Lars Deutsch

Two-time Emmy winner


Two-time Emmy winner Lars Deutsch grew up in a village in Germany with more cows than people. He was born into a non-musical family and was astounded when he discovered that a guitar needs tuning. After that, he went from heavy metal guitarist to singer, to songwriter, to a Master in classical composition, to international performances of his classical works, to lecturing in composition and audio production.
He has subsequently developed a unique approach to producing and developing artists and has similarly developed a unique sound for his film music, as well as a cutting-edge approach to audio branding.
Lars has scored over three fifty hundred films/commercials that have collected over one hundred awards. His songs are in high demand, and he is a producer at Built To Last Music. As an audio branding expert, he has created audio logos for a range of businesses, trade organizations and even an entire region of Germany.
Recent projects:  Score for Flying Theater Mexico City,  mix and master for "Switch" by the Magic Wands

Clients: 88 Rising, Accura, Adam Cullen, Adidas, Ajo, Alexander Bruckner, Amazon, Andreas Rauscher, Anthony Anderson (Black-ish Transformers), Asia Rising (documentary), Audio Machinery, Ayden, Bancos, Big Voice (documentary), BloomCast, Brett Gelman (Stranger Things The Other Guys), Budweiser, Built To Last Music, Butchershop, California Energy Upgrade, Candace and Her Brothers (documentary), CBS, Cineflight, Ciro Cappellari, Contac, Corcentric, Dead End, Dear Miss Mistress, Des Nachts, Epson, F**k Nuts, Floating Lanterns, FOX, Freakshow (stop-motion), Future Proof, Generali, Getting By, Ghostface Killah (Wu-Tang Clan), Green Me, Grunerfilms, HardsCore, Head in the Clouds Festival 2018, Higher Brothers, Hocoma, Hofa, Honda, Ian McKellen (Lord Of The Rings), iGel, Ing, Intel, IRKO, Isabella Vosmikova, iTrade, James Earl Jones (Darth Vader), Joji, Joseph Fiennes (Shakespeare in Love, The Handmaid’s Tale), Kate Micucci (Scrubs, The Big Bang Theory), Katie Melua, Keith Ape, Keke Palmer (Hustlers), Kevin Daniels, Kludi, Leavemark, Lost and Found Box of Human Sensation, Luc Walpoth, MBL, Mercedes, Middle Man, Musicians Institute Hollywood, Natural Male Force, Neckermann, Niki, Nowness (Louis Vuitton), Off Shore (feature), Off Shore Band, Paloma Rush, Paris After War, Pat Steir (documentary), Patrick Williams, Paul Alexander Juutilainen, Persecco, Philip Rivers (NFL quarterback), Philips, Pink Diamonds, Rachel Shelley (The L Word, Deep State), Re-Invent Yourself, Red Bull, Respect, Reverie (tv show), Rich Brian, RIP Media, RKW, Ruinart, Salzburg Festival 2001 & 2002, SAMI, Sanacell, Sceal Films, Serena Foster, Schattenwald, Single Malt, Sprich mit mir, Stay, Stephen King, Tencent, The Martian (trailer), The Masked Singer, The Passenger, Uranium ( is it a country? (documentary), Valedo, Voices for Children, VW, Weiland Wissen, Wink Martindale (Tic-Tac-Dough), Yardhill



Cryostasis is great. I just used it to make a vocal disappear into a cloud of reverb and then have the cloud freeze over. This is very useful for transitions and atmospheric effects for both songs and scores. You can hear Lars using Cryostatsis on his Magic Wands - Whispers - Remix


Retronaut is a time and vibe machine. It's great for dialing in a little extra funk, grit, lo-fi, attitude or to save a sound from sounding too digital


Voxessor really kills it. In 20 seconds, I am able to fix poorly recorded vocals and make them usable.


Randomachine adds life to flat loops and makes virtual instruments and ensembles sound more real.


This is funky, I like it. I use UniChannel to colour things...


One of the big winners for me. It really helps me to dial bass sound quickly. I love the sub-bass feature which gives really nice round low end.


I like Plamen to refocus a sound. For example, pizzicato violins and violas were too thin and sharp on a commercial I was scoring. With Plamen, I was able to thicken the gentle pitched range and control the sharp attack. Plamen made it easy to add body and mojo while making the pizzicatos less distracting.


I used Dropkick on a commercial. It turned the dry kick from a percussion ensemble into a big, thick hip-hop kick in a couple of seconds.