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MikroMakro

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MikroMakro last won the day on March 23 2020

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  1. https://www.junodownload.com/search/?q[all][]=psy+trance Juno download is worth a look as well.
  2. I make 90pct of the sounds I use in my own tracks myself, including synthesis for kicks and bass lines so don't really waste much time preset browsing : ) I have always just preferred to try and work out existing sounds, the more the synthesize the better you get at it and reverse engineering and coming up with new sounds.
  3. Stumbled on X-Dream fx zaps @ 02:05 the other day so thought I would share. Sylenth 1 (likely possible on any decent VA) Osc A - 2 voices, Stereo fully clockwise, Pulse wave for OSC A, Retrigger ON, LFO 1 assigned to Pitch A with a pulse wave/square LFO shape, Gain MAX, little value knob fully clockwise, LFO synced to 1/32 and add a touch of delay. No need to even select a filter. Press a key and bingo. I often stumble on sounds when synthesizing, quite fun when you think oh that's track X, Y or Z so that's how they did it. Sylenth1 is a very good solid synth for many of the VA type old school sounds.
  4. Surprised and sad.. that was my place to buy tunes. I always found it a bit of a cheek at Beatport to be charged a rather high premium for a .wav file. So you can get the music as the artist intended... i.e. uncompressed quality. (just spotted the goa constrictor feels the same)
  5. I guess the times we are living in makes us reflect more. Each individual needs something different from this music and there are no absolutes. That relates to producing it and listening to it. Everyone has there own opinion on any given track.The more I listen to the music and for context I listen when driving, dancing or at festivals the more I realize it has very little to do with sub genre or specifics relating to production being mainly or exclusively SFX/texture/filtered/harmonic based vs traditional melodic content. It has to do with the feeling any given track invokes in myself personally and this effect can be present in any combination of those elements. For me this music is pulse based drone to hypnotize and meditate (a space where there are no thoughts where the brain moves into a space beyond intellectual analysis) and on top of the kick and bass there is the potential to open this meditative mental space more deeply with subtle ways of shifting your feelings through whatever is added. This could be viewed as a fairly mature view relative to more hedonistic pursuits. I conclude that because of the ultimate personal meditative goal that the kick and bass need not change into the future as long as the same basic effect is produced. This will be a bit controversial because we have all read many opinions that psy trance is stuck in a rut and that it used the same kick and bass or sound set for X no. of years etc. etc. It is a bit like suggesting that traditional meditational mind state has not progressed since the ancients in India developed it. These intellectual processes don't have a place when I am dancing in the moment, they don't have a place in that headspace. Either the track invokes the desired result (trance) or not. Trance for myself when listening is coveted on the basis of whether it induces a trance like state or emotional cues / interesting mental or physical sensations when listening, connection with others not present through the mind state is a big one for me. (also possibly connected with the passage of time - highlighted by the absence of time in meditation... or sentimentality, sadness/beauty which are often linked. ) Whether a track was made yesterday with the newest VSTi and effects on the market or 20 years ago seems to have no bearing on the value of the track, either it has it or it does not. Another interesting question/thought, that is almost impossible to answer is how much a track objectively works in the genre versus the value you have projected onto a track from your own personal experiences, as a listener. Probably one that is rather impossible to quantify and probably for the best, as it allows us to have a mysterious connection with some specific tracks that resonate in special ways that could be unique to the individual. I appreciate my view is just an abstract of personal experience and that there are no absolutes so any view is as valid as any other and merely extends the depth of the music's value. What are the fundamentals for you ?
  6. I would have a guess that the Aquila track uses Trilogy (at that time) seems that synth was released in 2002, very common synth for psy (now Trilian) or it is a straight sample with the filter and amp envelope embedded. Have a listen to Avalon's Teleport track (which is my fave track by Avalon). Almost identical just a little different tone/eq. I fairly frequently hear a track and hear the profile of the bass line note and think ahh.. that sounds like .... X's track.
