Djuna
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Posts posted by Djuna
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reload better quality (more kbps)!
... but then you wouldn't have any excuse left to not buy the album.
It's only 1€/track!-
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I remember I was in a trancy vibe back then, haha. Glad you liked the rest!
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Aaah okay, I thought I was missing out on some information. ^^
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Can't find it on Ektoplazm, where can you download it?
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Djuna i think the Goa pride asks for the nu school Goa trance and not old school.Examples from the past are many like Johann Bley, U.X, Cydonia, Element over nature,Syb unity nettwerk, Kode IV, Zodiac youth.
Then I definitely don't know any artists...
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Damn, good stuff that Kadasarva, always nice to discover some variety!
The only thing I can come up with at the moment is Semsis' album Letting Go, and maybe some Xenomorph tracks.
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This one is a more melodic, but still acidic track from me - released last year on Cronomi's "If I Wasn't Human, I'd Be A Trance Track". I basically used only 4 synths per lead/bass: the x0xb0x, MS-20, Polysix and SH-201, plus my drumsequencer X-Base 09. All the distortion is good ol' Mackie table distortion, or things running through the MS-20 filters.
You can listen to the unmastered version on soundcloud, or listen to it full power and get it at http://cronomi.bandcamp.com/album/various-artists-if-i-wasnt-human-id-be-a-trance-track. Cheers!
https://soundcloud.com/djunasaurus/dragon-twins-the-acid-man
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BPM's are not an issue for me, it's the track that is build around it that makes it work or not. But, as I don't like generic darkpsy, generic darkpsy at 198 BPM will annoy me even more. But a tempo can also be a "tool"; Paradise Connection's selftitled album ranges from 100 to 160 BPM for example. It has a very nice concept as a whole. You don't see that much in goa trance though.
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Healium is a group who have that 90's acid/house vibe going on. There's always a 303 present in their tracks, recommended!
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It's indeed so absurd to see how some artists who put 'Love', 'Unity' or 'Peace' in their titles, messages or music, are also minimizing colonialism and killing of innocents. Not just Israeli goa trance artists only of course. Even just promoting an army alone is pretty weird.
Which also makes me wonder: in the 90's the Free Tibet movement was pretty big, even Astral Projection made a track called 'Free Tibet', donating it to charity. This is an other war, but is also about a country that is being aggressively controlled by its neighbour. This sort of duality is pretty interesting, I wonder what the explanation behind that is.
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Yeah, great music! Pretty popular in Belgium here, more in Holland where they have very good labels and artists. Don't know enough to begin some name-dropping, but the couple parties I went were awesome. Love it as well that the acid scene is more live/soundsystem and hardware orientated.
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UK for the funky psychedelic shit, Israel for the beautiful trance!
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i reckon what happened there?
4-0 für das Mannschaft...
Tonight's the first match of the Belgian Red Devils! There's been so much positive reactions towards the first game lately, on every platform, that I'm getting afraid that everyone is jinxing it.
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Croatia really surprised me yesterday (not that I know so much about football though), they played really rigid in the defence and were a fairly solid team against Brazil. Brazil probably deserved the victory, but after those couple misjudges by the referee I was supporting for the underdog..
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Toi toi Psysutra! I think the new music will be much appreciated on the trancefloor.
I hate you Europeans so much
Would love to see Agenton live. By the time my kids are grown up and I can go he will probably be a megastar in Hollywood like I.M. and I'll have no interest any moreWould be very weird to see him picking up the mic.. (damn, where's that video again of him singing a nithzo lead?
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@ Djuna: well, the thing is, I am not 20 anymore, in a time where we were the only goa-freaks left in the world (luckely). When we started suntrip, there was NO other goa label left. So, it's logical we had to look to the past etc... In the last 5 years, a lot changed. And with that change, also my view on the scene. Back then, my view on the scene was Belgium. Now it is global. Also, the growth of the label had a serious influence, and a dynamic label needs to adapt somehow to it's surrounding. As said. One thing is sure for me. The music, and more particularely goa-trance, is my "mission". But, to bring this music to a serious audience on big festivals, you need to adapt a little to what is happening today. Not too much of course, and you know I still play enough 90s music in between, but a little. YES. Compare Filteria 2004 and today. I think the sound difference is clear and huge. That is the unstoppable evolution I'm talking about. And I'm glad we managed to keep goa-trance alive, adapted to today's standards! (with the clear important thing, that goa-trance is STILL goa-trance)
I don't understand how that is a proper reaction to my post actually
. I just used the same arguments you use, but in a different context, to try to show you how irrelevant I think they sound.There's no need to adapt your music to "a serious audience on big festivals" like that, it especially doesn't make any sense if you think that brickwall limiting is a key to that.
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I agree with Lemmiwinks, in the last decade there's very little evolution musically, while in the 90's you could almost speak about a certain avant-garde in the genre, which challenged and changed the borders. There's not much left of that. I think (think) that's mostly because most producers right now started producing with goa, and don't have a varied background in terms of other styles and genres and thus don't really have a 'creative luggage'. 90% of the music being made today is a substyle of a subgenre: melodic 4/4 goa trance. Also, it's the first time that people are getting to know goa trance through newschool, which is already a narrowed down genre. So their view on goa is already probably not as wide as the genre actually was.
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I actually wanted to revive the old school music... (not mastering?) Which we did clearly. But we didn't want to copy 1996 all the way, we evolved to a modern interpretation of the old music. Which is exactly where I hoped for... (I never stopped listening to other types of modern psychedelic trance!)
