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Member Since 16 Jan 2016
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#10006111 How can you tell if someone's production is "ameture" ?

Posted by antic604 on Yesterday, 09:31 AM

I dig the style and arrangement ideas - it's sort of like a psychedelic acid / minimal techno (sounds like Jeff Mills occasionally!).


But, the mixing is really lacking - it's muddy, there's whole lot of distortion and frequency clamping ("Deep Breaks & Good Vibes" is painful to listen), volumes are out of balance, some sounds are way out of tune (especially in "Orbital Frequency", which has its own charm in a way...).


I'd say that definitely sounds 'amateur' but there's nothing wrong with it - everyone is starting somewhere.


If your music still sounds like this in 1-2 years, then either give up or call it your personal style. And there's nothing wrong with that either - I had a friend, who was doing drums out of piano samples and played "melodies" with hi-hats and his music was still awesome, because it was very individual, creative and unusual :)

#10005942 What music are you listening to right now?

Posted by antic604 on 15 March 2017 - 12:29 PM

Horizon: Zero Dawn OST




#10005941 Can someone recommend me Goa similar to the Green Nuns

Posted by antic604 on 15 March 2017 - 12:23 PM

Oh, and this might also be what you're looking for:


#10005921 The Official Psynews Welcome(d) Topic

Posted by antic604 on 14 March 2017 - 03:49 PM

Hello! :)  My name is Artur and I'm from Poland.
I love Goa Trance, especially Shakta, Dimension 5, RA, Indoor, Astral Projection, Mystica, Cosmosis, California Sunshine etc. I also like other electronic genres like Psybient, Classic Trance, Hard Trance, old Techno, Dark Ambient, Noise etc.
Besides I love Classical and Traditional music. :)


Hi there! I'm also Artur and also from Poland! :) :D

#10005780 Ajja - Spira Mirabilis [TIP Records]

Posted by antic604 on 07 March 2017 - 02:42 PM

I was hoping for something like "Tulpa" so I am quite dissapointed, but having said that, I am sure this will be a great chill-out album ;)


Yeah, I was pretty surprised to hear that it sounds more like a follow-up to his "Alien Jams" with Cosmosis, than to Tulpa, especially since it's coming out on TIP Records. But now I'm even more excited about it, because of that change of pace - it's not a chill-ot per se, more like a downtempo psytrance like Flooting Grooves or The Peaking Goddess Collective.

#10005733 Psynews "Best of 2016" Results

Posted by antic604 on 06 March 2017 - 12:43 PM

thank you people :-) i think to continue.... ;-)


Fully deserved, Michał! And please give us a follow-up soon(er) than the last time :)  :wub:

#10005624 Headphones are my studio (?)

Posted by antic604 on 03 March 2017 - 08:43 AM

Hard, but possible.


Import a reference track into your DAW and try to match the overall balance, also check your stuff at different sound systems. 


In addition to the above, the general rule would be to use less of everything: less reverb, less delay, less tweaking, less panning, etc. because headphones tend to make those things sound great and exciting, but then on speakers it easily turns into a mess and a lot of important detail gets lost / masked. Also, I hear it's a good practice to actually work on a low volume, because that allows to get the mix balance better. Then, if possible use those same headphones to general listening of music, videos, etc. so that you get to know them. Lastly, listen to your mix on as many other players as possible - phone, laptop, TV, car audio; it doesn't have to sound great everywhere, but it's important that the key elements of your track are clearly heard.


Stating the obvious, good (flat response) headphones are a must as well - I can advise either Audio Technika ATH-M50x (closed) or Bayerdynamics DT990 Pro (open).

#10005532 Martian Arts - Giant Locusts [TIP Records]

Posted by antic604 on 01 March 2017 - 12:41 PM

Shit, that's a really well-written review.
Quote of the year!
I would never have given this release the time of day, but now I'm super-excited to give it a go.

