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Jikkenteki

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Jikkenteki last won the day on August 23 2014

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About Jikkenteki

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    Visually distorted
  • Birthday 07/17/1973

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    choisai
  • Website URL
    http://www.par-2.com
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    Male
  • Location
    Japan

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  1. For my stuff it depends what you mean by "no voice". If you mean "no cheesy one shot here's a random guy saying something taken from a movie or lecture" then, outside of the complication released track "I.S.B." I am clean. If you mean "no human voice in any way shape or form" then I wouldn't qualify as I make pretty hefty use of sung voices, either programed in some of the earlier versions of Vocalic software (the main theme in the second half of "Running Start" on Flights of Infinity recommended above is a perfect example of that), or in some cases sung by myself. I'm also a major user of choirs and there are some chants or sung parts borrowed and modified from sample CDs here and there as well.
  2. Upon first listen it was clear that Dancing with Kadafi was a downtempo psy-attempt to make a track like Dream Theater would have made if they worked in this genre. Anyone familiar with Dream Theater's music would recognize the influence right off the bat.In that context the sudden changes in direction, etc all "make sense".
  3. Outside of Filteria, I did remixes of tracks from the above mentioned artist who will remain unnamed, Sound Field (released), Optokoppler, Noise Anomalie, and one other artist who said I could use the remix for live performances, but preferred not to have it released at that time (instead of saving it for live use, I stripped that track of all the other artist's work and rewrote it into what became "Recon-Figure" on the last album). There was also a remix the late Symphonics of Phi did of my track "I.S.B." shortly before his death. Regarding retirement, as I have said in the past, I will likely get back into it in the future, but at the moment I have no usable studio space and two tracks which need finishing before I can start anything else (I've always had a strict policy of finishing EVERY track I've ever started, so having two sitting undone is a major thorn in my mental side). We now return you to your regularly scheduled discussion of old style Filteria action....
  4. To stir the proverbial pot a bit more, I've been sitting on a remix I did of Filteria's "Mind Expansion" since 2007. It was going to be on a remix cd I was working on that got trashed when a certain artist (not Filteria or anyone else I will ever publicly name) suddenly decided they wanted to be paid far more money than was initially agreed upon. Also the label for one of the other artists would never get back to me one way or the other regarding the use of my remix of a track by one of their artists (the artists were fully for it) and the overall b.s. factor made the release impractical. My remix of Sound Field's "Technological Terror" that Ektoplazm put out a couple years back comes from that same project.
  5. Regarding the Hallucinogen shifts from triplet to straight time, years ago I read an interview with Simon Posford where this was addressed. If memory serves me correctly I seem to recall comments about some sort of morph function in Logic (I didn't own logic at the time and never bothered to look into it) that shifted the triplets into straight 4 count notes or vis-versa. Also I know Principles of Flight did much the same thing on their first album, which I seem to recall was made in Cubase, so I know it is possible there too. Not much help, but I can say from personally experimenting with it years ago that "swing" likely isn't much involved in the process. But I could be completely wrong...
  6. The term "progressive" mixed with trance has redefined itself a number of times. Back in the late 90's early 2000's "progressive trance" wasn't really used by itself in the psy-circles I was involved in and almost always referred to the more popular flavor of trance with artists like Paul Van Dyk, Tiesto, etc. Around that period there was a trend in psy that many people called "minimal" which peaked, died out for a bit in the full on backlash against it, and then basically (at least in my view) came back with a few new influences as progressive psy-trance, which eventually worked itself into what you have today. For the younger generations it is probably different, but for me the term "progressive trance" will always bring to mind artists like Tiesto, Salt Tank, etc and not anything in the psychedelic realm.
  7. I will make music again eventually, but at the moment I have no studio and a one year old running around to take care of, so between work, that and spending time swinging swords about, there isn't much time for making music. I do have two tracks nearly completely floating around, but when I will be able to get those finished is a mystery (As a rule I never start a new track without finishing the previous so having two unfinished is a huge breaking of my own rule and a bottle neck in regards to starting anything else)
