Making of CBR (Chamberland: The Berlin Remixes)

1. The project: What Chamberland is and how it’s different?

The project started as Chamberland, a Grammy-nominated stereo and surround music project.

The concept of Chamberland was originally conceived around a glass art piece of a chambered nautilus, but soon evolved into the idea of eight songs that represent different rooms, each having a gem-like color … allowing the listener to move from one room experience to the next.

emerald, cobalt, bronze, amber, magenta, violet, crimson & opal

– Chamberland was created using:

*** live instruments
*** live vocals
*** live-original loops
*** sample loops
*** hardware synths
*** software synths
*** software drum tools
*** using Steinberg’s Nuendo as the studio DAW
*** using Ableton’s Live as the stage/remix DAW

2. Berlin – The use of various studio and stage technologies to mix things up and grow

– Now that Chamberland was finished and became a Grammy-nominated piece … it was then normally the time to move on to another project … BUT … the performance stage had another idea!

– Once the original session was loaded into Ableton Live, uptempo dance and other elements were mixed with the original project … and it soon began to turn into another beastie. Especially, when I started to perform and play with it in Berlin. It just started to have a harder edge and to dial up several notches. Soon, I began to respect and like it as a new and unique project and Chamberland: The Berlin Remixes was born!

Given that I now live both in Berlin and Seattle, I have built a relationship with nhow Hotel (a flagship music experience NH hotel in Berlin). In 2013, I performed CBR at nhow in the main lobby.

– Over the last 6-8 years, my music has been totally evolving and driven by the relationship between my DAW (Nuendo) and Abelton Live! It’s amazing how these two naturally flow between the worlds of the studio and live performance … 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!

– One of the great things about Ableton, is that the program lets you “capture” your stage performance in real-time, meaning that you can record and save all of your “moves” for later use.

– Using Touchable for the iPad had a strong influence on how I performed what was now becoming “CBR” … The ability to perform wirelessly and to see the names, colors and various controls of the project clearly on the iPad gave me a freedom that took the project to a new level.

– With my long-standing experience with surround, new-found tools within Ableton Live allowed me to create a session that could easily be performed in stereo, quad and even 8-channels (4 on the floor and 4 in the air).

– This meant that I could export this performance back into my studio DAW for further processing and mixdown … and BAMM … a marriage relationship between the stage and studio is born!


For those that know DMH, the technical process is often a really fun part of the journey … and chamberland: the berlin remixes is rather unique in this respect. Here are the steps that were involved:

– 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 degree of “big space” to an electronic mix, that’s it’s just too fun to pass up (even though some of the tracks in the session were actually recorded in very large acoustic spaces themselves).

– The use of Touch Technology was used in the performance of CBR in LA during Grammy Week of 2012, with the use of the Smithson-Martin “Emulator” large-scale touch screen controller … it was a first for pairing Live with the Emulator’s software.

– surround

Of course, CBR has been mixed in 5.1 surround in DMH’s standard style of totally crazy, full out all speaker mayhem! It sounds GREAT!

4. Mastering

1. integrated approach to mastering (all in the session (timing, EQ, plugins, etc)

2. mastering for stereo and surround

5. The Kickstarter Vinyl

In August of 2013, a sucessful Kickstarter campaign paved the way for CBR to be made into a vinyl record for release in early March of 2014. Here, the mixes had to be shortened from their longer versions to lengths of approx 4:30 each … so that all 8 tracks could fit onto the disc. These shortened mixes were then transferred to a 1/2″ 1/2track analog ATR at 30 IPS, for final transfer to the vinyls

o, How do you beef up an already awesome-sounding remix project? … You put the soundfiles through a 1/2″ 1/2 track Ampex ATR-102 at 30 ips. Sounds amazing! Next phase? … Press the records! Courtesy of Robert Lang Studios

Negotiations are underway for the project to be released as a 2-disc bluray set in Deutschland with the following file structure:

*** stereo full-length files
*** stereo vinyl edit files
*** 5.1 surround files
*** 9.1 Auro-3D files (5.1 at ear level and quad in the air … the first full album to be mixed in Auro-3D)

6. Download for Free

NAMM Hot Zone
Saturday, January, 26th 11:00

“Touch Technology in Audio Production”

David Miles Huber talks about his latest Grammy-nominated project that blends studio and stage performance using the latest in “touch technology”. He’ll be demonstrating on new touch gear, such as Steven Slate’s Raven console, Touchable for Ableton live and the Emulator DJ controller from Smithson-Martin.


David Miles Huber is a 3X Grammy-nominated producer and musician in the electronic dance and surround-sound genres. His music can be heard at

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