Aeros

That would be what you call coincidence. These tracks are ali's work from around 2003-2006 and honestly this is one of the most powerful albums I've heard. Inner Cyclone is my favorite

FL studio keeps backups of the last flp, zip, and flc that you save in ...\FL Studio 7\Trash bin, otherwise it looks like the flp got corrupted which happens very rarely if you save while the song is playing or your cpu usage is very high. The best thing to do though is save your project into a new archive every time you save

Artist encompasses all those and at essence art entails all acts of creation. But then the question is does one need to be an artist to recognize art and call it such? The artist says everyone and everything is art... To me music is artwork where sound is the canvas and people are the paint.

I'm extremely pleased with this CD. Its a delightful pandora of ever morphing sound, I really can hear simon posford's production shine and consider it some of his best work. Never is a beat dropped and this plethora of undulating sound is richly forged into every instrument, in my opinion that is where much of the flavor lays. The other thing I see is that many people are misunderstanding the music, this like all posford's previous work is made for a full listening experience. Start from the beginning and it takes you through a full well balanced journey of emotion. There is no filler, each track serves as a chapter in the story. I've listened to the album end to end 10 times now and each time I find it just as enjoyable as the last. Tracks like Happy Pills and Ribbon on a Branch are exhilarating tracks and I really feel the duo has accomplished their goal of bringing the psy vibe to a band with these tracks. People are overlooking this music for not sounding like what they've heard before, but when have you heard a release from this artist that sounds like a re-hash of what he's already done before? 8.5/10

But many are quite good if you know how to use them http://www.kvraudio.com/ Sort by rating and download your top pics, theres a number of flexible soft synths you can work with like triangle, texture, to name just two good ones. If you want to make music you don't need to spend any money, theres no such thing as prerequisites like owning a hard synth or having to use cubase - simply just do it and you will be making music. For newcommers expensive hard OR soft synths can overwhelm them, there is so much flexibility offered you won't know where to begin. You can twidle knobs all you want but if you don't really know what they do or how to mix them up as if they were a palette of paint, it won't get you much farther than random expiramentation which'll resort to you using bulk presets and then making generic psy that sounds like everything else. Equipment will make the beeps for you but if you can't sequence and sample you won't get anything down. Stick with whatever you choose, but do just that; stick with it. I don't recommend all these prods and poke into different software, just master one thing and make it your instrument. Constantly changing programs will never let you work efficiently unless you really plan a 10 year course in music production.

Reaktor I here it everywhere in pop music and most mainstream production. Its got thousands of great presets that sound extremely good and need no thought to put together. I even hear it in loads of bulk psytrance these days.

I smoke a bowl.

In otherwords, everyone will tell you to get something different I've noticed this when people give out recommendations, its good to heed some of what they say but honestly the deciding factor is simply what you want and what you think will be best for the price.

You would be better off getting a synth with that kind of money, and I mean a rock solid one - you can find them. Get a micro korg or something like that. If you just want a controller I wouldn't spend more than $200 / 200 euros. I myself donned the M-Audio Axiom 49, love it for its pads, sliders, and knobs - its got every midi control I need on it. Aslo you sure about 88 keys? Thats quite alot of keys, unless you see yourself playing live between 3 or more octaves all those extra keys do is add on the price and nothing else. Most controllers will have a button to change the octaves. IMO unless you really need that many keys, that keyboard is just going to take up a whole lot of room Now its not a bad choice, the keyboard is really good - but again it all comes down to what you feel like using it for and if you think its worth the money.

I produce with FL its the best. Its just a matter of production knowledge and plugins. Keep it up.

Downloaded What are you producing with?

Wtf? smixmwnn? mwnn? Man with no name? I can't decipher the other part though. Wasn't Martin Hyzitater one of his names from the list of names NHJO was selling?

The cover looks marvelous, IMO hundreds of times better than the bland minimal and trendy covers that mainstream psy is adopting, covers about as inspired as their music.. Its a great eye-catching cover and goes well with goasia's music, I like it - but like Anoebis prefer the natural inspired covers - anyone realize the fractals that made Filteria's album covers is coral reef??

