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Everything posted by Stuff

  1. The final mix sounds smooth and nice. The track is quite soft now - and I like that. You could blast the beat a bit more (by hard compression i guess) but as it sounds right now i think it stands out in a good way. Personally I tend get sick and tired of these ridiculous loudness levels that seem to have become standard in todays music and mastering. `Position Of The Sun´ sounds quite fresh to me because it doesn't follow any "loudest is best"-rules... Instead it foucs on the atmosphere between the sounds and the basic rhythm. Easily said: the foucs is on the melodic parts and the flow, which is more musical to my ears than songs by producers who seem to concentrate more on about who can squeeze the most out of the Limiter.
  2. If you feel like running it, go ahead. I'm participating in a huge load of forums that focus on music making and studio discussions on internet, so i might say the web is filled with it and it's kind of enough.. But on the other hand - the reason why i tend to visit so many, may be that any single chosen one of them aren't enough. Maybe we need a good one!
  3. Well said, It doesn't really matter if it is samples as long as the result ends up creative, inspirational and the spirit is kept. It matters HOW the samples are used. And for me, Shpongle is a breath of fresh air in this corrupt jungle (the whole musical biz) of lame producers using other less-well-known (but as usual: with way more talent) artists work. What I really hate is those assh*les who are sampling some underground club tracks and makes hits out of them, earning hell of a money of work they didn't create on their own. Now i'm not talking about Shpongle, and they sure aren't getting any MTV hits or things like that either. But for me who have been listening to all sorts of electronic/dancemusic the past 10 years, immediately hear when good old "unknown" well-produced-underground-high-potental-tune is sampled. And always by some lamer who doesn't give a shit about anything, it has happened alot of times and made me angry. They amorally take advantage because of some good music that has been produced and released at a point when the public market wasn't ready for it - because the underground always is YEARS ahead of the commercial music in evolution. I mean for an example, a hardhouse (or whatever it's called; acts like Brooklyn Bounce and Scooter) group called Warp Brothers had a huuuge hit on the meatmarket dancefloors (and commercial radiostations) some five years ago with a tune called "Phatt Bass". Warp Bros' contains two guys, and together with Aquagen (another group of two - so now it's 4 producers...) they releaed "Phatt Bass" as their own track. But the whole rush behind their hit-track was the sound of 303's and the hammering 4-on-the-floor beat. And the crappy thing is that they lifted those superbly well sequenced 303's and the whole beat straight from an underground release on Missile Records from back in 1995 - Pump Panel "Confusion". Pump Panel are two Swedish guys (Alexi Delano & Cari Lekebusch) and an Englishman (Tim Taylor). Their original tune is, as stated, three 303's going simultaneously, a monster of a breakdown/buildup and NO cheese in sight! An excellent bangin´ underground acid'ic anthem. But who cares about that now when Warp Brothers took it, spiced it with some cheese, got themselves a commercial success and took all the credit themselves... This used to be called stealing - but clearly the modern commercial music industry lacks all ability to make moral decisions! The same group sampled Josh Winx massive "Higher State of Consciousness" and got themsleves a hit of Josh's work (and if i remember right, even here without clearing the sample). Can you believe it? Four idiots (Warp Bros + Aquagen) behind tracks that they barely didn't even make on their own. Using samples of the monsterous 303's that Alexi Delano, Cari Lekebusch and Tim Taylor synced togheter back in 1995. (Heck I don't think WarpB+Aquagen even have seen ONE TB-303 in their whole pity lives. And if they have.. i bet they don't know how to use it.) And for mentioning @ssholes.........Scooter - They are frikkin big where i live, people won't bother listening to creative electronic dancemusic with an edge, they prefer the cheesy Scooter crap over everything. But in fact, that pile of shit group hadn't been able to create a