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MikroMakro

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Everything posted by MikroMakro

  1. The ATARI 1040 STE's (maybe Amiga's) of the time was typically only triggering the MIDI sequence hardware synths played. The Mackie 24/8/2 - 32/8/2 were the desks to aim for at home project level, there were many others... but studios like those at Dragonfly Records may have had bigger channel counts and something like an AMEK or a A+H Sabre, something along these lines. I guess most were played back and DAT captured MIDI sequences, synths and samplers. So you were limited by how many synths you had and how many stereo effects returns were wired to dedicated effects returns (usually you had 4 dedicated stereo returns on a project desk) of stereo pairs of channels. Unless you multi-tracked them to tape and re-used your synths for different lead lines. DAT's are just 2 channel stereo mix recorders.
  2. The sound of 2001/2005 is available in the software environment, much could be related to free running chorus/effects/slight MIDI inconsistency etc. People could not surgically EQ every sound source to "perfection" on a desk, there was 1 band with Q if you were lucky and the Q of any EQ was not as tight as you can get it in modern software, quality highly controllable dynamic control was in short supply, analogue noise floor was a thing. In 2020 people choose precision which is available if required in a DAW, this comes from the ground up so the kick and bass sets the precedent. Couple this with highest possible perceived volume mastering and the sound is evidently not the same. I have to say I like quite a lot of it myself, but I also like the much of the older sound as well. But you can hear some problems as well..some leads with piercing harshness, same with hats and cymbals. We are entitled to miss elements of it but I don't think it will possible to go backwards, or really serve any purpose. Good tracks are still being made.
  3. Complex subject, complex melody or no complex melody, musical theory or no musical theory. Personally either complex melodic or not complex melodic tracks either have it or they don't. This is foremost dance music, its origins kicking up red laterite dust on the Goan shore line, so we can expect complex melody to have a second place to groove and atmosphere (which is often created using simple melody). Of close second importance this is trance music, the goal is to hypnotize, greater complexity melodically or with sonic layers tends to retract from this potential. I know from experience here. There are a few artists whose sound design and rhythmic programming / production discriminatory skill and attention to minuscule sonic detail stands out a cut above others IMO. Their music is as un-melodic as it could be but it is awesome and has the "spirit". I suspect this comes from immersion in the culture of Goa, living it ! You cannot intellectualize that. However, I do think melody is largely what makes tracks stand out in lieu of extremely skilled rhythmic sound design. But there is a fine line as this music is largely based around the Phrygian mode and this both limits and also gives it a worthy (and historic) home, this scale alone gives the mood, more or less dark/moody/intense/slightly eastern. So ultimately, to me personally it comes down to feel, it either has the something "Je ne sais quoi" or does not. How you got there or your knowledge does not mean very much to me, compared to how did I feel ? Traditional intellect has little place in the spiritual, consciousness expanding origins of this music. To use a rather nebulous word, for myself either a track imbues the spirit or not. What is that spirit if we "word" it ? Maybe a sense of openness, depth, space, intrigue, mystery, expanse, drive, hypnosis, sentiment, magic, togetherness, wonder, connected-ness, timeless-ness, distance, meditative focus on the moment, now. I think it is very difficult to gain the interest of those who solely or predominantly enjoy music from 25-15 years ago, you cannot garner favour against emotional sentimentality attached to memory, that is very powerful force. (even making retro tracks). Trying to make something new to penetrate the arena of sacred memories will be very difficult. (and I say that with respect as all of a certain age have them) I seemingly have more plays of my overtly retro sounding tracks than more modern sounding ones. Maybe it is because I have had some vision based concept for them and I conveyed it well and it resonated with more people. Whilst the O.P. made interesting points in his video I think he missed the aspect that extreme forms of music of any genre always tend to have their draw. Hi-Tech is not generally for me, but as it can be viewed as the extreme end of psy it will surely always have some following. I don't think psy trance conforms to the "trends" of other styles of dance music. It self propels through new experiences and advancement of the surrounding events and visual efforts, psy trance delivers a specific vibration and culture, no other genre encompasses this unique origin and international depth. By and large you know what you are going to get. To this end it is a scene like no other. Let people follow their own ways, you make this music because you love to, whatever happens is just part of the bigger flow, water finds its natural resting place. Do your thing for your little corner of the scene, be true to your little contribution. Life is short, put energy in with those and what resonates with your input. The rest will be a waste of energy.
