Lars Huismann: “Instead Of Writing A Melody, I Use Filters”

Berlin producer Lars Huismann has recently released System Collapse, an eight-track EP on Dax J’s Monnom Black label that continues to develop his signature techno sound. Following his 2024 debut on the label, Mechanized, and the earlier Sounds From The Past trilogy on Mutual Rytm, Huismann delivers a work shaped by long filter movements, hypnotic percussion, and dub-influenced chords.

Huismann’s creative base is a compact attic studio within his Berlin flat, approximately 20 square meters in size. He emphasizes the value of having a dedicated home studio, allowing him to integrate music production seamlessly with his work as a consultant. The space is acoustically treated with numerous bass traps and removable soundproofing layers, tailored for the challenges of low-frequency control in a small room with a sloped ceiling.

His monitoring setup is anchored by Yamaha HS8 speakers, complemented by Sonarworks SoundID Reference software to compensate for the speakers' limited sub-bass extension. For critical listening, especially on details, Huismann uses headphones routed through an SPL Phonitor One, which provides a more speaker-like experience. Central to his signal chain is an RME MADIface USB sound card paired with a Ferrofish Pulse 16 MX AD/DA converter, enabling seamless integration and routing of multiple hardware devices within FL Studio without the hassle of constant re-patching.

A recent addition to his gear is a vintage Mackie mixing desk, prized for its characterful preamps and EQs that impart desirable grit when driven. Huismann often records drums through this desk to capture an organic distortion not easily replicated by plugins. Despite its age and quirks, this analogue piece plays a key role in shaping the texture of his upcoming releases.

The tactile nature of hardware remains important in Huismann’s workflow. Among his arsenal are classic Roland JV-series synths, notably the Super JV-1080, which contributes distinctive pads and bass stabs, processed further within the digital domain. His DJ wall at home replicates club setups with gear like the Allen & Heath Xone:96 mixer and Pioneer CDJs, ensuring familiarity when performing live and facilitating vinyl testing for his releases.

FL Studio is Huismann’s primary digital audio workstation, a choice reinforced by his extensive experience, including a stint as Performance Marketing Manager at Image-Line, the company behind the software. He challenges the techno community’s preconceptions of FL Studio, highlighting its superior hardware integration and versatile capabilities.

Musically, Huismann’s compositions pivot away from traditional melodic writing. Instead, he builds tracks by programming filter modulations and rhythmic patterns that create evolving textures and a sense of melodic movement through resonance and cutoff automation. This approach aligns with his philosophy that in techno, spatial and dynamic shifts within sound matter more than overt melodies.

He frequently employs advanced plugins such as Output Movement and custom-built tools like DuoPulse to achieve intricate filter sequences and stereo movements. His innovative use of modular environments like VCV Rack further extends his sound design possibilities, allowing rhythmic and spatial modulation to develop organically over extended periods.

Analog tape saturation through a Tascam 122MKII cassette deck and affordable compressors like the Alesis 3630 contribute to the warm, imperfect character that defines much of his earlier trilogy. This blend of vintage hardware and digital precision creates a sound that retains the nostalgic qualities of early 2000s sampling while remaining contemporary.

Huismann’s drum programming benefits from his background as a trained drummer in jazz and progressive metal ensembles. This experience informs his minimalist approach to techno percussion, where the focus lies on groove and the subtle interplay between beats rather than constant fills. His personal sample library, built up over fifteen years, forms the backbone of his kick and percussion sounds.

System Collapse also features creative sampling, including manipulated vocal fragments repurposed as rhythmic elements, and acid lines processed through multiple filters to transcend conventional 303 tropes. Through these techniques, Huismann balances complexity and restraint, delivering tracks that challenge expectations about tempo and mood within dub techno.

While maintaining a generally darker tone, the EP introduces moments of contrast, such as the hopeful melodic layers crafted with FM synthesis. This nuanced emotional palette underscores Huismann’s continuing evolution as a producer who combines technical expertise with a distinctive artistic vision.

Details about specific tracks and further plans remain limited, but System Collapse solidifies Lars Huismann’s place in the contemporary techno landscape as an artist deeply engaged with the textures and possibilities of sound design. The record’s integration of analogue warmth, digital innovation, and rhythmic subtlety offers a compelling listen for those attuned to dub-inflected electronic music.