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Everything posted by Imba

  1. Used Serum factory oscillators with a bit of tweaking. Here is short example or how it sounds without processing: https://www.dropbox.com/s/685chmgz3yakt8s/Old School Goa Beat.mp3?dl=0
  2. I made some old school Juno 106 styled bass preset for Serum, added MIDI for bass and kick sample. Get it here and play around: https://www.dropbox.com/s/wv5ptu7uymte0b6/Old School Goa Bass.zip?dl=0 Inspired by Boris Blenn (and Radi)
  3. Just use older VST, don't do processing, have it dirty and screaming and there you go
  4. I would recomment Neurofunk style of DnB: More agressive, more dirty and acidic!
  5. I remember your tracks had nice intros but sadly I lost them a decade ago... you should upload them to youtube or even release an Diaks EP! They are like 15 years old now? So it's retro!
  6. Bellow 145 doesn't drive me, why the fuck would I make it then? Why do you have 30cm cock? -That sucks, I have 20cm, you should have 20cm too! Remember that Goa Trance, before it became Goa Trance, was made for beach parties in Goa and stuff... which puts home listeners in bad position sadly. Personally I was always wanted to make my music for dancefloor because it's where it drives me best, where sub kick your kidneys! There are tons of good music out there, but I can and will only play like 1% of it because rest doesn't sound good on dancefloor to me, terribly mixed (which is 90% case in 90s) or just too slow or whatever. For one example, I fucking love Etnica - Trip Tonite, it's musical masterpiece, but technicaly it is crap! I can listen it on repeat at home for hours, but the only version I could ever play on parties is this one:
  7. It is Twilight, subgenre and last few days one of most wanted. Which is amazing!
  8. Lost my attention in modern Goa Trance and im speaking from producers perspective... and it's gonna be long but worth of read imo. Today Goa is one of most limited Trance styles, even more than that Offbeat Prog most of us can't stand. There are so much rules these days which you have to follow just to get released, to play somewhere? Even worse. Sometimes I wonder if we as producers even have a freedom to do what we like or think we do and that people will actually support that. Expectations and personal tastes of few will eventualy kill Goa scene, not 'bad' producers themselves. We are small scene struggling to survive but all we do is bitching around and killing wish of new or producers that already gave a lot on scene. Those that we still praise from 90s, well 99% of them don't give a thing for last 20 years and didn't contribute to scene at all while you have new guys doing and putting everything they can so this scene could go on and so they could really enjoy in life as an artists and all fun it brings. If you are not like Etnica, you sucks, If you are not like Tim Schuldt its too boring, it's not dark enough. If you have modern bassline you are Fullon. It's not 90s Goa ripoff, well it sucks. You see problem now? Every single style in Psychedelic Trance genre have been developing since it's beggining, every couple of years style changed itself and most of them for better. And people there actually accept that because they understand 2005 Full on is 15 years old and it was good for that period, now is different and good for today. Progressive from early 00s was also good, but Ace Ventura is killing it now and killing it big for 2020 and people fucking love that. Remember Twisted System back in 2004? Fucking best Twilight ever. Well Ajja is king now sorry. Goa trance, 95 MWNN and Etnica, 2005 crazy Filipe Santos, 2010 Filteria, today... who knows? Every music was good for its period, some survived for 20-30 years, some not. But everyone moved on, new music, new generations, everyones having fun big time, parties and festivals bigger than ever, more music than ever for each and everyone but not for us Goa people. To us nothing is ever good enough specialy when you don't want to ripoff music from 25 years ago doing over and over same things, we just want same music, same style, same group of artist playing here and there. As an artist you are forced to do what others (label, promoters, scene?) want just to get released and get some attention from people so you can feel welcome on scene. So you make what they want which is maybe musicaly better but technicaly it's crap and everyone knows it but it's ok because it sounds like 90s. Maybe you got lucky to get booked on them few Goa Trance festivals and play for a bit bigger crowd so you get bigger and better promotion. Then you want more and more, why not to play for even more and even more often but oh wait you can't. Nobody want too book you, all promoters booked you already, so you are not interesting to them anymore, lets try others but nobody ever fucking heard of you. You would like to play on Boom or Ozora, all of us want but wait they never heard of you because marketing in Goa scene is one worse ever because they are not daring to invest at least 50euros in their digital promotions of your releases for which you are obviously not payed enough or not payed at all. Second thing, remember that you sounds like 90s, technicaly/production wise it's crap so is your music to 99% people out there because you couldn't use damn boring 'fullon bassline' or 'fullon kick' and now your music sounds ears bleeding on big systems and who da fuck want to put this guy on stage in front of 50000 people? I personaly would never, only if he doesn't brings me tons of money. 