  4. Indeed Moonshine, an incredible track, very advanced and futuristic sound for its time, I still dance to it. I had the bass 90-95pct nailed albeit a different pattern, add the square wave in and you get a special something : ) Maybe he will drop by one day this thread and let you know, Billy Cosmosis comes across as an all round nice chap, you could probably ask him on his YouTube channel he seems pretty open to commentary and questions.
  5. There must be something in the air as when I spotted this thread some weeks back I was trying to recreate a Cosmosis bass, mainly for fun so I learnt a little about the old ways of bass whilst experimenting. 1) Try the Novation Bass Station VSTi, common bass synth of the era, I owned the original hardware back in the day. 2) Blend some square wave into your saw. I made commentary some time ago about an Etnica bass having some extra "vibrancy", adding some square in gets this result. You can also try adding a very very small amount of some kind of chorus type effect, 1-2pct (or maybe the very smallest touch of I.M. Wider, the trick with any artificial pseudo stereo is use a very small amount, be tasteful.) so you keep most of the low end stable but have just a very small amount of width to it, just enough to subtle-y tickle the ears. Just a very small amount and set it up on headphones and monitors for the right effect for both. I imagine any soft synth you can blend some square and of course the obligatory envelope control LPF. I have a love hate relationship with making old school inspired tracks. On one hand it can be fun, on the other it has all been done before and very, very well. Tryptamine dream is one of my favourites from A.P. The main lead to me sounds like a Supersaw (with correct amount of detune/spread) in an arp/repetitive overlapping note MIDI pattern with some portamento/glide which gives it a slightly on the edge of being out of tune (which adds to its smeary slippery-ness) with a wash of very nice reverb. That should get you close.
  6. Nice to see him getting down in the garden. I love the melodies and atmospheres in his older tracks and listen to them quite regularly. Good share.
  7. This weekend from 23rd may.... https://danceculture.net/triplicity/ Search "triplicity isolation stations" for more details.
  8. A Goa, beach shack classic circa 2005... Shiva Moon - Prem Joshua - one of those track I can loop for ages and never be tired of. You can still buy the original mix. Very evocative of Goa, intense light, crows calling, Nag champa and the smell of simmering spices drifting from the shack kitchen. Heaven !
  9. I write this more relative to any music not just trance. It is true that for vinyl some specific issues need care and attention, this includes not having overly wide (stereo) low frequencies below 300Hz, it does not have to be mono though, it just must not have a too wide bass which can end up causing groove tracking issues and skipping. Harshness in the upper mid range can very easily sound like nasty scratchy distortion on vinyl so sibilance and harsh frequencies in the upper mids must not be out of control. There must not be excessive highs above 13kHz. The ideal for a vinyl cut would be 24 bit masters at the sample rate of the artists DAW mix project. Cutting very heavily limited files is likely to have detrimental issues for the fidelity of a vinyl cut. It can be done but speak to the lathe engineer and present any such limited file/s to him or her to in advance and let it be known it is the only version you can get hold of. End results are not easy to predict but at least the lathe engineer knows about this issue and may be able to mitigate against a very poor sounding cut. Mastering for vinyl, as in a mastering engineer producing quality controlled pre masters can be done digitally, there are no technical reasons why it must be analogue. Of course analogue has its own sonic properties which may be desirable for a digital or vinyl release but this has no relationship to a rule that analogue eq/compression must be used for vinyl. Notwithstanding the lathe itself which is of course analogue by nature. As with most professional mastering a combination of both is highly likely but this is