Aeros

@abort, whats fit? Is that for time stretching a sample or snapping it to a certain speed/tempo? They have that now and much more flexible and even autodetectible. If you sample in beats or whatever it'll auto beatmatch to the tempo of your track, and is tweakable from there. Eitherway what I like most about the software is that there are a million ways of doing the same thing. One can always find the way they are most comfortable with. @strydr ...

Oood? wots Oood. Oooooood.

How come you haven't upgraded? The later ones are the same just better and since FL 5 / 6 rivals every feature that cubase, reason, or logic has.

Just buy really good balanced headphones for $100-$150 until you budget and production skills can support expensive monitors. Mix on your headphones and then when you are finalizing the track play it on your speakers, car, mp3 player, everything you can to get the perfect balance. Good monitors doesn't = good mixing. You can mix perfectly for your monitors and have it sound like shit on low-end sound systems. If you understand how one sound system compares to another you can mix well. Pro cans won't be perfect but you can do your best and then tweak it based on your impression on how it plays on other sound systems. Now eventually you will get good enough where monitors WILL make huge difference, but by huge I mean maybe 20% better and it'll pack that little extra punch that modern psy producers muster. For all practical senses getting some good headphones to acurately playback sound will be the best move for you. Those cheap subwoofers for low end 2.1 systems are really inacurate, don't trust them. If you have an EQ on your sound card I recommend balancing it out as best you can so that it sounds best to you. Windows sound control should also have an advanced bass and trebble slider - do whatever you can to get it to sound as best you can. Also expirament with moving the subwoofer around, facing it the other way, upwards, etc. This is totally against what a pro will tell you to do but then again you aren't in a pro room nor is your woofer proffesional. I found that very strangely if I turn my cheap subwoofer 45 degrees so its facing diagonal to a corner in my room it sounds much better and balances the dryness and the boomyness out - why this works I have next to no idea I just know that in the position I'm sitting in it sounds much better.

The official word is that you shouldn't monitor with headphones, only use them as reference since theres a bunch of reasons why even the best won't make good monitors, such as something to do with stereo frequencies and the bass. You can get good results and IMO if you just know your sound output well enough and how it compares to other systems you can get away with using almost anything. What is your budget? I use the audio technica ath-m50s and am really happy with them, especially for the $99 I got these $200 for on ebay (unopened).

I think my life aspiration will be to get reviewed by Jon Cocco one day. Great review and describes perfectly whats going on in the album, my personal review is on par, with the exception of Octagon, its one of my favorite tracks from the album - like a fresh breath of air interms of how it sounds and how that track chooses to progress. I definately pick up on the groovy vibes with the lead melody starting at 2:40, which is carried very well throughout the rest of the track.

I thought the same myself Will wait to see if there will be more of this artist before picking those up. Any news on that?

Now here's me thinking that the new artists should seek to explore what else goa is capable of bringing to the table less so than rehashing the style set before - never the less this is a powerful example of what the past was all about

NHJO also has some darknitzhogoanot techpsy tracks out there, you should check em out

Ehehehe, well I'm joking around here but really the inspiration is independant For me I always have a goal to accomplish with whatever I'm working on and the message comes from the vibes and experiences around me - and especially so the people I love and wish to party with - even if I haven't met them yet I mean whatever your inspiration is its always there within you, Anyone can do it - it is not a special tallent, you all have your own way of bringing it out. Art itself is a collective consciousness and all the individual can do is pull strands out of this pool via the form of inspiration. Everyone is capable of inspiration and everyone is capable of art. The technical aspects such as learning how to hold a brush, which colors to blend, what angle to catch, what knob to tweak or what frequency to boost...all this is a short hill that can be overcome in little time, but once you get to the horizon everyone is on the same page - talent has jack to do with it, its all inspiration and motivation as any artist can tell you - you rely on yourself obviously, not a green delight - though it's qualities certainly make it a good tool for those seeking to connect with their creative side more rawly. The wav editor in FL? I actually almost never use it so I'm not the best person to ask - any quick editing I need to do like that I do in goldwave simply because I've used it forever and am used to it. Sonic foundry is definately the most powerful - but how much power do you really need? I'll often prefer speed and ease of use to a thousand paramaters I will never have time to learn. To answer your question it gets the job done, but if you want to know whether to use it I'd say just go with what you're most comfortable in. FL's wav editor is directly in the studio so you can use it immediatly and not have to juggle programs.