Thanks! And indeed you should at least have a listen :)

This hard vs. soft debate drags on from the moment when the first softsynths ever appeared, but it's the first time I'm seeing this in a review of a music album.
Actually whenever I hear especially impressive synths sounds in psytrance, going beyong typical squelches and farts (or even exceptionally good sounding squelches and farts), it often appears that the artist who has made them owns some serious hardware. But this may just be that people who invest into expensive hardware are usually more serious about their production or are longer in the game and have better experience, rather than a sign of hardware's inherent superiority.
May listen to the album later, the previous Nectarious output was not my thing at all, but just for the sake of the production quality it may be worth listening.

Knowing your taste I knew it's not your cup of tea, like Nervasystem or Hypnocoustics before it :)
Regarding the softness (or 'warmth' of analog vs. 'coldness' of digital) I'll just paste what I wrote few months ago: 

There are three things for me here:
- warm vs. cold sound - it's a matter of control and at the same time of the randomness given by instruments: in old days a lot of parameters - oscillators, envelopes, filters, resonance, etc. - were controlled by voltage, which was analog and wasn't ideally precise, you had musical keyboard keys that responded to velocity and strength of touch, you had knobs that wouldn't be perfectly transmitting the twists; you had mixers, effects and even cables that'd introduce additional noise - all this contributed to the sound being fuzzy ("warm"), with tiny fluctuations and random changes on a micro-level and the notes would sound ever so slightly different every time. This stands in contrast to the very digital, infinitely precise world of today's VST plugins;
- sequencing - in the old days, synthesizers and DAWs would only allow you to store basic information about your tune, usually based on MIDI format, which covered broad but still pretty limited range of information; as a result, the synth/computer usually was only generating overall "shape" of the tune (which notes and tracks play when, etc.) and while recording for the CD / DAT tape the artists needed to tweak the individual parameters - faders, filters, effects, routing, etc. - manually. This was leading to music sounding more like live performance, with more unpredictability, soul and "happy mistakes". Contrast it with today, where you usually "dump" tracks to perfect and written-in-stone WAV files as soon as they sound good enough, copy & paste various segments over the time-line, put some highly controlled (i.e. the filter envelopes drawn by mouse) effects on top and there you go.
- musical education - this one I'm not sure about, but my gut feeling tells me it is the true - because the point of entry is so much lower today, i.e. anyone can pirate Ableton Live and VST plugins and publish their stuff on Soundcloud or Bandcamp, most people releasing music lack any musical knowledge and their creations are influenced mostly by what they hear around, trying to copy what they like (and are able to). Hence the huge uniformity in sound, resulting in very few artists actually standing out with their own, unique style.
As a result of those three factors today's music sounds more cold, precise and technically perfect but more often than not pretty straightforward, without soul, randomness and playfulness. Electronic music - IMO - doesn't need to be clinically clean and robotic to sound otherworldly or alien, quite the opposite actually. On the other hand new tech opens infinite possibilities, as evidenced by huge variety of ambient / chill / IDM music.
/rant off :)
So, to answer the original question - no, "cold" in itself isn't inherently good or bad. Like anything else, it should be used as a tool to express artist's ideas, thoughts or feelings.

I actually experience this very clearly in my own music-making, where if I automate something drawing the envelopes with mouse, it sounds OK but often boring. However, when I record those same modulations tweaking the parameters 'live' via MIDI controller it immediately sounds more exciting, more alive and energetic; even if it's a far cry from true 'analog' way of working, because I'm still controlling digital plugins in a digital DAW, that digitises my tweaking onto a very limited 0-127 scale...


But please let's not go off-topic here :)

#10005515 Martian Arts - Giant Locusts [TIP Records]

Posted by antic604 on 28 February 2017 - 09:13 PM

[DISCLAIMER] I received the .wav files prior to the release from Nectarios for review, but I also ordered my own copy from Arabesque. I encourage you do the same! :)