because the use of analogue and digital mastering tools tends to produce the most pleasing end result for many styles of music. Contrary to popular belief 16 bit digital has a wider dynamic range than the vinyl format can reproduce. Vinyl is not more dynamic than 16 bit audio. The difference is that the ideal for a good sounding vinyl cut is not using a file with extremely restricted dynamics which is often the case for a digital release. It is easily possible to create a digital release which has or even exceeds the dynamics of a vinyl release. It is just that virtually no one does it, because it would likely be 8dB-14dB (very approximately) lower in volume compared to todays releases. That would leave DJ's scratching their heads and the bigger psy labels would not release such material unless they had a complete reverse of philosophy that greater dynamics is better. So it is just likely that the audio that is committed to vinyl is more dynamic in itself. I would be surprised if an average non brick wall limited psy trance track mix has dynamics exceeding 12dB. (unless of course there is some ambient intro section faded in from zero) But average dynamics from the loudest power sections to ambient break downs, the dynamics are not very wide. Once they have been limited a dynamic range of 8dB would be a surprise. Modern music mixes tend not to have wide dynamic ranges, every channel will often have some compression going on, especially the backbone rhythm sections drums and bass. The exception of course would be acoustic forms of music. The theoretical dynamic range of 16 bit audio is around 96dB, audibly more if dithered correctly from a 24 bit depth source. Vinyl dynamic range is roughly between 65 and 80dB (rare) and is a moving target as the vinyl wears introducing greater noise and of course crackling. The top end can also soften quite quickly with multiple plays as the friction of the needle in the groove erodes the groove. I totally understand why people enjoy the sound of vinyl, much less or non limited mixes, different audio processing, softer top end and upper mids, easier on the ears and the feel of vinyl in your hands. But it is not that vinyl is inherently of greater fidelity as a format.
  10. I recall seeing these at music technology (expo's) exhibitions, expensive bit of kit. Apparently very good sounding synth. Thinking a bit more about trajectory of Goa trance, I suppose its trajectory was that it turned in psy trance. But keeping with Goa trance inspired tracks (other than neo Goa) this one always blows me away. I heard it one morning at a party and it was incredible, one of the memorable moments you can have, with smiling faces all round. Love the 303 vibe bass line, ok yes I dissected it on the dance floor, guilty ! I was thinking how cool the aciddy 303 style B line was. Available on Beatport.
  11. A bit OT but I am pretty sure a 24 channel Mackie was £3,500.00 - I was lusting over one every other Saturday morning in the music tech shop, lol. I could not afford the Mackie so got on one of these back then. It was actually a decent desk (only semi parametric EQ unlike the Mackie which had a bandwidth (Q) knob which was rad back then.) It was the only Studiomaster that I recall that had a very low noise floor and MIDI mutes. (Some of their earlier designs had a bit of a bad reputation for being hissy)
  12. Goa scene was also under capitalism. In the 90's to make trance you really needed money, I suspect studios were not built selling necklaces in Anjuna for 150 Rupees. A Mackie 24-8-2 was £3,500.00 - An ATARI 1040STE £400.00 (or an Amiga) A slightly lesser project 24 channel console (Soundtracs Topaz/Soundcraft Spirit 24/Studiomaster) £2,300.00 - Then you needed a few synths that could be £5,000.00 - a sampler with memory £2,600.00 Reverbs and delays £400.00 a go. - You needed to have some cash behind you to make decent trance. I suspect the outlay for some of the "bigger" artists project studios of the time was circa £20,000.00 - Today you could potentially make a superb track for £ 2,000.00 with a pc. 1/10th of the cost. I think a Roland JD-800 was £3,000.00 Now anyone with the inclination can make music the limit being only ideas and intention.
