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about those static vibrating basslines


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I dont know if you can call them 4/4 basslines.

but what im pointing at is that it's very common today, even uncommon not to have them.


the whole Bom da da da Bom da da da BOm da da da BOM


and when no bassdrum, da da da da da da da da da da da da

so the bass goes all the time...


however, even though i haven't even begun to explain myself very good

what im really intressted in is this vibrating "no time" "everything is still but moving" feeling that's very obvious in some tracks that's come out over the years

for me the most obvious example might be early parasense


or some of tristans music. like "small paper squares" has it, although i dont remember if it goes da da da da da, hwoever it has that feeling im talking about.

and also some track of his on order odonata 5.


also, some early son kite's have it. like topic perm. the very first release of them i think?


I like it. bottomline. it's one of those things i enjoy in music. and to be able to dj from that and to moving forward, to moving backward. or standing still. i like it. shamanism.


And what i would like, is for people to post tracks that has this quality. however good or bad is up to you or anyone else, but if it has it. post it. and it should be an OBVIOUS "this is it" thing, not like "i THINK this might be like what you're talking about". because i think if you know what im talking about you would've been knowing throughout reading this whole part... :)


ofcourse. maybe im the only one intressted in this phenomena. :)



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Sounds to me like the threadstarter is referring to 16th note basslines with just one single note, i.e. what pretty much ALL of darkpsy uses.


It can be used well, but in 9 cases out of 10 (and that's being kind) it sounds much too static. You need either an analogue sound source (such as in the case of the Son Kite track mentioned) or some form of modulation, I think. Static repetition does not equal monotonous hypnotization.

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Ukiro, yes AND no... depends on how i read what you wrote :D


im not refereing to the 16th single note basslines themselves but for the effect.


and i agree with you from one point of view, but i wouldn't put it like you did... that 9/10 is too much of this or that...

from another point of view i could just argue with you. :D (not my cup of tea.)


id say that 9/10 tracks that has the singlenote basslines on each 16 simply doesnt have the same effect, but another effect. however problely all of those tracks try to do diffrent things than the other tracks.


To be honest I dont think most (ofcourse with exceptions...) darkpsy artists have any clue as to what they are doing and i doubt that they are trying to induce any kindof enriching and enlightening experience for the listener. it sounds much more like the opposit...


it's quite obvious to me that today's darkpsy doesn't really strive for achieving the same things that Tristan had in mind with "small paper squares" (dementertainment VA? or jut demented?)


But i really am only intressted in it.


Just listen to this:

order odonata 5 > B2 Tristan & Jon Om - Southern Comfort


And tell me, what does he mean? what the hell? this doesnt go WEEEEEEEEEEEEEEEEEEEEEEEE straight forward into the future megastyley psytrans super yeah. this is something else. so every time i put this track on. i look my friends in their eyes and i say "what does he mean?". and hearing it while time stands still, asking that question... there's no answer. usualy a track has somekindof answer. you get a feel for it. you "Understand it" somehow.


but in this, I can't find any "drive" in the ordinary sense. it forms a static geometry that my conciousness eats up in a few seconds, and from that timeless geometry, he puts out well, i dunno, wierd shit. brass, diffrent soundscapes. Another odd thing about it and other tracks of this kind, is that the drums seem to be like... "YEAH BANGIN" the samples themselves are mostly kindof "hard" and sortof soundwise points to something driving, but they're used in such an unusual way that they don't do the trick. At all. they're just "there" staring you right in the face. eyes wide open.


i want to make it clear i have no idea if i LIKE this (i think i do). I'm intressted in it because I use music diffrently nowdays that i'm very perceptive to alot of things. so music has a profound concious effect on my Being beyond thought and emotion, something happens and i sortof selfmedicate music nowdays...


Tristans Small paper squares track is diffrent though. because it Does drive. it somehow stops time, and stares you in the eye and just increases it's power more and more. The use of the same samples over and over, more and more, closer and closer together, until it kindof flows over. this keeps on going throughout the track, there's a few areas where it feels "wierd" beatwise too. like the monotonous beating on those 16ths have mashed up not only ones perception of time, but something more too. introduces an element of instability, and it feels like it should break any second, like a house of cards.


I hope i've made myself a little more clear now... and im going to keep looking into this sortof stuff.


Hoping to hear some tips from you Ukiro, i know you're sitting with alot more overview of the diffrent releases over the years than I do.

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Tristan & Jon Om - Southern Comfort

Ah, now I understand. There are at least two things that makes this bassline different from a straight 16th note bassline:


1. Shuffle, or "swing". Notice how the bass notes come in "pairs", that they are not separated with the exact same distance? This is usually called shuffle.


2. A phaser. I can't be 100% sure it's a phaser (it could be some LFO modulation in the actual synth as well) but there is a bit of a "helicopter effect", in that the sound appears to move.


And I actually think it's got some different notes in it, but the sound they use is so percussive in its nature that it's hard to tell. It could be some sort of delay overlapping as well.



I'll see if I can find some more tracks that are like this - early son kite comes to mind, but you are already aware of that. You might want to check out another Tristan track from this era - "Tentacloid". It's not exactly the same style, but it has roughly the same effect, at least on me.


EDIT: Check out some old Haldolium tracks. I think they had some basses like these on H2, and also check their remix of Atmos - "The Only Process". There's probably some early (trancey) Massimo Vivona tracks you'd enjoy as well.

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I have no idea about music making but... what you´re trying to achieve sounds cool... if you do find sounds that have specific consciousness effects, keep us informed about it :rolleyes:

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thanks ukiro. i think i know about them other tracks too... will check out the tristan track tho.


I have no idea about music making but... what you´re trying to achieve sounds cool... if you do find sounds that have specific consciousness effects, keep us informed about it :rolleyes:

will do.

i more or less work with doing shit with my own conciousness more than anything else these days. when i make music i mean.

i used to have a totaly diffrent aproach, which was more or less i wanted to make what i enjoyed.

now i've figured out why i enjoy what i enjoy. so im more focused and specialized i think. working by scaling off everything to get the cream.

not that it's minimal... it's just not alot of stuff.

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