Track list


01. Martian Arts - Dali Mountains

02. Martian Arts & Eat Static - Giant Locusts

03. Martian Arts & Radical Frequencies - There Is No Time

04. Martian Arts - Assagao

05. Martian Arts - Velos

06. The Rave Commission - Skunk Funk

07. Martian Arts - Discrete Circuit

08. Martian Arts & Ingrained Instincts - Downward Dog

09. Martian Arts - We Get Out




Full-on music has always been there within the wider psychedelic trance genre, as a bridge between the “lighter” styles of prog, morning and goa; and the “darker” ones: forest, hi-tech, darkpsy. Over the years that sub-genre took a lot of shapes and forms, but the common denominator was constant: fast tempo, hard sounds, sparse - but present - melodic content and focus on short riffs and patterns. For my personal taste, the British brand of full-on - which I always conveniently labelled just as “true psychedelic trance” - was ticking the most boxes: it was full of funky grooves, acid lines, sonic experiments and …humour! Check back the releases of Green Nuns, Cosmosis from their Synergy / Intergalactic years, OOOD / Voice of Cod, early EVP or Sean ‘Process’ Williams sound design to see what I mean. Today’s full-on either borders on darkpsy (e.g. releases from Sangoma, Wildthings, Bom Shanka), gets dangerously close to prog or ‘normal’ melodic trance (e.g. Dacru, Ovnimoon) or turned itself into a homogeneous pulp, with no redeeming character (Nano Rec.).


It was refreshing then, to find out that Nectarios Meidanis aka Martian Arts will finally release an album on TIP Records! Those that followed his career, will likely remember him from two free full-lengths on Ektoplazm as Disco Hooligans (with Jordan Bonyo) released in 2009 and 2010 and over the last 6 years numerous collaborations with the likes of Eat Static, Manmademan and others. His sound fills exactly the gap in today's full-on landscape: it's charmingly funky, groovy and contains the right amount of good melodic riffs, to balance the light and the dark. For those in-the-know there’s an additional twist, because Nectarios is a huge fan of analog modular synths and is eagerly incorporating those sounds in his music, making it very alive, fluid, organic and at the same time otherworldly alien and bizarre. Lots of artist try to recreate that sound via digital software, but there's simply no faking it - the sound of electrons flowing through circuits, tamed by analog gates, shaped by self-oscillating filters and orchestrated by voltage-controlled sequencers is like no other. There's chaos and randomness, there's imperfections and there's life.


The album doesn't seem to have any main theme or thread, making it more of a collection of dance(able) tunes - some are more melodic, some are slightly more focused on sound experimentations, but all of them are of very high caliber: usually start with beat and ‘chaotic’ analog sequences, leading into some melodic riffs - either in-your-face or very vague, almost subsurface. In contrast to the British artists I mentioned earlier, it's not very acidic and instead relies more on the scratchy, skipping and stuttering sounds and effects to build the tension. It sounds very cybernetic, but because of the analog gear it's also very gentle, smooth and pleasant, unlike a lot of ear-drilling digital-only music out there. The melodic bits are really well done as well - short and concise (it not goa-trance by any means), but add a lot of lushness to the otherwise aggressive music and take advantage of the hardware, i.e. are cleverly modulated over time, emerge organically from the sonic chaos, are chopped up mercilessly, but beautifully. The music is also varied in terms of feeling and texture - after 2-3 listens I could already tell the tracks apart, which nowadays is rare and praiseworthy.


Is it perfect? Not quite - sometimes the arrangements do not work to their fullest and the momentum / energy is lost in second half or last third, other times some sounds are not fully in tune with the rest (an inherent beauty and curse of analog circuitry…). But it's really, REALLY damn close! Favourite tracks? Difficult to tell, because they're all very good, but to my taste “There Is No Time”, “Skunk Funk”, “Velos”, “Discrete Circuit” and "Downward Dog" take the cake for being the closest to that old-school trippiness of Cosmosis & Green Nuns, with just perfect balance between sonic experimentation, twisted acid lines, patchwork-y melodic riffs and funk. The (slight) let downs? Probably “Dali Mountains” and “Assagao” for offloading their - otherwise awesome! - stuff a bit too early and then meandering aimlessly until the end (they’d be perfect at 6:00 duration). Similarly, the titular “Giant Locusts” with Eat Static while instantly recognisable from the lumbering, mechanical and droning acid-housey stabs; seems slightly unfocused - neither here nor there. Incidentally, “Parallel World” with Martian Arts on Eat Static’s latest album was top notch, so I'm looking forward to their albums as Strontium Dogs scheduled for release later this year.