single hit if it weren't for those samples everywhere. They sample & steal main details and ideas from Supertramp, DJ Rolando, KLF, Art of Trance, Vangelis, Shut Up & Dance, U 96, Depeche Mode, Marc Cohn (/ Cher), Abba, Soft Cell, Billy Idol ...etc etc. And their (teenage¿) fanbase swallows it like nothing, Scooter gets away with it as heroes for their passive, lame crowd who really believe their 'idols' are talented and comes up with all those catchy lines themselves. It's surprising how successful that thing goes (another example to study: DJ Ötzi). Yeah i know, i sound crazy but as i said: I fucking hate when shitheads samples underground stuff and take all the credit themselves, it's just so lame... But study these thing before you flame Posford and Raja for sampling much ! The art of sampling will hardly be more perfect (in terms of quality) than what Shpongle has been able to accomplish. [ damn this reminder (caused by meself tho) ruined my whole evening ]
  4. The same thing that occured to 'vancbc' with I.F.O. happened to me with Atmos album "Headcleaner". I first bought it in year 2000 and wasn't completely.... satisfied. Gave it a few listens and then just totally forgot about it.. At the time i wasn't listening to much psytrance either (but almost every other genre of electronic music), the Atmos album was the only 'fresh' trance album i had (only owned some 'older' Sun Trip and D.G.-releases from around 1996-97). Though I was aware that "Headcleaner" clearly was better than the publics definition of 'trance music' (the commercial-mainstream-cheese-teenager-style that had been popping up since the late 90's ; ) it just wasn't interesting enough for my liking at the moment. [btw, my real definition of trance music was stuff like The Source Experience, the rest was an insult to the name of the genre ; ) except from Atmos which for me was the new type of 'trance' that hopefully could bring back some decency to the title of the genre, tho it wasn't my cup of tea ;-] But a few years later when digging it up again, i was totally stunned by the serious piece of art that kept flowing out of my speakers throughout every side of the Headcleaner LP. The record just blew me away and i've loved it since then. One amusing thing to add in this subject is that i've to thank Infected Mushroom for me liking Atmos again =). By an accident I discovered their 'Classical Mushroom'-album (which almost is a quite opposite style in the genre compared to Atmos progressive moods) and it was the opening gate for me to make me think the way i needed to like the whole psytrance-journey again. By that I slowly was able to dig deeper into the music and explore all the types of expressions that had been coming up in the scene since my last journey in psychedelia (a Goa-period in the 90's). Then it came to the point where i found my 'Headcleaner' LP again and just by listening to the first track (a track which i kind of ignored five years ago) "Fill The Hat" - which gotta be the best album opening ever btw! - I was attached forever. So thanks to some loud full-on-Israelians i can appreciate some deep-progressive-Scandinavian trance again! That I agree! & i never lost my faith in Astral Projection in particular, though they seem to receive some bad reviews in various forums these days (mostly youngsters) and they might be one of the most 'commercial acts' in the history of this music, - I feel that there are few acts that really deserves the 'success' and the cred as well as Astral P if focusing on what has happened while they were productive. And just by listening to the 7 y.o. "Dancing Galaxy" now in 2005 and it still gives me the chills that few other records gives me, tells me something. And i also recently hooked up with the old SFX work from before they formed A.P (as everyone in here already knows so i don't know why i have to add it), and some of the shite they released back then must have been so f*cking cool and unique to listen at in ~ 1992-93. (back then i only heard some hardcore rave from the uk
  5. promising shite, maaan i've waited... long long time for Lish!
  6. True, the kick is really pitched a couple of octaves too high. (I think the guys regrets it today
  7. The track is Transwave "Flamycogire", superb piece of art.
  8. considering Astrix... i find his track "Disco Valley" quite amusing, in particular. Dunno why exactly but among the tracks i've heard from him this one is THE tune.
