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antic604

Member Since 16 Jan 2016
Offline Last Active Yesterday, 08:53 PM
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#10004386 The ins and outs of psytrance bassline

Posted by antic604 on Yesterday, 01:52 PM

Sorry for the rant above :(

 

Actually the thoughts that triggered it was this Ableton Live tutorial from Mr Bill - who does great, experimental music - on how to "make psytrance":

 

 

In 8th second of 21+ minutes-long video he says "it's actually pretty easy" and proceeds to make the typical machine-gun KBBB pattern with some swooshy effects track on top. Well, duh?!? Out of maybe 20+ similar videos I saw, at least 17-18 were just like it. Apparently that's what psytrance is sounding like for people. And I can't blame them considering we focus so much on kick+bassline :)




#10004385 The ins and outs of psytrance bassline

Posted by antic604 on Yesterday, 01:21 PM

Heh, reading all that I feel like my own approach goes against the rules. But maybe that's because I actually don't like those surgically sculpted, very controlled and precise basslines in Imba's or Ticon's albums (to refer to more recent releases). They just sound cold to me and don't fit with otherwise warm music (they're fine in dark/tech styles, though). I like there to be some grit, some unpredictability, some chaos even in my basslines. Therefore - once I'm ready to show my new stuff, that is :) - you'll see that I apply effects and modulations to my basslines, because I like them to be "alive". I think my take is more akin to how old-school goa/psy-trance was created in mid-90's, with bass being an equally important instrument, complementing the rest of the arrangement not only in terms of occupied frequencies, but also musically. Whereas nowadays it is being often relegated to function as a pulsating backbone of the track, sort of like a second kick drum. The discussion I see on various forums on e.g. key of the bassline, phase of the oscillator, notching certain frequencies, etc. are interesting and all, but it's like pianists or guitarists discussing how long their nails should be cut to play better. Sure, I see it can be important - especially in the world of broad EDM - but it will not make or break your music. If there ever was a tune (or even genre - e.g. dubstep) made popular / famous because of it's bassline, it was PRECISELY because it was doing something different and against the "rules".

 

My point is, I obviously try to take all above things into consideration, but I try to get my bassline out of the sight as soon as possible. Once it's functional I try to move to others - IMO more important - parts and I can always come back to it, fiddle with presets, effects & modulations. I'm really fed up with this obsession of goa/psy-trance producers with basslines, because they spend dozens of hours talking on forums about it, in the end trying to replicate the same(ish) sound over and over... It's like jungle music years ago all having to use the same amen break loop - it's admittedly awesome (I almost cried from nostalgia when I recently heard it in Galantis' "No Money"), but surely we can come up with something more creative? Our music got really commoditised (standardised) over the last couple of years, which led to huge homogenisation of how it sounds: just listen to old compilations from TIP, Transient, Blue Room or Flying Rhino and compare the variety of sounds, textures, styles and emotions in there to almost any current compilation. No contest there! It's symptomatic that over the years people making music stopped being called "musicians" in favour of "producers" but it's very fitting in hindsight: the latter obsess with how the product is made, with the ingradients and ways to assemble them; the former were just having fun and tried to channel their emotions via music and were just using synths & drum machines as tools.

 

Sorry for not being helpful and - God forbid - I'm not suggesting that I'm in any way better than this. Guilty as charged. But I still can recognise this as a problem :)

 

Actually, this preference of mine extends beyond goa/psy-trance: e.g. I like dub music very much because of the mysterious, hazy aura it creates, but I feel like the conventional basslines really limit it and hold it in place. On the other hand there's acid jazz/funk music - e.g. early Jamiroquai albums - where I could literally just listen to rhythm section alone because it's so evolved, intricate and full. I feel bad even calling it "rhythm section" because it genuinely doesn't do it justice - there's more musicality in there than in many other full tracks... :)




#10004355 Digital Reprints News

Posted by antic604 on 17 January 2017 - 04:55 PM

 

Anyone wants to take a guess? (Still in the broader Psychill spectrum).  :)  :)  :)

 

Hmm, Bluetech's "Horsemen of Electrocalypse" or Kaya Project's "The Ambient Mixes"? I'd buy those in a heartbeat  :blush:




#10004221 Good TV Series? Any?

Posted by antic604 on 13 January 2017 - 10:04 AM

What exactly are they nostalgic about? I was born in mid 90s so i dont know

 

That's your answer right there - the movies Stranger Things draws inspiration from (ET, Goonies, etc.) were beyond your time. In recent memory Spielberg's "Super 8" was in the same vein, so if you didn't like that one Stranger Things is likely not for you as well...

