BEHIND THE RYTM | LARS HUISMANN

We're excited to present the latest edition of "Behind The Rytm," featuring questions for Lars Huismann from our Telegram community. In this edition, we delve into his roots, explore how it all began, and gain valuable insights into his production techniques and workflow. Enjoy the interview!

How long did it take for you to discover and develop your signature sound?

In 2015, I started my own imprint, LHR, and released a 12-inch vinyl with strong dub techno influences. The track “Raw Sync” was one of my first pieces that showcased this influence. At that time, I was already a big fan of dub-techno and dub-house, enjoying both listening to and producing these styles.

Over the years, I developed my sound into a more modern and contemporary direction, leading to several releases on labels such as Soma Records. However, in the last five years, my productions have increasingly focused on the aesthetics of early 2000s techno sound design. This shift found its first significant release with Mutual Rytm Records. Regarding your question about discovering and developing my signature sound, it really depends on how specifically you want to define "signature" sound - whether in terms of musical direction or aesthetics.

From a musical perspective, it became quite clear to me early on which direction in techno I was passionate about. Although I experimented with different genres over the past decade, it only took a few years to solidify the musical direction I still produce today.

In terms of aesthetics, it took a bit longer. It was until my recent trilogy “Sounds From The Past” that I truly found an aesthetic I am very happy with and can identify with. This trilogy heavily incorporates old-school production techniques, such as tape recording, external hardware filtering, and sampling, which have become central to my sound.

In summary, while the musical direction was established relatively early in my career, refining the aesthetics to complement that direction has been an ongoing journey, culminating in the "Sounds From The Past" trilogy.

When creating a new track, what usually comes first: drums, percussive loops, melody, bassline, or a simple synthetic sound? Or does it vary depending on the situation?

It really depends on the situation, but I typically start with one specific signature element that defines the track. This element is usually not the drums, but rather a synth sound, a specific texture, or even a vocal sample. I always go with my current influences and circumstances. For instance, when I listen to something interesting or a nice DJ set, I collect ideas from there. Similarly, when I play a DJ set in a club, I often realise that certain tracks I'm mixing contain elements I want to explore further in my production sessions. I then experiment with these elements, adding my personal touch and signature in terms of aesthetics and more complex groove patterns. After establishing this signature element, I move on to the drums.

Often, I have dedicated recording sessions for weeks where I exclusively focus on creating my own sounds and samples. Later, I access this sound library and use advanced sampling techniques to craft something even more specific in terms of aesthetics.

There are also periods where I focus mainly on loops and songwriting, extracting the fruits of my earlier work. So, you could say that I build everything around that specific signature element. The process is quite dynamic and adapts to the flow of creativity and inspiration at the moment.


How do you create your distinctive dub techno synth sounds?

The key to crafting those dub techno sounds lies in a combination of sound design, filtering techniques, and effects processing. I start with a polyphonic synth and mix it with a sample for a hybrid approach. Plugins like Pigments are great for this because they allow you to blend sample and synth signals seamlessly. On top it is important for me to record everything a couple of times, so it will create more noise and dirtiness over time. 

The foundation of my sound typically revolves around minor or major chords. For a darker vibe, I slightly detune the chords, creating an off effect that adds tension. After setting up the chord, I program a midi pattern focused primarily on groove rather than melody. This pattern is the backbone of the track. Then instead of crafting a traditional melody, I create a filtering-modulation pattern for the resonance and cutoff frequencies (via an LFO or also a midi-pattern). This technique often mimics the perception of a melody due to the strong resonance of the filter, which highlights certain frequencies, making them stand out as melodic elements. 

To get further movement, I add additional LFOs to modulate the filter cutoff and resonance even more precisely. This can produce a pulsating effect that enhances the groove and adds complexity to the sound. While I use software filter plugins, I also rely heavily on my external hardware filter, the Iotine Core. This device allows me to send trigger signals from my computer that activate the filter or via LFOs, defining the rhythm and texture of the filter modulation.

Filters are  the most crucial element in creating interesting dub techno sounds. They shape the character and dynamics of the sound, making it more engaging and textured. While other processing techniques and effects, like a proper dub delay, impact the groove and atmosphere, they cannot compensate for a dull sound source. Therefore, investing time in sophisticated filtering techniques is essential.

The trigger signals I send to the filter define the rhythm, which is then represented through the filter's modulation. This rhythmic filtering is central to the aesthetic of dub techno, as it adds an organic, almost living quality to the sound. I could talk for hours about filters because they are genuinely the heart of creating interesting dub techno.

In addition to filtering, other effects play a supportive role. A good dub delay can add spaciousness and depth, creating a sense of movement and echoing the core rhythm. Reverbs, particularly spring and plate types, add further dimension. However, without an interesting and well-crafted sound source, these effects alone cannot achieve the desired aesthetic impact. In summary, the magic of dub techno lies mostly in the interplay of groove-focused MIDI patterns, filtering techniques, and carefully applied effects. 

 

What emotions or feelings are you aiming to evoke when producing your music

I’m not aiming for the usual relaxing vibes that you often find in dub techno. Instead, I try to create a sense of tension and darkness, mixed with elements of hypnosis, mystery, and intrigue. My goal is to draw listeners into a deep, immersive experience that keeps them engaged, without using melody. 

How do you achieve such groove and richness with relatively few elements in your music?

