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Mad old ones
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Everything posted by Filteria

  1. Well, since you keep posting this on every youtube video about the sound (and more than once), I think I need to answer you (for the second time)... You seem to have taken it very personal for some reason? Either way: 1. There are 2 sounds (YES 2!) that are "software-based" in the entire Filternaut track. One is the lower fundaments (bas) of the kick and one lead sound (out of 7-8 lead layers). The kick is blended together with a Linndrum kick (yes a real Linndrum from 80's) to give the kick another character than the usual kick you heard in 1000000 releases (and also because I love the 80s vibes). So it's obivously something else you are disliking and NOT a "software" issue. As for the production: having spent 2 years at home without a party (same as the rest of the world) my mood was a bit more layback and so was the mix.. If you want more in your face Filteria production then come see me play. Every track from this album is mixed/remixed differently and its more like the previous stuff in the mixing. To conclude: if you don't like it, that's fine but get your facts straight. And cheers for the support until Daze or Lost in the wild or wherever you draw the line
  2. Hello I have been working a lot with this one and I hope you will like the album. Of all the stuff i've made this was by far the most challenging for me. I believe there is something in there for everyone Take care / Jannis
  3. Daze of Our Lives (extended) is just rereleased with 2 additional tracks. Check out here: https://filteria.ban...-lives-extended thank you for the support and all the reviews Best regards / Jannis
  4. My third album from 2009 Daze of Our Lives (extended) is just rereleased with 2 additional tracks. And yes, there will be more coming including the debut album of K.O.B. on Suntrip Records. Check out the rerelease of Daze of Our Lives here: https://filteria.bandcamp.com/album/daze-of-our-lives-extended thank you for the support Best regards / Jannis
  5. I never (and I seriously mean never) managed to finish a tune that I started as a loop. Working with a loop that you start fiddling around with limits the creativity because you can't really let the track take YOU to places..Also hearing the same loop over and over kills the mood for me. I suggest you go back to the old way of working.. creativity first, mixing etc comes second. Leave the small details for last.
  6. No I didn't Etnica/Pleiadians finished with Lunar Civilization to make a smooth transition for my sound. I finished my initial set with Navigate (from my first album). People wanted me to continue to play and Max asked me to play Lunar Civilization (Filteria Remix). Now the reason why you think I played it twice is that the version I play on livesets have the ending of my own track Navigate. So in fact you heard the ending melody of Navigate twice. Nice videos you uploaded btw
  7. Thank you for the love and criticism.. Some insight regarding Sky Input: I was just a kid back then (19-20 years old) who made music for myself in my parents place. There was no one who would affect me and tell me how it should sound. I just did what I wanted too. Once that album came out, I started reading reviews and talk with the audience at parties after my gigs. Like it or not, they will affect you. But you also change as a person. I can't possibly be the same guy today as I was back then. Things have changed a lot since the Sky Input days. There are periods of time nowdays where I play every weekend and have the opportunity to test my new tracks on audiences all around the world. I always try to find a sweet middle ground between homelistening and being able to make people dance. For instance: a track like Lost in the Wild or 36th February might be (probably is) too much for homelistening but been tearing dancefloors apart, so I couldn't exclude them from the album. But I was really happy with the result in the end. As for the question: how do you follow up the Lost in the Wild album? I am working on K.O.B. album. And I am having some serious sound design sections and trying to find new stuff that will inspire me to make a 5th one. Time will tell how that goes... Best regards to everyone / Jannis
  8. For me, Boom was amazing! I played there both in 2010 and in 2012 and I have to say that 2014 was better than 2010 and 2012 combined Everything was really super. S.U.N. was also great. The crowd at S.U.N. went more nuts on the dancefloor, but then again there is more space to dance and not as hot. These 2 festivals are the best ones for me. Hah! I told Dick while I was playing, look at that shirt! And then you were pointing at each other. I also saw you at S.U.N. while walking towards the bar with that T-shirt My pleasure mate Good to hear that you guys enjoyed my set
  9. Hi I just came back from this years Boom Festival which was simply amazing. Probably the best festival i've been to. I thought I would share this video while I am playing Dog Days Bliss Hope you like it
  10. I would answer that Food Demons and night @ 12pm is totalt different and still on the same album. Life never sleeps is also very different from those.. And i dont know what the snuggling snail has incommon with those 3 tracks. Or compare filtertraces with lost in the wild. But ofcourse our perception differs and that is what makes life wonderful
  11. This is timeless music. It's almost 20 years and still sounds so fresh. The Live CD might be the best piece of music human kind has ever witnessed. I will never forget the first time I heard Plastic around 5.50. Goosebumps, smiles and breathtaking. And the way the tracks switches between them is simply amazing. Just listen between Vimana and Lunar Civilization. That's what a liveset should be like (taking notes for myself). There is a not a single boring second here. I have to add that since i've been making music myself for some years that the mysticism and magic is somehow gone when you have the knowledge how the sounds and tricks are created in trance music (speaking generally). For the first time in years I am amazed again and feel clueless when I hear those sounds in Plastic or how this liveset is build in general. There is simply so much more to explore I would have given a left arm to be there that night and witness this liveset. Too bad I was just 13 then A true inspirational piece of music! Get it! GET IT!!!! Thank you Etnica..