 

It's also a throwback to family movies of the 80's, which they don't really do anymore, that's why it's not very scary or thrilling - it's supposed to be fun for everyone.

 

Oh, and for me a Tron-esque electronic music theme was a bit plus :)




#10004220 Martian Arts - Giant Locusts [TIP Records]

Posted by antic604 on 13 January 2017 - 09:18 AM

And so, a long awaited (by me, at least) full-length from Martian Arts is about to be released by TIP Records.

 

tipr2017006cd.jpg

 

The cover is typically cheesy & fun TIP stuff, but I'm certain the music will more than make up for it - his style draws the energy from the typical Nano Rec. templates (bass+drums), but greatly expands upon it using lots of analog, modular hardware synths and effects, which makes it stand apart. No track-list is available at the moment, but - considering his track records - I'm sure we'll find several interesting collaborations on there, which is always a positive thing ensuring some diversity.

 

I'm eagerly looking forward to it!  :wub:




#10004195 need cold tracks (melodic or not) between 125 and 140pm (old school)

Posted by antic604 on 12 January 2017 - 12:32 PM

Anything from Creamcrop records would be a good start I think:

https://www.discogs....e/release/67926

https://www.discogs..../release/143520

https://www.discogs..../release/188412

 

They're obviously not goa, but some of it still gets pretty melodic while retaining that darkness & coldness.




#10004122 One of my all time fav track has a terrible mastering, how to correct it?

Posted by antic604 on 10 January 2017 - 10:27 AM

Agree, there's nothing wrong with the mastering. I guess your main issue is the long release on the kick - but that's an acquired taste, was pretty typical back then and you can't really do anything with it without gating the individual stems (separate tracks for instruments).

 

Great track, BTW! :)




#10004095 Artha - Dream Telepathy (Cronomi Records)

Posted by antic604 on 09 January 2017 - 05:24 PM

Sicne it has been proven numerous times that T2MU's tastes are directly opposite to mine I must listen to this album asap.

 

Yes, you really must.

 

T2Mu said it , i heard the album @ bandcamp and was very excited to listen to the tracks so it all sounded really good .. but after 2/3 listens i felt less engaged . Im not someone who buys a lot of albums but when i hear something special , which i was hoping DT to be , i try to support the scene . But now i feel really torn , should i shouldnt i? the divide within me continues :(

 

You should.

 

At first it's a lot to take in - the music is very dense, full of melodies, acid lines, effects, drum loops, etc. so it took me some time to put those things in order and to see past it to recognise the structure of the songs, the arrangements, etc. Some of the things you'll just have to accept as an artistic vision, e.g. the fact that "Secret Trip" or "A Way To Target" go against the typical track structure, where you build the tension over the time - in both cases the peak is in the middle, while 2nd part is a "release": more melancholic and moody, focused on sound textures and landscapes rather than energy. I personally LOVE that, because it means that the artist had his very clear vision which he realised in spite of popular conventions and I can really appreciate that. Sure, the voice samples in "Dream Telepathy" are testing my resolve and T2MU very aptly called the last track "fantastically unremarkable", but no album is perfect (at least for me) and - again - you need to try to see what the artist was going for, what kind of atmosphere or feeling he wanted to create. It's easy to criticise something that's very distinct and personal - like Artha's music is, despite its distant similarities to Hallucinogen's sound - because there will always be people that don't get it or don't like it. But what's the alternative? If I were an artists I'd prefer to have a polarising reviews, with maybe some people hating the stuff but others genuinely loving & understanding it, instead of lukewarm reception a lot of our music gets because it's bland, mediocre, by-the-numbers and ultimately forgettable. I'm happy music like this album is getting released, because I - and some others - will be remembering it for years to come, because it's special, it's intimate and it is art.




#10004004 GlitchModus - Off the Grid - Psytrance Mix 140 BPM

Posted by antic604 on 06 January 2017 - 03:15 AM

I love it! Need to dig deeper into your other tunes :)


#10003985 GlitchModus - Off the Grid - Psytrance Mix 140 BPM

Posted by antic604 on 05 January 2017 - 04:53 PM

Ok, this is properly fucked up...