  9. 1. B.P. Empire 2. Classical Mushroom 3. The Gathering 4. Converting Vegetarians - The Other Side 5. IM The Supervisor x. x. x. x. x. X. X. X. X. X. _. _. _. _. _. -. -. -. -. ¿. Converting Vegetarians - The Trance Side
  10. Respect to all the hardware users. Using a w30 myself, no matter of internal or external sources it's damn tight when it comes to midi. Though i do not create whole songs with it (complex), it's a pretty nice toy for loops etc. It would be nice to have a couple of those Alesis MMT-8's, like Orbital does. Fun fun fun!
  11. Isn't that the "Soothsayer" tune by Hallucinogen on the 'Cosmic Cubes' compilation ??
  12. Yeah, it's sad that this release only were pressed as promo. I read, that in august 2000 a copy went for 102 UK Pounds on eBay. Mine wasn't THAT expensive but it may give unrelated people a clue about this record
  13. Utah Saints - Star (Union Jack Mix). Released on: Utah Saints - Star, 12" FFRR - 1996, pressed on translucent dirty white vinyl. The Union Jack Remix is worth every single penny!
  14. Really? 'Soundscapes and modern tales' was released in 2002, and 'Are you Shpongled' in 1998, four years earlier... Did Shulman produce these tracks before 1998 anyway?? Sounds odd.... But anyway, good tips that needs to be mentioned. Guys like F.S.O.L, The Orb and KLF (in the beginning Alex 'Orb' Paterson and Jimmy Cauty from KLF formed The Orb) , among others, have produced Hi-Quality electronica since 1980's.. Strange they don't seem to have taken more people under influence in the psy-culture. I mean: Shpongle is good, but when there's only Shpongle here, Shpongle there, Shpongle everywhere... someone needs open the window and check out the world outside.
  15. Yes thats preferable, a NordLead as soundsource & a wicked soundsource. And it's also good as masterkeyboard because it's got the worlds best pitch-wheel ultra sensitive and it also feels nice to grab because it's made of wood. Virus is good too but more expensive, and they weight ALOT, not that nice bringin at gigs.
  16. Indeed, 11 US Dollars for the record + 6 in shipping cost.
  17. Agree, the worst thing that can happen is that it starts going like in the late 90's - when all those "Trance"-compilations started to come out. The music itself on these albums was nothing else than a total INSULT to the music i grew up listening to named "trance"..
  18. The first thing that comes to my mind after seeing this is all those commercial Hip-Hop/Rap videos with bikini-girls and expensive cars... useless artists making pointless videos for their stupid fans. And those fast car movies like Fast And The Furios, movies i'v never been so found of anyway. And theres a crappy show on mtv called Pimp my ride.... I don't have to say more, this cover isn't psytrance... this is omething else, people trying to make money on the wrong stuff and come up with a new commerical hook or something. To make it fit the commerical needs
  19. Lol, i came back from Greece two months ago but thanks anyway =). Yes indeed, Skiathos wasn't the place for clubbing, nice anyway though . If my path goes to Greece again i know what tips i should follow then (especially the islands, i just love them). Cheers!
  20. I tried to find Cosma - Nonstop for over one year. Then I bought it of GEMM from a seller in Russia, which ended up being a burned copy..
  21. Lovely spirit there Filteria, just how it should be! 2-track down to DAT/CD, loads of hardware, live tweaking and human automation =)
  22. * Akai S2000, * Akai S3000XL (+ Filter & Effect-cards), * Korg Prophecy, * Roland JD-990, * Roland Juno-106, * Roland W-30, * Roland U-220, * Roland XP-10, * Mackie 1642-VLZ Pro, * Behringer Mx602A, * Digitech Studio Quad 4, * Boss SE-70, * SyQuest EzDrive 135, * JL Cooper Nexus Midi Switcher And when a friend comes around he brings: * Clavia Nord Lead 2 * Alesis QuadraVerb GT (- which I used to have in my studio for years until he discovered it's no fun recordíng the Nord to the computer just to add some FX that we want to hear immediately anyways)
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