  12. I think there is some confusion here. I get a feeling that some of you are talking more about the mixing rather than the mastering. The only way you really can tell if the mastering engineer fucked up is if you listen to both the raw final mix and the final product. It's seldom a professional engineer ruins the tracks. He has his own vision of what it should sound like, but I think it's up to the artist to tell the engineer what he wants. What makes a track fat/clear is the mixing from the artist in the first stage. A mastering engineer only have a wavefile to work it. Remeber that every little EQ boost affects the whole track. If you lack highs for instance, he might add that, but you get also hiss on every lead along with that. Remove some rumble from the bas and the track might get too strong in the mids etc etc. Mastering is the final "polish" of a track. To make a album/compilation more "even" if you like. The 2 big fails are if they squeeze it too much (loudness war) or overcompress it so it "pumps" ugly. The rest I would say is taste. Speaking about my own track Aqua Society. I just got a TC Electronics Finalizer at that time. For some reason the track was recorded with a compressor and a limiter, which is big no when it comes mastering. All the dynamics are already gone and the mastering engineer has nothing to work with. I don't know who did the mastering, but it's my fault it sounds the way it does. I think it's up to the artist to tell the engineer what he wants. I always tell Tim to work veeeeery little with the compressor so the music can breath and each layer can do it works. That's at least my 2 cents
  13. I feel very inspired to make music in general. I have bought lots of fun equipment (modular-systems etc). I feel like working with something "new" where I have total artistic freedom. I have that with K.O.B., because no one really knows what to expect from this project Will be fun
  14. Thank you This is probably the hardest thing to do as an artist. Will the "fans/followers" accept the changes? Or should one go with the "easy road" and continue with the same old sound. You either become a sellout or that guy that never changes his sound. Lose-Lose situation Seriously, thanx again everyone . I am so happy with the feedback i've recieved. Sometimes while making with this album (especially back in 2011) I was really unsure if it was any use to make another album. Maybe it was enough with a trilogy? But looking back now, I am happy I continued and satisfied with the final product I might add Oh and K.O.B. album is in the making. For real this time
  15. Hi all I've read through the reviews. Thank you all for your kind words. I am very happy to see that you enjoy the album. I feel proud to be around for 10 years now and see that the music still work To Jon & Penzoline: I've never heard the track "Juno Reactor - Conquistador" before reading your reviews. After listening to it on Youtube. I still can't find any similiraties between Food Demons and that track? Feel free to point out where in track. I am really curious As for Dog Days Bliss: It wasn't my intention to "copy" Liquid Troll, but sometimes when I am in the flow and work with music, I just "do" without thinking. Listening to this type of fusic for 17 years have set it's marks and sometimes you end up where it feels "right and familiar". Thank you again for all the support. It means a lot to me Take care / Jannis
  16. Thank you I am happy you enjoy the album! I never asked what Tim thought of it but he said it was a big differences in production compared to the old stuff. He sure did a good job! But the biggest change you hear is because I mix differently now days (and have much more experience) and not to forget that the Mackie mixer was changed for the SSL mixers which are far superior
  17. Thank you for your comment Jon Birds Lingva Franca has the same structure as the one on Opus Iridium. But the sounds used are different. There are more layers, different and heavier kick/basline and the overall production is much better than the old one. I hope the psychedelia level is high enough
  18. Hi all! I really hope you will like the new album. I have spent so much time on this one, but I felt like I needed it. New inspiration, new life experiences and so on.. I am very happy with the final result and believe all these tracks truly have their own identity. But then again it's not up to me to judge that I have recieved very good feedback from audiences all over the world and for that I am really happy. But it's equally important to me that the homelisteners will like it as well. Anyway, here is a small video from Israel this past weekend where I played with a dreamteam lineup (MNWW, Slinky Wizard, Green Nuns, Slinky Nuns, Shidapu and more....) http://www.youtube.com/watch?v=LxbF1OPLEjU The track is Dog Days Bliss which will be on the new album. Last but not least: I would like to say a big thank you to all you that supoorted me here on this forum. This is the place where I made my first babysteps 10 years ago... It's hard to grasp that it's been 10 years.. So, thank you and hope you get "Lost in the Wild" (in a positive way ).. All the best / Jannis
  19. There is a reason why I don't visit forums anymore. What's even worse is that I will spend some of my time to actually answer Reger. Yeah! Me and Suntrip were sitting in a business meeting in 2004 and were thinking how can we promote and sell my soulless album to the newcomers of this scene. Let's say it's inspired by Pleiadians! We would gain so much popularity by mentioning this band from 1996 and trying to move away from acts such as Infected Mushroom, Astrix or GMS. It was the excellent move to make! I mean IM and Astrix weren't getting attention nor did they get gigs while Pleiadians were playing their IFO album every weekend around the world. I could finally ride on their current (2004) success. With this business model we could become known and wealthy. Are you seriously for real? In that case I would mention Infected Mushroom or Astrix who is and was far more popular or just make full on while it had it's peak. I chose Goatrance which barely existed in 2003 out of pure love and worked HARD for all my success. If you think I gained fans and became popular because I wrote in 2003 that I was inspired by Pleiadians and the oldschool goatrance then you are a retard. I was totally unknown until 2006 (except in this forum) when I started to play on the big festivals. That's when things started to move. And you said: "If an artist wants to pay tribute and show how much this or that music/artist has inspired him then I see no problems in that, its fun, its great and it takes some skill to put it into the way that it sounds like something else, yet doesnt manage to copy it 1:1(which, anyway, is impossible)." On my last album from 2009 "Daze of our lives": You call tracks like: Filtertraces, Eyeless Observatory, In the heaven's eye, earthrise, float away for something that sound like Pleiadians? Really?.. That's great... Edit: Favorite song by Pleiadians: Maia
  20. The Sky Input Remixed EP is just released and available at http://filteria.bandcamp.com/ and iTunes! It will be on all online shops within short time. I hope you enjoy this release. Thanx to everyone buying this for the support! All the best! / Jannis
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