  7. Look up COGOA and IrisWolong on Youtube, superb collection of authentic videos from Goa, live videos footage on the beaches and other DJ sets etc. There is also a classic Maharashtra 1992 Goa party.
  8. Thanks for the offer, this one was an experiment in what can be done in a very short time and so it will remain as it is, there are no plans for it, it is not something I am too precious about. And I agree, to make it sound more in line with 2020 it needs the low end, lower mids and that open hi hat adjusting, (and then where does it stop ?) but really it was a track that was a test of what I could arrange in a short time, based around loose inspiration. If I changed it now which of course I could it would not be a reflection of the original moment and feel, I like its "thick and spongey" sound for what it is. Also I posted it up as it loosely falls into a Goa-esque style and someone in this thread mentioned they like mixes where the kick and bass line is remaining fat throughout and not becoming lost.
  9. I spotted someone talking about KbBB line sounding fat all through the track.. oddly enough this track does fairly well in that regard.. I made it from start to end in 12 hours 8AM - 8PM then released it on YT. It won't win any awards for musical progression/slickest production/cleanest modern mix (it was meant to be Goa esque / early 2000's inspired after all) / but it is decent for a 1/2 days work.. the concept included listening love of proto Goa track "The Overlords - Sundown" - it is not really based on this but the simple production of it somehow influenced it.. For your info Zebra 2 did bass for this one....why ? Nothing more than I got a usable bass sound fastest. MiKroMaKro_Something From Nothing_link valid for 7 days
  10. I just checked Dimension 5, I see yes they keep the pulse going.. I am a fan of breakdown but kick continues of late, why I am not sure it just evolved that way as I put the tracks together... the dancer has a choice The cue is there for a rest or carry nodding on, more versatile. I think you are right Recursion loop... maybe that plug in is the best thing since sliced bread, we should probably all try it on the next mix... but you can always try using your ears as well. I find if the KbBB is sounding radically different in headphones, or just plain wrong in the H/P's... compared to speakers (in a room you can trust pretty well) then most likely more work needs to be done to zone it in. It is not easy.. it is like running the gauntlet every time I start a track. All of this is whetting my appetite for a new kick and bass, it's been a while.
  11. Nice topic, I like the lighter side, and I adore Human Blue.. took me best part of 3 years to track this down after hearing it one morning in a festival glade between the trees, the funny thing is I had been listening to Human Blue for a few years and did not realize it was his track.. the DJ was just playing CD-R's that had no labeling as I went and asked who did the track as there were only a few people chilling at the time.. I could not help but dance when it got going, nice and ethereal arp pad melody at the end...
  12. Freedom is a great thing and choosing what your break should be like is your choice/intention as an artist : ) Personally speaking, breaks interrupt the trance state,... especially ones that make no musically timed sense, lol. When I dance the energy seemingly given almost feels like perpetual biological energy is being released (like more energy than you actual have available, actually giving you energy) And I mean by endogenous means. I think most people can moderate there own pace of dancing through a track and I know I can slow the flamboyant shapes I am throwing down when need be, ha ha. just standing and nodding to the beat with my eyes closed, taking in air or looking around at the collective experience and enjoying that. Of late I have been leaning towards subdued sections that maintain pulse... I enjoy being lost in a moment and the pulse is the focus that brings that state into being. Literally do what you think works though, there are many ways to do everything, this music is awesome, nothing else quite produces the effect of this music. I long for the days to be back at the parties, like we all do, till then there is the garden and a gaze to the horizon.
  13. Thanks and the great thing with psy trance in all its guises is it is a very rich music, technically and culturally and there is a lot to learn and enjoy, it is nice and a privilege to be involved with something that can be limitless.