  8. 12/8 as a time signature is just a way to write 4/4 with 16th note triplets without putting the term "triplet" into the notation. When I was in music school one of my instructors liked to say that 12/8 was basically the "musical snobs way to notate 4/4 16th note triplets". There are numerous alternative ways to notation just about anything time signature-wise, but I was taught that it makes more sense to go with the simplest and clearest version. I will guarantee that 99 out of a 100 dance music artists writing pieces like this in their software are using 4/4 with triplet quantization and not 12/8. For my tracks not in 4/4 (that I can remember off hand) The Long Walk Home: Something New 5/4 Stepping Forward 7/4 Flights of Infinity: Symplicity 15:07 - 19:16 section is in 5/4 The End of the End is in a cycle of 3 measures of 6/4 and one measure of 8/4 The Beginning is at the End: Self Destructing Mechanism is in 5/4 until 7:49, after which it is in 4/4 As mentioned already, Ubar Tmar makes a lot of use of non-standard time signatures. Simon Posford does on occasion as well, although more so in Shpongle than his other projects ("...And the Day Turned to Night", among others, is in 7), in addition to his slick shifts between straight sixteen notes and triplet 16th notes and vis-versa in 4/4 time signatures.
  9. Check your inbox. There are two different versions of the CD with two different track listings. The original was a privately printed affair that the organizer of the event sold fairly well. They made a reprint with proper distribution and a few of the artists wanted out of that one and the track listing changed some. As for my track, it is actually one of my older tracks, pre-dating the first album, but it stayed in my live sets pretty much until I was forced to quit performing and always went down pretty well.
  10. I can understand both sides of the proverbial coin as I hate the waste factor as well. On the other hand, my closets are loaded with boxes of PAR-2 releases and while we might like to move them, the fact of the matter is that no one is buying. The only release that came close to selling out was our first compilation (I.E. the earliest one made). The next best seller was my first album but I still have 500 copies of that sitting in boxes next to me. Things progressively get worse with our last compilation selling almost nothing and being pretty much unsellable due to the "distribution" deal we got through a shop with those. We never got a cent back on that one and again boxes and boxes of them siting around. The end situation is we haven't sold a copy of anything in years and any money anyone has offered me for the remaining stock is completely lost in the costs involved in shipping the things internationally (I.E. we have to pay to give them away). Basically for all intent and purposes it is a waste of money to try and move them anymore and it is a waste of space to keep them. We loose either way so in the end they will eventually just all be thrown out. Such is the cost of doing business unsuccessfully ...
  11. I believe I have told this story in the past, but several years ago I was at a party and after a live set was approached by an individual who expressed his appreciation of my music and continued to babble on about how much he liked it and all and often listened to it at home, for which I thanked him. Then he proceeds to ask me what drugs I take when I write music. I told him I don't and never have taken drugs and they don't hold any appeal to me. He laughed and then reassured me that it was ok to tell him the truth because he wanted to make music too and really wanted to know what drugs I took to make the music I make. I again told him I don't and have never done drugs period. Again he laughed and said I could stop joking now. This exchanged continued for a few minutes until he finally realized that I was indeed dead serious that I do not and never have done drugs ever. Once this sunk in, he got belligerent, and starts yelling about how I am just a poser and my music, which five minutes ago was great, sucks and eventually stormed off. While I find this amusing enough in and of itself, perhaps more amusing is I have had similar conversations a number of times over the years. Um, so yeah, I was one of those artists who didn't use drugs...
  12. Back when I was still playing live I tried to always have the ablility to add or rework something on the fly. I tended to mix my studio tracks down to six tracks (bass, kick, percussion, cymbals, leads synths, background synths and sound fx) on individual channels so I could apply effects and what not on whatever section I felt like at the time. It also helped in being able to adjust mixes for particular venues to some degree. In addition, I always had a large selection of percussion and break beat loops that weren't in any of the original tracks, that I could trigger and work with live via buttons on my midi controller (think like live DnB, etc percussion elements). On top of that I always had my midi keyboard running to two different software synths which I would select in the mix and would then play parts from the tracks or improvise additional stuff over it. I had more than a couple people tell me after live shows that it was the first time they had seen anyone actually "playing" in a live set. Coming from a live music background this seems like the bare minimum to me, but to each his own.
  13. I'm still floating around on occasion. I have a couple tracks from a couple years back that need finishing, but music making is pretty much at zero as we are raising an infant now and I don't have any studio space or the time to devote to any of the rough ideas I may have. For a few years there I had zero interest in making music at all so I suppose the fact that there is any interest at all now is a step forward.
  14. I just wonder how much freetime the person who made this had when they decided to make a video for the whole damn thing.
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