Hello Dear Steemians!

"Deep In The House" is my entry to the ⭐️ i-TALENT contest - ROUND 6, powered by: @gtg, judged by @ivan.atman, @antminer, @megy.fine.arts & @bil.prag.

Back in 1996 I started my DJ career with Drum & Bass, being the music lover I am & also not very keen of limitations, I ventured out into other genres, one of them was House.

The old house music from the 90's is what I truly love, influenced & inspired by artists such as George Morel, Derrick May, Kevin Saunderson, Carl Craig & Juan Atkins.
I was lucky to have had the opportunity to see them spin live several times.

Last year I got my certification as a producer & audio engineer to be able create the music I love.

I created this track a few month back using Studio One.
I am use to working with analogue gear so had to I try my skills using samples.
The samples I used come from various sample packs.

Here a some VST's I can remember using:

Fabfilter Eq
UAD LA2A
Rvox
Lexicon Reverb
UAD Precision Limiter

In the mastering chain I included our analogue compressor Urei 1176 clone, which added the warmth to the sound & as mentioned before, I always do Mid/Side (M/S) processing.

I will explain again why to bother with M / S editing:

Dynamics:
By separately processing center and side signal components, all important mix elements such as bass drum, bass and lead vocals can be compressed, controlled in their dynamics and made more compact, since these instruments are usually mixed in the mono center.
Dynamic vocals can be effectively stabilized, making the important bass / bass drum range more powerful and present.
On the other hand, of course, the side parts of the stereo file can also be kept more transparent and stable without being to dynamic on the important transients of bass drum, snare or vocals.
A stronger compression of the sides can also bring the effects used in the mix out more clearly.

Frequency image:
To give the important, low frequencies of mostly mono mixed bass drums and basses the necessary space in the mix and thus to make the mix more transparent and balanced, you can use a gentle low-cut filter on the side parts, for example.
Also, the highs of the side signals can be raised without risking too much hissing sharp emphasis on the center lead vocals. Drum overheads, keyboard surfaces, guitar walls and effects can be refined through silky heights, without the lead vocals' S-lute becoming too dominant.

De-Essing:
Using a de-esser on the mid-range signal effectively counteracts annoying sibilants and sharp sibyllants without sacrificing the brilliance and transparency of drum overheads or room signals.

Stereo Width:
The M / S principle helps to control the stereo width of the stereo file very effectively. If you slightly increase the level of the side parts and lower the middle information for it, this results in a seemingly widened stereo base because of the emergence of phantom sound sources. If you overdo this process, it can result in very extreme & usually undesirable effects.

Crazy Cross-Effects:
Playing with the possibilities of M / S splitting of the stereo signal, sometimes can create very crazy effects.
In particular, the combination of compressors and gates in conjunction with cross-routed side-chaining can create a creative sound designs that can "run" from the center to the sides, depending on frequency or dynamics, or vice versa. Attentive experimentation is required here, always with a critical view towards the fidelity of the developing result.

This was the first time I made a video!

Being me, I have to give everything a try, I decided to make a video using iMovie.
I will stick with my music though from now on ;)

I hope you have your dancing pants on it's getting housy in here, hehe.

Huggins, D-VINE