50000 people won't hear Goa Trance just that few days, where are tons of other big parties and festivals? If labels and agencies know what people really want today, why they don't force artists corectly and invest in them? You know that 50k on artist pages means a lot to get booking? Make his artist page on facebook get 50k likes! People like fancy produced videos of artists playing, doing interviews or studio sessions? You are fucking manager, so fucking make that happen! Is it really that hard? People on dancefloor love modern sound, so fucking force your artists to have production quality of Astrix instead of forcing them to boycott fucking EQ in their projects. And last thing but most important we forget if we want to survive is because we don't know how to sell product (read music). Literally we are worst there. You release something but 90% of scene don't have a clue that release is out. Are we doing business because this artist-label-parties-scene stuff is business after all, or we just satisfing our personal taste and personal frustrations? Are we as people, giving enough and fucking DECENT support to guys doing this music? Hell no! Even worse is that their damn labels don't give them decent support, just opportunity to get more money or promotion for their own name. I am here with you for 11 full years, 2500 posts, active for so many years. Meet some of you and become good friends in real life. You know my alter ego but some of you know me as a person. We have some history here right? Let me take a personal example so I don't target any other artist... My latest release 'Imba - Liberation EP' was released 2 and half months ago, to be exact 73 days and yet not a single review on it. How and why? Not that it's most important thing to artist but to most of us it has value. We came here because we value some thing here and some words can inspire us to keep doing it. I would really love to read some words from some respected members in scene, good or bad but I would love just to discuss and see. - Is it possible that nobody heard it yet for 73 days? Hard to believe that. - Is it possible that nobody could spare 10-20 mins to write it for 73 days? Hard to believe that. - Is it really that terrible that nobody wan't even to think about it? Even harded to believe that not because is mine but because I saw/heard it on dancefloor. Even in promo post only 2 people left some comment... This example is just one small thing of many, not most essential for survival of Goa music but to some people could mean a lot. How often you sent supportive msg to artist, new or older just to thank him and make him feel right and happy for doing this? How often have you shared artists music or party videos on your social media just as support? I haven't recieved msg here in ages and just simple Thank You would mean a lot to me or someone... Artist is not producing music just for themselves, not this type of music as you can't live from it. If they don't feel connected with people they will stop, one by one. I asked myself many times why? Yeah I am enjoying, I love this music and love the lifestyle, traveling, playing and fun but for who? Morphic Resonance who is very much loved here or in scene generaly, who gets lots of attention... got same questions on our last meeting. Many guys does... And here we are back to beggining, the people for whom we are doing all of this. First of all is: can you say that you as listener/party goer/Goa Trance lover doing enough for Goa Trance so it can survive and be good? Are we artists only guilty because scene is like this and you lost attention? We are too lazy to comment, talk, support someone which takes just couple of minutes but we are always ready to bitch artist who lost months or even years on some release just because he is not Etnica and he is not 90s. This is not 'Mom got me a toy I didn't want', it's far more important than personal expectations and taste. If you want scene to survive ofcourse... I didn't want to offend anyone with this post and I hope nobody found offended. Just pointing some main problems and I hope that you will think about...