This is an expertly crafted myriad of all things not full-on. I'm impressed by the processing you've done on the mix as a whole - it blends the 1997 sounds seamlessly into the 2007 ones - like a final proof that the goa artists of today are continueing the story for us all. Highly recommended mix that brings you full circle through the music and vibe we all love

Psychiatrist Trance. Sorry, pavel's old name popped into my head What about shytrance? 160BPM full on bass with samples from fallout boy and slit my eyes with razorblades.

The sounds we love in goa trance isn't dead, the israelis just moved to producing their own style which is what psytrance is today. None of the producers leaving the genre were replaced, and thats been the situation the last 5 years. Its far from dead, but for sure there are not enough people producing it or playing it at parties and all that momentum needs to be started again. I'm not going to stop producing goa and I don't think full-on/ pop psy is creative enough - there was so much more that the goa vision contained - the music for me when I first heard it was one where rules didn't apply and each track had no limitations to what it could do. The technology back then was so primitive, but today we have so much we can explore. I'm particularly happy about the sounds I'm brewing up - I'm starting to believe goa is the best dance and trance music there can ever be, and why should that be surprising The Aerosis project is looking to tap into modern technology to continue the vision. I think all true "new" school artists are doing this, they are just continueing the vision - I'm rather against remaking the oldies of 10 years ago. I've seen some people here say that you can't produce real goa unless you are using old hardsynths and the same things people used in that time - I think thats very wrong and if anything is to kill the genre its the lack of exploration. I'll appreciate new artists making "old" sounds but I don't look up to it too much, I still see it as a limitation on what the music really is - this time you are copying all the old producers rather than the new full on producers. Goa will be back Its already comming along, but it won't be remakes of the classics you guys love. It'll be better I'm already hearing it from so many people. What do I think of the psy artists refusing to make goa? These guys have been so locked into formulas they've forgotten music is about creativity. Suggesting to them to make goa is suggesting they start using those archaic technologies and simple formulas, they are much more excited about the latest synth cheese reaktor can give them - in their drive for success they all have turned the same, making the same corny sound making the dance circuit no different then the mainstream music scene, where an established sound is decided upon and if its anything different it won't get played in the clubs. I don't blame these old artists for taking this attitude, in their glory they realized they can be happy making a living doing what they love - producing and playing music. By the time these guys hit 30 they're really more worried about being able to support their families than creating sonic inspiration. Let them do so Its the new guys, the young people that will continue the story as 2nd generation goa trance. About the title - I agree the music has little to do with goa, bu the term has come to mean ethnic earthy tribal music. I'm not sure a term will ever replace it - it may eventually just mold into the same cesspool of "psytrance" music - or if anything, I say we call it Melodic Psychedelic trance Isn't that what it is?

Devious, through what medium are the parties in minneapolis promoted? Dunno if there is any tribe.net for the psyscene there. Lemme know I've got a friend there who always complains of the lack of parties

Up to par with your last set, and just as awesome if not more! Everyone should hear this, its a plethora of the melodic goa sounds we love. What do you produce with, and how long have these tracks been working on tracks like this?

Mate, thats how it is nearly everywhere If its not a festival the most you'll see at a party is around 200, maybe 300 at a really good one, and the pace is about one good/legit one per month. This culture isnt' very well established, but thats better. Go to those 100 people parties, look around and talk to some people and you'll realize they are a family of partiers that have been together for every party for years. I prefer those vibes to the cheesy pop stadium trance/club clusterfucks with 5,000 people not having any sense of vibe or beat and just spying out which guy or girl they could mooch a night of cheap drunken attraction with. Or the 16 year old "ravers" who have a trunk full of glowsticks and seem to think colorful balls are psychedelic particularly when laying on the ground trying to look as fucked up as you can so people will think your E is more dope than theirs.

I'm curious about Suntrip's goal and future vision of the goa trance scene, and also how they feel about the small goa revival of the past 3 years that is still growing. And one for Anoebis: How do teaching and goa trance labels mix for you Gonna give any extra credit for students that go to a psy party? That would be such a rad teacher...