That's not my point, my point is that you think a modern approach is automatically better just for the sake of 'being modern'. If in 2004 someone would 've used the same arguments you use now against yourself back then ("don't try to go back to the past, this is the new age, with modern and better music! Act like it!"), what would you have said? It's an argument with no solid foundation in its meaning.
A second thing, and I said it before: mastering every single track like it's being done for 99% in this scene today - no life, everything loud - now ISN'T an evolution. You can't even talk about evolution if it's man made, with all our flaws. Most people are simply unaware that limiting that harsh is simply restricting the creativity of music. There are hundreds of companies, engineers and artists with much more knowledge this day who use their time to raise awareness regarding the loudness war. Are they deaf?
And then there is 'modern' factor. Tracks are made different these days, not just analog/digital change but also so called multilayering. Not counting drums and percs now you probably have minimum 5-10 layers going on together, and probably 20 sometimes on most intense parts. I don't know but maybe this way you cant have much dynamics? Maybe it's stupid what i just said as i don't understand but who knows...
Posts like this show that their is little understanding of the subject, even with respected artists who have a lot of releases over the years... To answer this question: no, the amount of layers has nothing to do with the (in)capability to make dynamic music. In a mix, all the tracks can be controlled according to the liking of an artist. For example, a film can have literally hundreds of tracks in postproduction, yet films have overall the largest dynamic ranges of audio mixes. Now that is modern...
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@ Djuna: modern, maximal mastering does not mean there is no dymanics at all. Less compared to before, of course. But not, non. And that was my point, you can't master music like in 1996 anymore if our tracks are played on all big festivals... I saw it many times before. The modern goa tracks that take the crowd into oblivion, while the old school ones have less effect (on HUGE soundsystems) simply because of their mastering.
Honestly... 30% of the tracks I would like to play in my sets, I can't mix with modern goa tracks because the difference is too much.
I'm glad that someone mentions Hallucinogen's albums as well here. These albums are simply fantastic pieces of sound, which, regarding mastering (and mixing too of course), has never been done with a newschool release. But is it that way bad, just because it's more than 20 years old? True, there are good goa trance tracks that are difficult to mix with other tracks because of their mastering/mixing, but that's not a reason for brickwall limiting new music. Hallucinogen, Shakta, Asia 2001, old MWNN, ... there's nothing wrong with those albums, they are perfect examples for powerful, dynamic, energetic and compelling music.
Who wants to go back anyway?
I do! And you did, 10 years ago, remember? Wasn't that the main reason why you started Suntrip, because you weren't satisfied with the new modern music?
I'm with that idea too, only I'm adding another aspect to that thought.For the people that know nothing about mastering, you can have spectral views pretty easily in many programs. There
Can you explain your last sentence? Seems like the internet took a bite out of your post.
Here we go again... you guys are a piece of work when it comes to mastering that almost holy word that's been so badly used on your forums: "dynamics". There's no point in answering these questions. I prefer to release music rather than pretend to be an expert at anything and "discuss" endlessly about it in a void attempt at filling empty spaces.
In short: we work with a reliable sound engineer that, for the last ten years has succeeded in pleasing our artists, the audience and ourselves, that is not "coloring" the tracks after his own "paw", that has never failed us, never delayed us, never bullshitted us. Good work and peace of mind, which allows us to focus and spend more time on other aspects and other releases that are appealing us.
Be sure that when we have more than 5-6 people not liking Suntrip's mastering, of course, we'll use another studio!
Thanks for not using any sarcasm... This is getting really difficult if you guys keep seeing this as a personal attack. I never said here that you shouldn't use Tim Schuldt for your mastering work - glad that you've found a decent partner to work with, that's of course also important but not really something I wanted to bring up to the subject.
I said it one psychedelic.be before; but you can almost tell by only analysing the waveform which mastering engineer has mastered the track: Work of Engineer X has only 6.2dB to 6.5dB of dynamic range (we can talk about RMS too if you're tired of hearing that word), Engineer Y 5.7dB, Engineer Z 4.7dB, ... What this means is that every track which goes through the hands of a mastering engineer is being treated the same way, even though the styles of the artist vary a lot! So yeah, that's pretty much what "colouring the tracks after his own paw" means actually...
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Unfortunately we are 2014, and our tracks need to sound good on festivals like Boom, SUn, etc as well, which means modern mastering is somehow a must.
How does that even make sense?
There's really no relevant correlation between keeping music dynamic in the mastering process (which you apparently don't see as 'modern', which is a wrong point of view altogether) and how the music is played on PA systems. You think those big speakers can't cope with other than heavily compressed music? -
When you're good enough, you'll get released.
I have the feeling that there are a couple of collectors sitting on their piles of unreleased oldschool goa trance files who disagree with you.. ^^
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Generic, boring and unchallenging music in my opinion. After 13 years even the delay times are set the same in every. Single. Track-ack-ack-ack-ack-ack-ack-ack...
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Funny that you mention Fear Factory, they were one of my favourite bands when I was a teen, I guess it was the combination of mellow moods, hard riffs and dirty synths
. Don't know about their new stuff but their releases from the 90's definitely didn't sound bad no. I know Slayer a bit better though, and their new albums are also victims of the loudness war. Pointless; Reign In Blood is from 1986, almost 30 years old and without fucked up mastering, but is still as hard as Jesus' corpse! \m/ -
One of the few decent mastered goa trance releases of this century, something that hasn't been done since then. Don't expect any smashed and limited goa trance in here, everything sounds splendid and respectful to the dynamic music which BPC made in the past. I wonder what's the story behind this?
Together with a fantastic tracklist, varied in a way, this makes it a release for every goa trance addict and audiophiles as well.
Koxboxing In The Morning Shift (Tribute Mix)
in DJ Promotion
Posted
Looks interesting, downloading it.