TL;DR - if, like me, you appreciate creative, analog sound design and are longing for the trippy sound of British psychedelic trance, defined by funky and groovy rhythms, sprinkled with good melodic riffs, acid lines and emergent beauty found in sonic ‘accidents’; then you owe it to yourself to purchase it this instant! Go now!!! Otherwise, take a listen as well - in my book it stands proudly next to the recent(ish) full-on heavyweights like Master Blasters, Hypnocoustics or PsiloCybian.


Extra points for the cover - it's beautiful, colorful and charmingly tacky, in the best tradition of TIP Records :)





Listen on Soundcloud.com


Purchase here



http://www.beatspace...ts /detail.aspx

#10005500 Martian Arts - Giant Locusts [TIP Records]

Posted by antic604 on 28 February 2017 - 02:32 PM

An interview with Nectarios Meidanis aka Martian Arts is up:



Enjoy! :)

#10005462 Wat's the best software to make psytrance?

Posted by antic604 on 27 February 2017 - 10:06 AM

Hi there!
I have used/tryed several DAWs since mid-90s: FastTracker, Jeskola's Buzz, FruityLoops (and the later FL Studio), Ableton Live, Cubase, Studio One, Reaper... But the one which has fitted me like a glove has been Bitwig Studio. I'm impressed on how simple is being creative with this software. It boosts your workflow and it works really nice: no need to wait for minutes to load any plugin. But the reason why I decided to finally buy this one a couple of weeks ago was its integration into its application. I mean: You can duplicate clips/samples/whatever into the arrangement view, but also into the clip edition view, which can be individual or multiple. It's charming, because I finally found a DAW which is not too complicated (quick workflow) and that really cares in a matter of harmony (which is what music is all about, if somebody had forgotten it).


Good to hear it works for you! What would you say differentiates it - in terms of work-flow - from Live 9? I tried both extensively and frankly both worked out very well for me, because of combined session (clips) and arrangement (timeline) views, but I wasn't very fond of Bitwig's interface, while I liked the simplicity of Live 9. Still, the underlying modularity of Bitwig is something great, e.g. being easily able to route certain parts of the sound via specified effects. In the end I purchased Live 9 Suite which even if more expensive (even with Christmas discount & upgrade from Live 9 Lite) seemed more 'complete', starting from the manual which was much better and clearer. Also, the amount of content - free tutorials, packs, M4L devices, etc. - is huge for Live 9, because it's on the market 14+ years, compared to Bitwigs 3+.


But in the future I'll really consider switching to Bitwig, because indeed it shapes up to be awesome, especially for music like ours.

#10005394 Samples of the new Infected Mushroom album Return to the Sauce

Posted by antic604 on 24 February 2017 - 08:29 AM

For those interested, the CD is available:





#10005379 What new music did you get today?

Posted by antic604 on 23 February 2017 - 04:24 PM

Actually the shipping would be the same because if we sent them together still the complete package would be +100 grams :)


Oh, good to know! :)

#10005365 Germinating Seeds of Doda LIVE

Posted by antic604 on 23 February 2017 - 12:59 PM

I have their vinyls and their music but it never appealed me for some reason... kind of boring and not with a real flow imo... 

But, full support anyway, the more goa the better! :)


Considering what you're releasing on Suntrip, I'm not surprised... :P


Still, I hope there's room on Psynews for more than old/neo Goa :)

#10005363 Germinating Seeds of Doda LIVE

Posted by antic604 on 23 February 2017 - 12:36 PM

While browsing Facebook I noticed Draeke 'friending' GSoD, which might suggest some form of cooperation for future DAT Records release, which would be great!  :o


For those not familiar, GSoD is a german artist, active in late '90 and releasing acid/psy-breaks music on TIP, Matsuri, Symbiosis, RTTS.


Here's a recording of him playing live in 1998:


Listen on Soundcloud.com