  13. You need to see the wood from the trees to feel music and dissection is a type of affliction for some, it is very important to have an "OFF" switch for it (for broad objective reasons to broadly feel what has been made). Anyone involved in music production tends to, to varying degrees. Having some variation through production choices (not lack of knowledge or equipment) is good and normal. When you make your own tracks you can dissect to the nth degree and you should if that is the way you wish to work, to your definition of perfection, that is achievable with your current skill level. But unless specifically being asked, small issues won't typically make or break a good piece of music. As far as where it (new Goa) has been going it seems mainly 2 camps of production, retro re-creation with loose Juno/303/101/Novation Bass Station type B-lines or modern psy trance bass with melodic Goa style leads on top. Where it goes depends on what a producer gets off on, the technical stuff, recreating authentic retro sound, mixing up styles, writing great melodies, enjoyment of synthesis and creation of new or old sounds. But whatever, we seem to be stuck in 4/4 kick and bass land whatever way it is cut in order to be understood as Goa/psy. If you start not to have an underground sound or are influenced by too many sounds outside variations on those accepted as "psy-ey" or "Goa-ey" then you are labelled as "not real psy" or its not very Goa sounding. Conversely (and it is unfair and difficult to generalize) but some new listeners or labels hear night time/foresty stuff and it bears little lineage back to Goa. So many modern listeners have no history in place (I have visited Goa since the mid 90's and many times since. But please don't see this as a holier than thou commentary.) I did not follow Goa Trance deeply at the time but had a strong awareness of the music every time I was there, it was unavoidable with the CD sellers in Anjuna. So maybe Goa style music is a refreshing form of Psy trance for some younger ears (that is more melodic/ musically complex) and for some it reminds of the good old days. (Contrary to belief there are many from the early days who follow and love psy trance in the U.K. it is not all looking backwards.) I can hear some psy artists nod back to the 90's in their sound (often full on i.e. Electric Universe/Mad Tribe), you will hear Goa-esque sounds and techniques in their leads and some modern tracks are totally devoid of any reflection on the sonics of the 90's. In the end it is all part of a rich sonic and cultural tapestry.
  14. Just a few thoughts, Barmohak.. nothing in that really that would cause any major issues IMO kick attack might be a bit hard. Actually I quite like the kick drum even though it may not gel with the bass line, but maybe that is precisely what the producer wanted, that is fair they might, isn't it ?. Etnica Triptonite Pleadian Live has some rather forward hats/snare, no ? And the original Etnica Triptonite mix, well that is nice an easy on the ears to me, warm, deep and interesting sounding, warmly spatial. The bottom end is extremely vibrant, smooth and caressing in fact it is awesome. Are these not the very sonic differences what makes music different? Many seem to be caught between "mix perfection" which does not exist as there will always be some one who wants the kick a touch louder or the this that and the other a bit quieter. Some tracks the kick drives, some the kick and bass are given equal importance some the bass is up. Let it be so ! Assuming the producer has a decent environment to work, variation is a nice thing. No single track, can be every other track, and this is why we have favourites, you know that track that blows you away every time because it is perfect. As long as there is not totally bonkers mix balances/tonal mistakes I am not sure if this destroys enjoyment of a track. If hats are slightly loud for your taste or a kick is loud maybe it is just because the producer understood something you don't have the benefit of. Like drum or kick and bass groove changing as merely one example. (a big one) Are we listening to music or dissecting production and mixing ? Of course psy trance is a technically deep music and so was Goa for its time. I think we may be losing our ability to hear to enjoy, especially producer types may have strong opinions on this and that. Actually I think it is time to hear the music again. One thing that producers and engineers need to protect is their ability to enjoy music presentation as a whole for aural pleasure and dancing and being emotionally affected, instead of listening to the 16th hi hat panning choice. And just to clarify I am not saying don't make good mixes in your own ears, of course do that. But it is hard to be meditative when you are thinking which synth made that sound, and why the producer did not push the snare up 1dB. I guess some days we wear the producers hat and some days we wear the dance floor stompers hat and other laying on the bed with headphones, drifting off and chilling. All worthy approaches. One question I ask myself from time to time (and this goes for Goa and Psy) Does this track have the ability to put me into a trance like or hypnotic meditative state ? Many, many times the answer is no (and I have made a few of those myself)
