create an electronic project that doesn’t sound dry or sterile … Obviously, I’ve been having fun with this stuff!
“About my Sound”
from a 5.1 surround perspective, my sound is rather rare and unique, when it comes to mixing style. most productions approach 5.1 timidly, that’s to say, they put most of the soundfield in the L/R pair … a bit in the center and “verb” in the rear channels. not DMH … no-siree, my mixes pump out of all of the channels and i use the entire soundscape to add effects. for example, in parts of chamberland, you’ll hear the main instrument coming out of the center-channel, with panned delay answering out of the rears. that’s pretty unusual … however, in crimson, you’ll hear the original delays in the rear which are answered as a delay in the center … that NEVER happens.
i also thought it’d be interesting to talk a bit more about the center speaker. that’s to say, the “real” center image versus a “phantom” center image. the phantom image is what most everyone is used to … when sound comes out of the left and right speakers equally, you hear the sound as coming from the center of the soundfield (although there’s no speaker there). with surround there actually IS a center channel … and i really have fun with having bass, voice, instruments coming from both the actual and phantom center channels. there really is a difference in the sound and the combination plays with your brain and your imagination.
“About my Music”
so … who do i sound like? my answer to that is “i have NO CLUE”. my favorite types of music to listen to are classical from european radio stations, swing music from the 1920′s – 1940′s and cutting-edge IDM. I’ve settled on saying that i do mid-tempo IDM music. it’s music that makes you move, makes you think about all that’s going on in the soundscape and takes you to new musical places.
it’s taken me about 4 years to finally get a grasp on my own personal mastering style. that’s right, i do my own mastering … directly within the session. in fact, everything is embeded within the project song: mastering, song timing, overall balance levels … the works! basically, all of the separate elements of mastering and song timings (silence at the beginning, end fade times, etc) become one … this means that you can simply make a change to the song, export it and you have a new master. of course, self-mastering isn’t easy … far from it. it takes a lot of dedication to get your sound right.
from a dynamics point-of-view, chamberland makes use of various types of high-end dynamic processors (both multi-band and full band processing) … but it doesn’t use over-compression. in fact, only about 3-4 dB of limiting has been applied to the 5.1 surround version, while a max of about 6dB has taken off the stereo version (very little by today’s standards).
DMH + ELS = Awesome 5.1 Surround sound!! (Chamberland) in my 2012 Acura TL. Here it goes David, the center channel very strong and clean, the front speakers very powerful, the sub you can FEEL the bass, and the rear speakers are very amazing, over all the mix in all the channels beautiful sound!!