mars

For those who might be interested, I4m about to sell my collection. ~1000 CDs, mainly Goa & Ambient music Watch out on discogs.

Khetzal plays litterally live, he even brings his studio with him, and adds soem live electro violin on top. Crossing Mind also tweaks significantly live.

There used to be one in NYC. But now ???

That's a topic where people are bound to disagree

I connect Native Radio's album "Chiba City Blues" with a girl I loved a lot back then.

Just downloaded it from Ektoplazm. At last it's released

Celestial Intelligence Morphic Resonance Lunar Dawn are trending a lot in my playlists at the moment

Lemmi, check PM

Here now: http://suntriprecords.bandcamp.com/album/epoch-of-the-terrans

Good stuff Also, check Analog Dreams, the new DAT Records compilation: in DAT circles, Purple Om was the producer of that first version of LSD (1993).

Check Suntrip, Cronomi, Zion604, DAT records DJ base.

Ableton is widely misused. 99% artists just drop pre-recorded and studio-mastered tracks in Ableton in the order they want and press play. So it's exactly the same as using Winamp with auto-crossfade (ie worse than djing)...but, if I may be sarcastic, the upside with Ableton is that if someone takes a photograph from behind, at least it looks like some elaborated sound production software is running on the laptop... so yes we can talk about a scam wrt the "live performance". Most are just waiting for the music to unwind and have nothing to do except smoke a cigarette or drink a beer or wave their hands. Though, there's 2 sorts of artists within this first category: - Those who play released tracks...why do they even show up you might ask? Those are the only ones to really blame imo. - Those who play unreleased or remixed music, that is, did a substantial effort at making the performance remarkable upfront. Seen the amount of work, most would probably play completely live if they could, but it's not easily doable if they still use analogic synths or compose with other software. Working that way is fair imo. Also a lot of them are production quality maniacs, so working that way enables them to studio-mastered music. Okay. The second category of artists add a synth or a few fx on top. They're very few. These have some use for their hands once in a while. The third category of artists, which are extremely scarce, play really LIVE using Ableton (ie: individual layers and loops played and mixed at will during the performance to produce something entirely new, ephemeral and unique). From my experience, the most an artist plays, the less time he has to spend on preparing live performances. Also, the bigger the parties, the less artists will take risks (computer hanging, bad mixing/sound quality), so they will rather play something static but which is guaranteed to have a good sound quality as it was mastered in a studio. In any case, let's not be too harsh. All these guys have spent countless hours producing their tracks in their studio with complex tools. So using Ableton for the purpose it was designed would really be no problem. Yet as I said above, they might not be able to play in the same conditions as in their studio, and also, many (really MANY) are nerds who are paralyzed at the prospect of playing their music in front of actual people (or they're drunks), so they choose the easiest/safest way that guarantees no fuckups.

Nerso - Exploration of Infinity http://www.psyshop.com/shop/CDs/tes/tes1cd009.html

@Shpongled247 I agree. Reminds me of a party in Ibiza where the DJ was hidden in a tree Awesome videos too. But everyone is free to dance as he wants! Personnally I settle where the sound feels the best and don't move from there.

I just found this site which lists every music style based on Spotify data. http://www.furia.com/misc/genremaps/engenremap.html The more you go to the bottom, the more the music is organic, and on the contrary it's increasingly electronic as you get closer to the top. On the right are more atmospheric styles, and on the left are more loaded styles. And the fun thing here, is that you can listen to an extract when you clikc on a style...And if you click on Goatrance you get to listen to...AFGIN !!! source: http://www.addictivetips.com/web/every-noise-at-once-lets-you-listen-to-music-from-every-genre-there-is/

The first album of Xerox & Illumination is really great. The first Audialize too, and the first Optokoppler. Recently??? Well, nothing.

Fullon is not really boring unless you endure several hours of it straight. Dark is not that boring because there's always a lot of twists in the tracks. I'd say Y2K minimal was the most boring. Tripiatrik, Source Unknown, Etnica's Chrome period, that kind of shit. http://www.discogs.com/Source-Unknown-AM-Receiver/master/44471 http://www.discogs.com/Tripiatrik-Ess-Muss-Sein-Help-Us/release/76166 https://www.youtube.com/watch?v=GpTDbpddwn8

Not at all. I don't even own this album.

Actually we migrated to IPB in November 2005. It's suprising nobody noticed it for 8 years in a row...but possible.

Héhéhéhéhéhéhéhé...someone bumps this thread a few days ago, and yesterday.... Gangnia_-_It_Came_From_The_4th_Dimension-1997-MYCEL I didn't know this album at all. There's really good forgotten stuff out there

Oh I understand now, we're on opposite sides of "the means to an end". IMO both approaches are valid.

There are schools that can teach you properly sound enineering (SAE, Audio Institude) in your very own country. In your shoes I wouldn't ask on forums for truncated bits of information from mostly uneducated people; I would make the investment and go straight to the source where solid knowledge is given out. Or at least ask on dedicated forums. That's a choice I won't do: clearly, when you or us are about to get anything mastered we know the tracks by heart and know deep inside where the emphasis should be put, or in which areas the tracks shouldn't be insisting too much. So I trust my ears and heart and guts rather than equations and graphs and believe that if I cross the line I'll be biaised. Since artists and audience are happy too, I don't feel the need to dig deeper, so far. If you want a way of improvement I'll give you the only one I have: I always ask Tim Schuldt in which areas the tracks were weaker so I can inform the artists and they may find ways of enhancing their production. Who said there's a "label vs label" thingie? I said I abominated these rhetorical "dynamics" discussions. Seems you're more in defense mode than I am actually héhé Nah I'm pulling your leg. My position is the same all the way to the existence of the label itself. We created it to release the music we would have bought if we were regular listeners. For me it's all about feelings, nothing about rhetorics. 95% of what we release is fresh but if, for example...say...we want to reissue an old CD to enable people to enjoy some old glorious release like we do/did, we'll do that proudly too

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!

Pretty good! Frenetic music, feels weird to see KoxBox images on top of this music. Good visual nonetheless.

I remember watching it on the french TV when I was a teenager. Very interesting.