Well your style is simply the message you want to achieve with your music - you always have something you want to accomplish right? Just keep it in mind always and work towards it with what you're creating on the screen. Before you open up your work for a session (since it takes so many sessions to finish a track...grrr) try immersing yourself in thoughts, conversation, or experiences that reinforce the vibe of the message you want to spread through your music. People and past experiences is really where I get alot of influence if I had to say it comes from somewhere - for example next time you try making a track, do something in your own style but think of an eccentric friend or group of people - then based on how well you know them try to make a track that would sound in ways that you think they would like - make the music match the characteristics of the person - this is something totally fun to do if you surround yourself with interesting people.

I'm still waiting for serious questions here...

Roll a spliff and open FL Studio

Whats your room like? Pics? Describe the way they sound more and the way you think they could sound. Some super mild EQ could fix your problem or moving it to another part of the room could as well.

If colin is such a dancefloor kilargh why is this thread totally tied?? I'll tell you why, because I voted for jikkenteki since I knew more people would vote for colin so me and others seem to have given him the credit he desirves. Colin: All you do now is lip sync to samples talking about marijuana and batman trying to make hip and modern beats to compete with Duvdev's brilliance but you've got NOTHING on him everyone knows you are copying he is the true vocal rhymes monstargh and Teki: You seem to totally forget the kickdrum in half your tracks but at least you don't sing so I like you!! [totally joking around with both of you, don't punch me ]

Totally overrated...still

Here's one, Bobby, how do I setup my live act in FL Studio?? A: The short or elitist answer is get Ableton Live The long answer is: You'll have to render out a huge portion of your tracks into wavs and then compile them all together in a 60 minute "live act" file - with each of your (channel)tracks rendered out seperately or however you see fit. Then compose some transitions to make it all seamless. Next, you will have to decide whether you want to sell out and just hit the play button and look like you're busy with EQ (not uncommon) or if you will actually do something live. Decide which elements you want to automate and port the vsti's or fx or whatever into the live act project file and map out the knobs or sliders or w/e to your midi controllers. The tough part is you will have to do some major copy and pasting and aligning - open 2 instances of FL and just export inport scores, synths, fx, everything, into your live act file that you may plan on automating live. Then link up knobs/sliders to your controller for everything you want to automate - it may be a good idea to use post-it notes or a sheet of paper to tell you what is all linked incase you forget. I would also do a full automation pass to get the default values/ auto in the live act that way if a knob or slider is bumped by accident it wont fubar how they should be on the synths. The big alternative to this is to just do it live with some on the fly mousework and just link your midi controller input on the fly - with FL this is thankfully easy enough, however this trades off ease for more work on stage and more potential to mess something up - try to do this all in the most fail-proof way you can imagine and make notes for yourself So you have to do all this (render to wav and port only what you want to automate) because of CPU usage, which shouldnt exceed 50 or so for stability and to keep headroom open for automation processing. the less cpu the better, and put everything you put into the channel rollout to "smart disable" to save more cpu. This all is how I IMAGINE to do a live act with FL - its a lot of work no matter who you are or what you use, I'll emphasize that each person does it differently and finds their own way to do it (just like production) - also I dont have direct experience on a stage with this so dont trust me too much but if you dont know where to start - this should help. how elaborate and how "live" you can make this is up to you but at minimum all you need is the wavs to crossfade into eachother in one big file and then hit the play button, and unfortunately quite a few people do this, then "look busy".

And I'll probably answer them too!