  15. Loud mastering is nothing to do with P.A. systems specifically, it is not like PA systems are designed for loud masters alone. A good P.A. will play a track of lower perceived volume very well. It is the differences between volumes presented to the dance floor that could cause an issue. If DJ's pre fade and tweak their gains this would be a non issue. What is happening is that loud mastering is affecting tonality of mixing to a degree, this is arguably creating less sonic variation between modern artists. Some loud mastering can sound very good but it is not easy to keep things clean sounding. A good track is a good track, well mixed tracks come in many "shapes and sizes" but all won't go loud gracefully, some will, some won't. That does not affect if a track does the business or not. I cannot imagine a DJ not playing a great track because it is a few dB lower than the latest big label full on release.I think loud mastering can produce a sense of anxiety in those who otherwise make a great track but do not realize the loudest perceived volumes of the latest release. Don't be put off, just make good tracks, labels sign great tracks not the loudest noises. In fact for Goa trance styled music lower level music should fair even better, ultimately it is related to the past where variation was key,(Goa was not even Goa before it was Goa), it was a mash up of techno, high energy, industrial and rave, it should be a much better situation for lower level masters than 2020 Full on Psy. For all Goa trance producers and psy trance there is a conflict between nostalgia and sounding futuristic. The former relating more to melody and the latter to a greater focus on staccato single or few note rhythmical notes/patterns (often FM synths or chopped up synth audio). Veer too far off course and is this psy trance or Goa anymore ? It is something I think about often, where to take this next track, what is it going to be, from where will it draw ? Sometimes I have a clear concept, sometimes none and I just start. I think feeling free is very important, unnerving at times yes but I need to have time to think about where I like to go next personally. I enjoy some nostalgia and the futuristic sound, I tend to enjoy mixing it up. Out of interest most modern Goa sounds pretty clean to me, it seems to lack the lower mid thickness (and some depth) it does not sound like the mid 90's. I suspect this would be relatively easy to recreate with all the retro plug ins (desk emulations, virtual analogue synths, cheap project studio style reverbs etc. Quadraverbs/Digitech/Lexicon Alex/Reflex type units) us producers have now, but it seems to have thinned out. Then again I suppose the goal is not a precise retro recreation of a semi analogue (Mackie, Soundcraft Spirit) / digital MIDI studio, with a 12inch vinyl onto a DAT tape through 16 bit converters. High pass filters did not even exist on the line inputs of such project studio desks. (only a single button at 80/100Hz for the mic input)
  16. Welcome to the Lazerdrome of empathetic radiance. A different vibe, warm, mellower and trance inducing. Kick and bass made with extra chunky lumps for your listening pleasure.
  17. Nice to hear some history of the site. It is the best place to share our enjoyment of this music in all its guises.
  18. This track has the elements of a fair few of the sub genres, so something for everyone, give it a whirl, why don't ya. : )
  19. I will admit I just stumbled on this and I think it represents the magic feeling of Goa and Goa trance very well if you let it in. Has a real Goa sound to me, the feel of mystica-exotica.
  20. Given the infinite and chaotic manifestation of phenomena it seems inevitable that this track sprang up at some point in time, that time is now. It was 13.8 billion years in the making. Enjoy, nice details in headphones..
  21. Full power, night time inspired track that builds, enjoy !
  22. Atmospheric progressive psy trance 137 bpm D# Minor
  23. I made this track as a personal challenge, I liked the results so much I am releasing it. If you want the professionally mastered .wav drop me a line: mikromakropsy at gmail.com https://soundcloud.com/user-71267727/something-from-nothing_mikromakro_sc-version If a moderator knows how to get a SC player to embed please feel free to edit post, for some reason it is really difficult to get a link to show the player, thanks.
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