  9. As much as I don't like such minimalistic drops I perfectly understand need for them. It is all psychological. Some top notch producers told me they don't like it, some of them hate it but they see need for it regarding crowd, so they make them. If you want to play and be big, you need to make some compromises otherwise you can play only on local parties. If you can combine your love with business, that's success. You make tension, then you put it down, put some primitive beats for stomping than start building again. Imagine 8 minutes track of constant full power and melodies, you get tired after 20-30 minutes. Mood changes are good and people love them. I always like to give people to listen to my most favorite live set ever which is this one: We should really study Burn In Noise, technicaly and mood wise he done it to perfection. His music is super powerful with tension builds for over few minutes just like in Goa Trance, yet here and there he put them 'boring drops'. It is different kind of power, different drive, different mood which is needed for the mind and for the body of dancers. I am in process of doing experiments with my own music. Making different version of already released music, example my album... now whole album have it's own remixes or edites with different 'drops' or 'build ups' and some of them work way better than original ones. I know it's up to each ones taste but there is some science in it
  10. My favorite just after Temple Of Chaos! It was remixed back in 2014 and released later on NeoGoa in my EP, now this is another/improved remix. Funny story regarding that remix is that I asked Dimension 5 to remix Temple Of Chaos and they sent me original cubase project from 90s, which was misnamed, it turned out to be Omega Centaurus, another favorite which I decided to remix. Liberation EP was delayed for almost a year because I had plan to build studio, which I did few months ago. Made superb acoustics, got monitors so my sound is 10x better than it was on album. Few compilation tracks and one more EP will come during winter I hope!
  11. Just saw my post from 3 years ago and I noticed I changed my 'style' of mixing. Now no plans, nothing. Just load and play one track and what I feel in moment I do that. I like the feeling of getting something done unpredictable and in last moment.
  12. Alternative Control will always be my favorite full-on project and they were first psy producers that I met even before I started music production, some 13-14 years ago when I was high school kid... oh so much fancy stories from gigs they did around the globe, they were one to encourage me to start with my own production, amazing guys!
  13. I will always miss tracks like this: That's what I listened before I started with Goa and it's damn hard to hear this retro melodic fullon these days at festivals...
  14. But I guess we in Serbia are winners, best psytrance ever:
  15. Everytime I produce something and I am really into it, deeply enjoying sounds and psychedelia of it I got lost, just partly there in chair. I am not very aware of surrounding, feels like im in many places and then when I take a break it's hard to come together for some 10-15 mins ahaha I am not sure if it's what you asked but it is very pleasent experience and then all these inspiration and ideas come, then next day 'how da fuck did I made this?' All I need to do is to get the right sound to trigger that experience
  16. Sevilla In Trance had delay and reverb on bassline, say no more...
  17. I guess most of you are mistaked. It's about mixing not the mastering. Katedra himself has always had this style of mixing: bassy, muddy, industrial. I know because we collaborated long ago on 'Magic Science & Imba - Ghost Town' where he was part of Magic Science, and you can hear his style in the track. Even if I am not, nor personaly nor professionaly for it/this style of mixing, I support and respect his ideas and presentation of his music. And important thing is freedom which not many labels give you these days but Global Sect does which is amazing. In most cases when I finish and send premasters to label they say 'It's too clean', 'It's more Fullon than Goa', or it's not clean enough or buyers prefer more this or that bla bla bla... here Katedra had complete freedom to express himself musical and production wise. Just relax and enjoy in what he delivers to you as his own Goa Trance without genre/style rules and boundaries
  18. 90% of music played there is much worse than that Offbeat which have some sense, musicaly + production wise. Believe or not this is the main thing there: Ear-bleeding ultra sharp kicks, same bass paterns over and over, few note 'melodies' and often oriental vocals that doesn't make any sense. There is no sense in any of it at all but it's as you can see, what crowd wants...
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