 

In the most positive, crazy and awesome way!!!  :wub:

 

Basically every second of it is great - it sounds like a contemporary Sean "Process" Williams track: so full of random, but still very coherent and fluid sounds, melodies and rhythms. It flows so effortlessly and must have been a blast to record, I'm sure. One thing that I'd look into is the balance between the ambient parts (from your previous post) and the psy-trance parts, because until the very end it sounds as if the psy-trance was playing behind a wall, so not a lot of the actual groove and rhythms comes through to the front. I'd lower the pitch of the kick (it sound like a slap on the face) and maybe tone down some of the gating / ducking / side-chains because at times it sounds like your computer was dying recording this. I'd think the track would - even more - benefit from that.

 

But still, it's AWESOME. I mean how come you're not on this compilation representing the SA psychedelic sound boggles the mind :(




#10003976 Daydream Shaman

Posted by antic604 on 05 January 2017 - 09:05 AM

I really like it! Triplets rarely work for me, but in this case you made it really interesting, especially with that fade-in 2nd bass layer, which adds an unusual, very cool groove. Still, your music is an acquired taste - it's pretty dark, mysterious and - at first - sounds fairly "empty" which in fact it isn't: it's full of delicate, well chosen and placed sounds, that (very) slowly build up to something more meaningful: sometimes more melodic, sometimes more experimental, but always interesting. There's palpable tension in your music, though it's never aggressive or energetic, but it's rather constrained, controlled and held under wraps. Some will not like it, but I really appreciate that. Stylistically, I'd say it very much fits into what Trick Music is doing (Scorb, Squid Inc., Deviant Species, etc.) - kind of psychedelic techno married with dark, cold ambient. Also, it helps immensely that your production skills are already very, very solid.

 

It's really a pleasure to see your music grow over the last few months that I've been following you! If I could advice something, I'd suggest to maybe try to condense the ideas a bit more and make them even crazier, because slow(er) tempo allows to put more flair into individual sounds? To that end, maybe try to spend more time on polishing given track, instead of putting a new one every 2-3 days? Also, you could maybe think of introducing more variety into your arrangements: most tracks have very similar structure: dark intro, dry drums, spooky voices, then a transition from triplets to straight 4/4 or the other way around, then some melodic element and a wind down. I don't mean it is a wrong arrangement - I try to write along those ways myself - but after hearing 10 tracks all following the same scheme it gets a bit predictable. Still, awesome work! :)




#10003898 New years hype

Posted by antic604 on 02 January 2017 - 11:01 AM

Happy New Year! :)




#10003789 Virtuart - Virtuart & Friends - 2CD - [DATCD009]

Posted by antic604 on 29 December 2016 - 08:37 AM

I always have a feeling I HAVE to love everything from DAT but sometimes the style of the music just isn't for me. There's great tracks here, but a lot of repetitious one's too. The best tracks are the most storytelling one's like Red Spirit and Prospector M. I bet a lot of these work well in sets but alone they can get a bit samey.

 

Still a fantastic release none-the-less. Stylistically it just isn't up my alley as much as I hoped. And I love that cover. It's a perfect modern rendition of the old one. :D

 

Agree, like with most 2CD releases it would be better to have just one disc with the very best tracks.

 

Still, in this case I really can't fault them - there's no bad tracks really, even if it does get repetitive at times.

 

It helps - for me at least - that the sound is so "fresh": very clean, straight and simple yet powerful. A lot of current artists trying to mimic the "old-school" style end up sounding very thin, almost to the point of amateur - but that's not how synths back then sounded like! It probably is a foreign thing for most of people, but I hear a lot of analog synths of the 80' and 90' there and I'm reminded of the times when - while in college - I'd go to music shops and play on that hardware, tweaking the sounds, experimenting with patches, fooling around with sequencers. I could never afford one at the time, but that pure, simplistic but very full, energetic sound of the old synths was so captivating! Another plus for this release is that almost all tracks are written in collaboration, which always brings that freshness into the music: different sounds, ideas, character, etc.




#10003735 VA Terraformer (Global Sect)

Posted by antic604 on 27 December 2016 - 01:33 PM

I'll be there day one to pre-order, but with 4 CDs I'm a bit worried about the quality vs. quantity. I'm still not very familiar with their previous VA "The Mystery of Crystal Worlds" because there's so much filler there... For that reason I liked the free-to-preorderers "Prologue" much more, because it was short and high quality throughout.

Still, very excited for this one. My wallet is ready ;) :D


#10003719 Andromeda Nebula (melodic full-on)

Posted by antic604 on 26 December 2016 - 01:44 PM

Now my post up there looks stupid. The track is totally transformed and is basically flawless, not to mention it is musically and sonically awesome!

Someone, please release this guy's music :)