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Several aesthetic features of the genre (e.g. ambient intros/outros, ending with a bang, non-standard track structure) probably originate with the use of cassette and DAT tapes in the earliest years of the scene. In some sense, the emphasis on access to obscure or unreleased material and programming/storytelling over technical mixing ability is a matter of tradition, but it doesn't have to be that way. Personally I really enjoy mixing psytrance as if it were house or techno, finding different ways to layer, blend, and combine source material. Plenty of my mixes involve 2 to 4 minute-long transitions between tracks, and occasionally 3 or 4 deck mixing. But I will admit to being less enthusiastic about mixing modern upbeat psytrance in this fashion; there's often way too much going on for aggressive mixing to yield satisfying results.

3 Names: Mark Allen DJ Cosmix Tsuyoshi Suzuki They had a name before they started producing. Because they could mix / sync and had skills before there were little helpers like bpm counter or sync functions. (Joske, that applies to you as well) Actually the normal basic knowledge of a dj for electronic music. But that does not apply to the goa scene. The people wanted to be dj's and be famous but without any basic knowledge. So they mixed dats and they did not have to apologize for bad transitions. And have invented reasons like: the music is not meant to mix or because of the heat you can't play records in Goa. Such a nonsense, was refuted in the 90ies by several dj's impressive in Goa. Until today unbelievable and incomprehensible and says a lot about the scene.

Yes, that's true. A track is usually a 7 minute journey itself and anybody can get a a controller and some DJ software and mix one track's into onto another's outro and so on. Thus creating several 7-minute journeys and not a single long one. I do not think the genre is what limits DJs to do more stuff. My philosophy is exactly that, the tracks are tools, and not always the entire track, sometimes just some part of it. I don't see a whole track as a the minimum unit that builds my sets. And by doing that, I think there are great things that can be achieved. The most easy example I can say is skipping the breakdowns. In the +10 years I've been in the scene, if I have to single out what I think people can't stand of a set is having a break every 3 minutes (which is usually what happens in most psytrance and full-on tracks, a break in the middle, sometimes two breaks). I think there was a thread in this forum where someone was asking "what makes a good set for you?" and the "avoid having a break every 3 minutes" got many points. I can't find it now though. To me, the idea of creating a set is about extending those different parts of a track, like making a 1 hour track with parts of different tracks. Like, extending the peak high energy part, which usually on a single track, it lasts about 16 to 32 bars (which at 145bpm is just about 30-40s at best). Then right after that, the outro where the tracks starts to come down and where the DJ will usually mix the next track's bassline drop, usually with a bass-swap. And then we're starting over again, with a new track. But, if you mix a build-up there instead, you can extend that peak and keep the energy high for more than 30s. So yeah, I'm a strongly believer that for some reason, mixing psytrance has not evolved as much as other genres did. And finally, yeah, producing is hard and takes a lot of time. It's not for everybody certainly. I've tried it too. You have to enjoy spending days in front of the computer.

Well techno is way different noone knows the tracks everyone just knows the djs :p And on and on that goes. Also I think most of that music is explicitly produced and released directly to the djs. At least a big bulk of it. edit: i mean the big names like carl cox and the likes. they have those massive 10k people gatherings and i dont fully get it. i think most of the music on those sets are produced for that dj. i may be wrong ofc. i just think it works more exclusive like that since the dj is what brings the crowd ($$$) not the artist. and in goa trance its the exact oppsite. obviously. (to me, its obvious anyway ) the expection being ofc local smaller parties where the dj is the center figure. but that also goes without saying i think. i dont know if im making myself very clear

Yes, Boom Shankar is one I like. Well, the only reason his live was perfectly on point is because it was pre-mixed in the studio, nothing live at all. Obviously it will sound better than a DJ set. But let's agreed that there's nothing live on that, certainly no more live than a pure DJ set. I also agree that bad mixing is kind of the tradition in psytrance, I've seen Goa Gil pressing stop/play on DAT players 10 years ago in Argentina. But he's "the father of psytrance" so we cannot say anything to him... I wish this "tradition" would end at some point. I don't think psytrance is extremely hard to mix. There are some sub-genres more difficult than others (old-school goa is hard), but is no more difficult than a pure trance mix... And certain sub-genres allows for more creative mixing than just mixing intros into outros... I know this is not the DJ Promotion forum, but if you head to my Youtube channel you'll find videos showing how I think there's a lot of stuff to do while mixing psytrance: https://www.youtube.com/c/psychrobatic I don't know, I just think a good psy set should keep the flow going, even if the tracks are not the most amazing or the latest unreleased or ultra head-bangers...

DJ Solitare had me in a grip during his whole set last time at an old is gold party. Steady start, but growing to a grand finale.

His album titles don't stick to my mind but the tracks do, Deep Waters is my favourite. A search tells me its from 'As Earth to Sky'

When it comes to best stereo effects and trippy production I have to mention Pepe Kosminen... and No Possible Soundz (vol. 1). although it is not a album in a technical sense, all tracks features Pepe (in different constellations)... And he has made so many amazing tracks! I am not talking about "clean" production but psychedelic production, although some stuff might also be considered clean (!?) All layers come to life and have the full space they need to be fully appreciated, which in book is a hallmark for a good producer... and Pepe is one of the best if you ask me