OK … I figure it’s best that I enter my Grammy experiences in the form of a post (so I can update it, as I remember more things). First off, the last week literally feels like 3 weeks. No seriously, we’re pretty much toast after a driving West Coast tour.

To start off, our performance at the Figueroa Hotel was awesome. As usual, it would’ve been nice to have more bodies. But the pool location was awesome and the “Fig” was its usual gorgeous self. My buddy Maurice from PMC rented a pair of super-professional JBL speakers that sounded beyond killer, the bass the high … all were balanced perfectly to give lots of power, while allowing the crowd to talk (the mark of a true hi-end pro system). Lastly, Marcell and I are doing something right, in that every time we play, we get asked back to do a more prominent headline night. Next year, we’re hoping to Play the Fig on Friday before the Grammy telecast.

Next up was the Village Recorders party in Hollywood. IT ROCKED! I was totally afraid that I wouldn’t know anybody … turns out I kept running into buddies from all over the world! Way cool! Hollywood, networking and having fun at its finest!

The Nominee party at the Wilshire Ebell is always a highlight. The nominees were all decked out in tuxes and amazing dresses, having just received our medals. The lifetime achievement awards at the Ebell included tributes to Patti Page and other luminaries, but I particularly love the 30 year tribute to MIDI … Happy 30th Birthday MIDI!

AND THEN … there was the big day! I didn’t win in my category (surround), but some dear friends did. fact is, I don’t feel bad at all, as I was included in a group that are all super-dedicated, hard-working and good-hearted! … It’s an honor to be nominated with such awesome people!

The big night was also a blast … Dan and I were seated (for the fist time) on the main floor. Life is VERY different down there … as luck would have it, we were placed at a point where all the stars had to pass by to get to the main stage from the front. Starts like Sting, Adelle, Dave Groll of the Foo Fighters, Rihanna, Ellen Degeneres … they all “had” to walk within 2 feet of us. Johnny Depp and Elton John were at the end of the isle (30 feet away) … lots of fun!

To top it off, I was sitting with major engineers (all of us are PMC clients with Maurice)… turns out I was sitting next to Tony Maserati, a very well known engineer. I didn’t know it was him, so I had the honor of getting to know the man and not the name… what a sweet guy! Definitely looking forward to next year!

Tuesday, February 05, 2013 @ 7:00pm
TOUCH! LA … a special Grammy Week performance by electronic music artists DMH (David Miles Huber) and Marcell Marias, featuring a night of music performed 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.


Figueroa Hotel (@ rear pool area)
939 S. Figueroa Street
(Across the street from Staples Center, LA Live/Nokia Theatre and Grammy Museum)
Los Angeles, CA
Tuesday, February 5th
7:00 – 10:00pm

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DMHMarcell Marias

Performing through world renowned PMC loudspeakers, this cozy LA event pulls out all the stops in technology through its use of cutting edge, touch-sensitive performance tools and technology to deliver a sonic and visual event that only hints at what DMH and MM have up their sleeves for the techno-geek in all of us.

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

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
Re-bar www.rebarseattle.com
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 (www.galaxystudios.com), 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 www.tonmeister.de 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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