It comes down to meticulous sound design and the strategic use of filters and effects. By focusing on groove-centric MIDI patterns and dynamic filtering (instead of melody), I can create a rich, textured sound with minimal elements. The rhythmic filtering adds an organic, living quality to the music, making it feel more complex and engaging.

Are there specific plugins or synthesizers that you consider your favorites?

Many roads lead to Rome. If you understand the fundamentals, you will find your sweet spot. However, it requires an investment of time and patience; don’t expect overnight results. 

Where do you draw your inspiration from and do you also take influence from other musical genres besides techno when producing?

My inspiration comes from a lot of different places, but a big chunk of it definitely comes from my background as a drummer. I started playing drums at a young age and have played in both jazz and progressive metal bands for at least 15 years. This experience gave me a solid understanding of rhythm and how it can influence a listener's emotions and perception. Jazz, with its fluidity and improvisation, taught me how to create evolving patterns, while progressive metal's complexity and intensity taught me precision and technical skill.

Playing in jazz bands exposed me to complex rhythms and the art of improvisation. Jazz drumming is all about fluidity and spontaneity, which has influenced my ability to create evolving and dynamic patterns in my techno tracks. The rhythms and syncopation in jazz teach you how to build tension and release, a skill that is invaluable in creating engaging electronic music.

My time in progressive metal bands, on the other hand, taught me to handle aggressive, complex time signatures and fast-paced drumming. This experience teached me a high level of precision and the importance of technical skill, which I now apply to the detail in my electronic music production. 

When I transitioned to producing techno, especially dub techno, these diverse influences naturally blended into my music. The syncopated rhythms and groove-centric focus of jazz merge seamlessly with the driving beats and layered textures of techno. However, unlike jazz and progressive metal, techno aims to bring the listener into a trance-like state. This requires careful selection of groove patterns to avoid overwhelming the listener with too much information, which is often a characteristic of jazz and metal where complexity and constant change are present.

Can we expect more music in the style of your "Sounds From The Past" trilogy in the future?

The “Sounds From The Past” trilogy has been a significant project for me, but those chapters are now closed. Moving forward, I’m excited to explore new directions in my music. The trilogy was all about delving deep into the early days of techno, both aesthetically and musically. It covered a broad spectrum, from dub techno to Latin-influenced tribal sounds, capturing the essence of what made techno popular back in the day.

In my new direction, I plan to dive deeper into the darker & harder side of techno, while still keeping the elements of old school techno alive. So, stay tuned and expect the unexpected!

On average, how long does it take you to finish a track from scratch?

It can vary widely. Sometimes, inspiration strikes and I can complete a track in a day. Other times, I prefer to let a project mature, much like a wine. In these cases, I might open the project again after a few months to add new elements or refine what’s already there. 

What does sound design mean to you?

Sound design, for me, is an integral part of music production that goes beyond simply creating sounds. It's about sculpting and shaping auditory elements to craft a unique experience. It's a blend of creative expression and technical skills that allows me to bring my artistic visions to life. I think about the freedom to experiment with different sounds, textures, and effects. It’s about taking a basic sound and manipulating it until it perfectly fits the mood or message I want to convey. This process involves a lot of trial and error, but the moment you find that perfect sound, it’s incredibly rewarding.

Sound design is crucial for setting the emotional tone of a piece. Whether it's creating a sense of tension and darkness or adding elements of hypnosis and intrigue, the sounds I design play a vital role in how the music feels. Through careful selection and manipulation of sounds, I can evoke specific emotions and guide the listener’s experience. Moreover, sound design is about storytelling. Every sound has a story to tell, and through sound design, I can weave these stories into my music. From the subtle background noises that set the scene to the prominent sounds that drive the narrative, each element contributes to the overall story.

Innovation is also a key part of sound design. The tools are constantly evolving with new technologies and techniques. Staying updated with these advancements is essential for pushing the boundaries of what’s possible. I enjoy experimenting with new plugins, hardware, and software to discover fresh sounds and textures that can add depth and innovation to my tracks.

At the same time, I have a deep appreciation for old-school techno sound design. Using tape and other hardware processing tools brings a unique warmth and character to the music that is hard to replicate digitally. These traditional methods, combined with modern technology, allow me to create a rich and textured sound that pays homage to the roots of techno while pushing it forward. Whether it’s running a synth line through a tape machine to add saturation and warmth or using vintage hardware for its unique sonic qualities.

What is the best sound system you have ever played on?

RSO, Berghain and Tresor.

Besides music, what other creative outlets do you enjoy?

Aside from my musical pursuits, I have a job in data science and data-driven marketing, where I regularly work with large amounts of data. This profession requires a non-linear way of thinking, which is crucial for connecting the dots and uncovering patterns within the data. Interestingly, this analytical yet creative mindset also influences my approach to music and other creative outlets. While data analysis is grounded in logic and statistics, uncovering meaningful patterns often requires a level of intuition and creativity. This is similar to composing music, where recognizing patterns in rhythm, melody, and harmony is essential. Both fields rely on a blend of intuition and analytical skills to identify and develop these patterns. They also require a willingness to adapt and learn continuously. Data science is constantly evolving with new tools and creative techniques, just as music production evolves. 

Instagram: https://www.instagram.com/l_huismann/

SoundCloud: https://soundcloud.com/lars-huismann

Check out his latest release on Mutual Rytm: https://mutual-rytm.bandcamp.com/album/catharsis