  14. Following on from the "you need to use an oscilloscope" if you want your music to sound good on a big system. There is an element of truth in this, it is a very useful visual aid...as I mentioned it will help avoid anomalies that can cause sub cancellation and get you in the ball park. (avoid strange psychoacoustic effects that sound "odd" to the ear) One thing to know about some of the best PA systems. They are wide bandwidth, they have lots of headroom, they have low distortion and very good driver integration, superb transient response and if you are really lucky they are outdoors : ) Infinite bass traps to the sky ! (so you hear the sound system and not PA system and skewed response of a room, arguably perfect sound) Anything you play though them will sound better than a sound system that is fundamentally poorly designed (or in a terrible acoustic space, dropping 120dB of sub bass into a big room), under powered, poor frequency response, limited bandwidth, relatively high distortion (old/worn drivers and amps) lower tech, lower quality drivers, crossovers and build quality (poor cabs/ bad bracing/resonant cabs).... or just worn out since 20 years of playing out. The high headroom and low distortion is important because when you listen to many big artists there is variation in their output.... tonally. Some are more subby, some brighter, some have a little thick sound some a little thinner, some more saturated, some cleaner. There are many ways to sound good. Some of this is taste driven.. but to judge it correctly you need accuracy in the monitoring from the start. So my opinion is you can sound good on a big PA even if your kick and bass line is not so rocking. I have have danced to music from a fairly unknown artist and been very happy and enjoyed the sound (very much melody driven but not Goa) and kbbb.... only to find when I got home and listened, I found them meh (actually not very good at all IMO and compared objectively to a big artist well versed in great kbbb).... so not so great kick and bass after all. (The complete opposite of the premise of "Do you listen at the party on great sound systems?" ) So how did this phenomena happen ? You see at the party you are happy, having a great time, the music is loud and your adrenaline and endorphins are flowing. So maybe your overall impression is actually better than a cold hard objective listen on headphones or speakers at home. Remember other than phase alignment of the kick tail and bass note 1 (and potential cancellation of sub) an oscilloscope tells you very little about the spectral content of a kick and bass... sub content, mids and transients. (HPF or low shelf cut choices, harmonic EQ choices minimum or linear phase EQ choices - well ok if non linear phase then this will show up as a phase shift on the scope) but it does not suggest much about how much sub/bass/mids and tops do you have in your kbbb. All of these aspects are also very important to sounding good on those big PA systems. Some tracks have PLENTY of sub and some much less and both can sound good and drive a track along. What may well influence this more is ... am I aiming my mix to be as loud as the big releases when mastered. (Disclosure...I am professional mastering engineer) So sub amount given a PA system we shall call "The Reference PA" - A hypothetical flat PA system from 30Hz-20kHz outdoor with infinite bass traps to the clouds can be different depending on taste/ perceived volume choices / mistakes in monitoring. It is not just "use an oscilloscope and you will be guaranteed to sound good on a big system". There will come a time when more than 50pct of the people on the dance floor will think... woah... too subby or, bass seems light .... too much top end or... upper mids are making my ears hurt I am off to sit this out for a while etc. etc. This is to be avoided and ideally at the mixing stage. (even though the suggestion is about broad tonality of a release.) Also a note about how much sub, how much bass in the kick and bass... well I can tell you at least one sound system for psy trance I have heard was tuned more like D&B sound system with COLOSSAL sub bass... I mean over kill subs. So to coin the term "on a big sound system" there is not always a standard, as in if you want to sound good on a big sound system... there is no standard sound system for a start. There are multiple parameters that need to be precisely hitting "The middle path" to satisfy more than 50pct of the listeners. (not just a scope alignment) This can avoid the subby track sounding like thunder is striking the party on a system tuned with too much sub and a bass light track sounding like "Thin fest" on a system where the extra sub reinforcement was left in the PA hire warehouse. And as mentioned some artists have a thicker deep sub than others, this also relates to your bass line root note. I am all for this mixing style variation, it is a form of artistic difference that can maybe make different artists stand out a little more over an above their musicality differences. (maybe not the most deep of artistic differences, compared with synthesis, instrumentation choices, style, melody or more effects based psy, sub genre choice, melodic or sound effects based psy etc.).. but a choice nonetheless, notwithstanding mistakes caused from sub optimal listening conditions. Food for thought.
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