No relation, music comes from stores of inspiration mixed with creativity - if you are in a creative state of mind [active mind, comfort, and no distractions] and if you are inspired [ambition, vibe, and weed] you can set yourself to any project. I can work during the day but I prefer the night as its a more relaxed "timeless" time - the hustle and bustle and annoyances of the day have all gone to bed, literally and metaphorically. However, I know people who have unplugged themselves from the regular way of life and work from on their own from their blissful home and these artists can work in the morning or the night or however they chose - I don't see a relation between time and the end result since time of day is not part of that equation

I'm very curious about the shakta track, one of my favorite goa artists.

I've noticed him gone since around the time this was put out, I've been wondering the same but I never got into regular contact with Lars, havent checked the site recently either, perhaps theres news? But yes, amazing music from the beginning

For those seeking more mindsphere check his myspace http://www.myspace.com/mindsphereproject - I have nothing but respect for someone whos been quietly engineering such a message for so long and am glad he's getting this recognition now

Theres sparse compression on any of the tracks from my end (no more than 1-2db), only enough to keep levels uniform, again, its unfortunate that I have to get flak for this, you can only polish a mix so much, especially when tracks are old or lost and theres no way you can get a better mixdown of them, but out of respect for the artist and the wonderful music I'll leave these details out The post production succeeded in getting all the tracks to sound uniform interms of levels and stereo from track to track, myself and ali are glad with the results considering what we had to work with. Being that this is a community release, if anyone in the community thinks they can do better, PM me I'll hereby discuss this in PM if anyone wants to get into it, and yes we'd all love to hear a better master if possible, including me! For the pessimists all I have to say to them is a reminder that a whole range of people worked on this in their spare time for free to deliver this to you for the wholesome price of nothing. And these people are doing it because they got fed up that no one else is doing it and realize if they dont do it, it wont happen.. An example of the power of the people when they set their mind to something. Apologies if you've been spoiled by more uniform bulk releases and have thus forgotten what the music is about.

Hey I'm more than aware, there were a number of technical limitations and set backs - on my end not being the most experienced so to speak, on ali's end his sound card giving him false values which resulted in the original mixes being very badly out of proportion ( like trebble being 4x louder and very low low-end and i'm not exagerating )- there were a number of reasons for not being able to get proper mix downs, such as some of these tracks were made in 2004 and the original project files are gone. I do assure you the masters are much much better than the originals as these are old tracks of ali's with the exception of we have a dream and none of them had a standard sound or production. We've actually not heard complaints about mastering until now but i anticipated people to relate it with modern releases eventually Actually if anyone wants to have a go at remastering this let me know! Back when this was being compiled it was a matter of who had time to do it. Be prepared for some difficulty though. - I do affirm its the best I could do given the circumstance, spent nothing less than a week at it

There seems to be this incessant wave of paranoia and competition between the new goa labels.. i remember hearing similar things about suntrip supporters trying to undermine free releases - all this is total bullshit really. There is so little money to make, everthing is so expensive whether its equipment, or pressing orders - i think if anyone is doing this as a serious way of making money they should either get a real job or otherwise learn to sell-out. This is all for the music and if anyone starts chasing after money, plans and relationships will fuck up. Its good to imburse the efforts and work it takes to put something out into the world both on the artist and label side, but even then what the artists due is pure sacrifice, someone has to do this for the music to exist and to reach the people - its such a sacrifice of time effort and energy and really as a job would be one of the lowest paying ever if you were thinking of living off it [unless you do gigs 6 months a year or if you're a label throw parties every 2 weeks - then you might have a chance to be able to quit your day job] The point is, when there are so few of us and all these labels are looking to release the same pool of maybe a dozen artist + another dozen unknown artists... you can see we're all in the same fight. My stance towards meta is of great gratitude - their vision was to release as professionally as they can some of this new goa out there to make people aware that this sound is comming back and to give some of these artists the spotlight so that the world can see what they are doing. It serves to show that there can be way more than 1 label and 5 artists making this music. The change meta and other free releases have done is spread awareness for the goa revival and makes it possible that today full-on labels and labels like dragonfly are considering making new goa releases - something that would have been impossible a few years ago. I've talked with cosmogenesis as a good friend and told him he's only done good and is the most out-spoken and supporting person i've encountered through this music. I am sure we will see more of him and the community as a whole in the future, for now their peace is desirved.