Try doing some signal processing (linking FX) with reaktor. Apparently 3.2ghz is good for about 3-4 instances of it before it maxes your CPU and you can't do anything. TRohr, if you are using FL your best tool right now is their getting started tutorial, its beefy but will introduce you to all the basic concepts of studio work. It might be this -> http://fls.e-officedirect.com/GettingStart...ual/English.zip but they've changed alot of their site and features so that might not be the exact tutorial I have in mind.

oh lol, unintentional pun. Was referring to hardsynths Haha To touch up on what malevol3nt said, it will be a very frustrating process, if you aren't prepared to blow absolute ass for the entire first year, suck for the 2nd, and be average for the 3rd, producing might not be the thing for you. The only way to be good is to do it so much that it all becomes second nature, then - like an instrument, the ideas will flow into composition and you won't have to think about it. Until then, its like learning the most complicated instrument in the world - and the way you have your studio, you're setting yourself up to learn 10 of the most complicated instruments ever, it can be a daunting process. But its very rewarding and there is a euphoria that comes out of producing, I get it every time...every time a track breaks through and starts to sound complete, and you actually have accomplished a track which you will dig very much , perhaps more than other people since you're the one that makes it. Its a really strong feeling, its almost like you're feeling the glowing smiles and fun of the thousands of people partying to your song in the future, and you feel that all at once. The better it is the better the response you know your song will get... Plus its just so much damn fun! I love producing, its the best way by far to vent creativity and inspiration, more rewarding and enjoyable than any traditional art. Whether you make it or not is just up to your own detirmination and inspiration, even you first tracks are fun and exciting even though they suck. There is a nice loop hole you can take if you want your first tracks to sound decent and not suck, yet still learn from them - try making some ambient style tracks, or even simpler some soundscapes. Simple stuff but it'll teach you the same concepts from producing goa or psy. Then build your way up into including beats and basslines. Word of advice, never try to replicate someone elses melodies or remix a track. I don't say that because its wrong to, but because you will never get it as good as the original artist, it'll only dissapoint you if you keep trying to make hallucinogen - LSD remixes. You can't share the same inspiration as other artists, its best to use your own and your own only. Do this and you're guarunteed your own style.

Yup this is true, mp3s decompress about 20 seconds or so and buffer into the memory and play from there. Depending on how the file is being played, .wav should stream directly from the harddrive, which so long the CPU isn't doing a buttload of other things, it uses less resources then skipping around an mp3. Playing mp3 makes the HD read and write (buffers, etc) while .wav just makes it read. In most situations it won't matter at all though, technology is sufficiently fast enough.

You may be going the wrong way here. Start Small Reaktor is possibly the most complicated synth out there, not to mention so CPU intensive you'll maybe only have 3-4 instances of it in one composition before maxing out your CPU. Reaktor has amazing presets but there is so much functionality and mini-synths inside it that if you were to create your own sound it would take you days. Modulating existing presets into new ones is also a challenge. I would not delve into buying hard synths or producing with the cutting edge of software technology until you have learned and mastered the basics as if they were an instrument. You hear about pro artists using these complicated systems so much because 1) they have messed with this shit since they were 12 and 2) they like to brag, and this stuff is their hobby and passion so they'll get their hands on everything they can play with. If you are just starting, building a studio like this is not the way to go - start with softsynths, they are very easy (compared to hard ones) and all the tallent that revolves around production is learning to translate what you come up with in your head to come up into the program - that means when you imagine a sound you should know exactly what you have to do to hear that sound out of your speakers without having to even think about it. If you want quick results this is what i recommend, starting small. Pick one of your many acquired softwares or peices of hardware and stick with it - for a year even. Then when you learn all you can out of those peices, you can integrate new things into your work flow - if you master one of them you have mastered all of them. The other vital peice of knowledge is what works for one person might not work for others - so if you really take to heart what I just said you can even disregard everything I've said here, and that too could be the best advice to give The best thing to do really is do what makes the most sense to you. Buying all of these things and trying to use all of them in your productions doesn't make very much sense if you still haven't mastered the techniques behind production, mixing (composition mixing), synths, FX, and the most vital of all, music composition. For a starting synth I also recommend albino, 80% of the things I compose use that software, its very flexible and extremely powerful if you know how to use it (Cybernetika has invented some mindblowing FX synths unique only to his darkpsy music) Albino will make no sense at first but play with alot of presets and you'll get the idea of how it works - kind of peculiar to learn but really powerful once you master it. As for software you will probably get the quickest results with FL. Picking what softare to use is tricky though since you'll likely stick with it forever and detest the others since you'll have to re-learn their UI.

The album art is very...pleasant I really love it - will check out these tracks as soon as I get a chance.